A half-remembered tale of revenge, Park Chan-wook’s 2003 thriller is still as steeped in extreme cinema as it is ancient tragedy.
Joel Schumacher’s cracked tableau of New York City’s shifts at the turn of the millennium remains a time capsule in the guise of a neo-noir.
Joel Schumacher’s sensitive wartime drama gives the world Colin Farrell and explores the painful tribulations of young men waiting for war.
Bringing the works of Tarr and Akerman to modern America, Gus Van Sant’s drama about student life around a school shooting remains a vital work.
Freddy vs. Jason is not a good movie – and that’s not just okay, it may well be transgressive.
Jim Jarmusch’s laidback anthology of fateful celebrity meetings lays bare the communal value of commodity.
Richard Linklater’s 2003 Jack Black comedy is a riotous, rocking celebration of creativity and the joy of music, and holds up like a killer solo.
While it divided viewers at the time, Quentin Tarantino’s Kill Bill Vol. 1 remains a testament to the pop culture gadfly’s desire to hone his action chops.
Watching the Kill Bill saga in reverse order yields some fascinating rewards.
The Matrix Revolutions, the Wachowskis’ final film in the trilogy, is just as flawed as Reloaded, but carries heaps of visual and thematic weight.
While still a visual triumph, “The Matrix Reloaded” swaps out depth for shallow philosophy.