It is hard to separate the 1984 film Dune from the story of its failed adaptation (even the most adamant defenders often admit it does not do Frank Herbert’s novel justice) and the story around

Pedro Almodóvar’s most frequent collaborators in the 1980s- the great Carmen Maura and Antonio Banderas- are back for Law of Desire. This is Almodovar leaning into Hitchcock again with the heavy Bernard Herrmann- like strings

Darkman is just Sam Raimi’s fourth film and it is a worthy effort. It comes in 1990, the year after Batman, and with Darkman using a Danny Elfman score and obviously living in the same

Dario Argento is back in great Giallo horror tradition just one year after his debut. Ennio Morricone returns working again with Argento (and though the tone is different—Morricone is another bridge between the Spaghetti Westerns

Crooklyn starts with a swooping crane shot capturing summer life in Brooklyn in 1973 with “People Make the World Go Round” from The Stylistics. Nostalgia reigns as a swoon-worthy montage shows children play double dutch,

Craig Gillespie’s Cruella looks like what Tim Burton’s version of The Devil Wears Prada may look like- especially if both the sorcerer and the apprentice roles (nemeses as well) were able to dial up their

Titane is the sophomore effort from Julia Docournau (Raw- 2016). Vincent Lindon (playing Vincent) stars opposite of Agathe Rousselle (both Alexia and Adrien) in 2021’s Palme d'Or winner. Docournau’s film is a breath of fresh

Mary Harron’s American Psycho took fifteen years to debut on the TSPDT top 1000 of the 21st century list. It now (as of the date writing this) sits at the lofty position of #283 (still

With Undine, German auteur Christian Petzold reteams with actors Paula Beer and Franz Rogowski from 2018’s Transit taping into fantasy and myths. It is set and shot in Berlin, roughly 30 years after the fall

Three films into his career (Capote, Moneyball), Bennett Miller seems incapable of making anything less than a meticulously crafted character study. Foxcather (also based on a true story, and also, like Moneyball, is about the

Matador is Pedro Almodovar’s strongest effort to date in 1986. Some of his decade-spanning obsessions: vibrant colors, dark humor, mothers, and more- have been undergoing fermentation. This is Almodóvar’s fifth film, and long gone is