Whatever production or marketing issues may have befallen The Current War (it was largely shelved in 2017 after the Weinstein scandal and fallout)—the resulting work emerges as one of the best 10-15 films or so
It is a Jay Roach film (Austin Powers, Meet the Parents) and clearly the idea behind this was to recreate the success of The Big Short- taking a serious timely topic/subject/ exposé, big stars (and
This is the third film in the Harry Palmer character series (played by Michael Caine) starting with The Ipcress File in 1965, then Funeral in Berlin in 1966. From the novels of Len Deighton and
Terry Gilliam’s Fear and Loathing in Las Vegas is part Fantasia meets Yellow Submarine meets Fellini Satyricon. It would come after, but I’d also throw Linklater’s Waking Life into the mix— all wildly imaginative, visually
It is a big step back from 1965’s The Ipcress File- but the next film in the Harry Palmer spy series still has a solid narrative—and Caine is strong again- but the visuals are not
12 Monkeys finds Terry Gilliam back in the world of retro-looking future dystopias (Brazil) and this dense (and genius) narrative is a perfect match for the Gilliam aesthetic like Brazil- Gilliam looks back to
A massive hit in the summer of 1993—it puts Pollack back in the thriller genre (Three Days of the Condor) and certainly carries your attention for the full 154-minute running time It has to be
James Cameron's seventh feature film-- and last film before Avatar in 2009-- a 194 minute romance historical epic also works as a disaster film like the popular subgenre during the 1970's from Towering Inferno to The Poseidon Adventure
This is a film I’ve seen before and has a perfect 100% on Rotten Tomatoes- but if you read through most of the praise—the praise is directed towards the intelligent (albeit dense) adaptation and narrative
Gilliam moved on from trilogy of imagination in the 1980’s (Time Bandits, Brazil, The Adventures of Baron Munchausen) to a new trilogy- the trilogy of Americana in the 1990’s starting strongly with The Fisher King
Over the years (this is his 10th feature)- Ming-liang Tsai seems to have crystalized his style. The camera is almost always static (a few slow pans here and there), long takes, silence (I bet the
With his patented long takes, sparse dialogue, stationary camera, lack of close-ups, and undoubtedly his own unique rhythm —this is strong auteur cinema. Yet, like many of Ming-liang Tsai’s prior works (this is his eighth
