Features The glorious, grimy evil of Killer Joe Friedkin at his most unsparing and cruel delivers a powerful late-career film that might be too much for some to stomach.
Features Rules of Engagement finds Friedkin in transition The military courtroom drama has its moments, but is more notable for where it sent the director next.
Features When William Friedkin cuts to the heart of The Hunted, it shines Tommy Lee Jones and Benicio del Toro's climactic duel is a stupendous piece of filmmaking in a good film that could have been great with some judicious paring.
Features Getting to the bottom of William Friedkin’s Jade Take a seat for a look at how this 90s not-very-erotic thriller hindered the filmmaker’s comeback.
Features Blue Chips turns over the ball early, never gets back into it Friedkin’s facile take on corruption in college sports can’t run its game.
Features In Rampage, William Friedkin puts his own feelings about the death penalty on trial Though mostly a by-the-numbers courtroom drama, this little seen thriller poses some uncomfortable questions.
Features The gold beneath the glitter of To Live and Die in L.A Initially written off as vapid & glitzy, L.A.‘s a searing indictment of 80s materialism and macho posturing crafted from the era’s shallow pop culture trappings...
Features Sorcerer thrills thanks to Friedkin’s wizardly control of tone Friedkin's classic thriller frays viewers' nerves without relying on bombast.
Features Friedkin tries his hands at comedy in The Brink’s Job and Deal of the Century The director meets with decidedly mixed results when he attempts to swap intensity for guffaws in these two efforts.
Features A couple of lapsed Catholics talk about The Exorcist Two of our writers discuss how a perhaps unhealthy fear of God makes William Friedkin’s most successful film so effective.
Features You’ll hate attending The Birthday Party, but it remains worth watching Friedkin’s second film is a bruising affair that finds the fledgling director wielding style to produce maximum psychological damage.
Features Filmmaker of the Month: William Friedkin Upon his recent passing, we remember the feisty & controversial director & his wildly diverse filmography.
Features Meg 2: The Trench is a soggy sequel that remembers to be fun too late Wheatley’s latest ends on a gratifyingly silly monster movie third act, but viewers need to suffer through the rest of the film to get there.
Features Rebecca proves a pale imitator of its predecessor and the source material Wheatley's adaptation of the classic gothic novel frequently looks lush, but can't back up its visuals
Features A movie breaks out during a firearm stunt reel in Free Fire Wheatley flirts with Tarantino-esque “cool” crime with decidedly different results.
Features High-Rise explores stories of the class system in chaos Wheatley's first encounter with a movie star, Tom Hiddleston, dives deep into humanity's social climbing dark side.
Features A Field in England goes afield, in England Wheatley keeps it eclectic with the most psychedelic offering in his filmography.
Features Sightseers takes murder on the road Ben Wheatley's third film brings Bonnie and Clyde across the pond for a decidedly less glamorous take on homicidal lovers.
Features Kill List disturbs thanks to Wheatley’s merciless anti-romanticism A disaffected hitman and his best pal descend into an entirely different sort of hell in the director/writer’s genre-hopping nightmare.
Features Down Terrace visits crime at the bottom of the barrel Ben Wheatley's debut film rejects cool attitude and snappy dialogue to tell a working-class tale of crime.
Features Filmmaker of the Month: Ben Wheatley We celebrate the British filmmaker taking his biggest swipe yet at the mainstream this month with Meg 2: The Trench by declaring him our Filmmaker of the Month.