This is Terry Gilliam’s first solo effort as director after co-directing Monty Python and the Holy Grail in 1975. Based on a poem by Lewis Carroll (talk about a match for Gilliam’s world) Gilliam obviously

The warmest film of Kieslowski’s trilogy and his entire career—both emotionally (the color means fraternity here and that is certainly a match) and visually. It is a brilliant film on its own, but also a

The story of a dysfunctional family – certainly the same voice as 1992’s debut Rebels of the Neon God.  It begins with Kang-sheng Lee (I believe in all of Ming-liang Tsai’s films) asked to pretend

One of the great titles in cinema- if Harmony Korine’s Spring Breakers were called “Rebels of the Neon God” I think it would have twice the reputation it does now Ming-liang Tsai’s impressive debut. The

Kieslowski’s Three Colours: White is always going to be sandwiched between Blue and Red and probably for that reason it is unfairly overlooked. I’m guilty of this, too- and was flat wrong with my prior

It is a testament to Sorkin’s pen and the actors involved that even if he’s not much of a director, The Trial of the Chicago 7 is absolutely riveting It opens on Lyndon Johnson footage—and

It is the first film in Kieslowski’s Colours trilogy but also makes for a fine companion piece with The Double Life of Véronique which is Kieslowski’s film that precedes it.  The story is a little

It is the Monty Python clan’s first narrative feature film and it is absolutely hilarious. Gilliam’s feature debut as well as he co-directed with Terry Jones Makes for a nice pairing with Woody’s comedy Love

So in 1993 and 1994 there was a bit of a war between Tombstone and Wyatt Earp. Costner was once attached the Tombstone film, parted ways after artistic differences and decided to make his own

Lon Chaney, the man of a thousand faces, carries this film playing dual roles – both The Blackbird and The Bishop- his own little version of Jekyll and Hyde A strong opening- a montage of