2019 is a year chock-full of James Cameron film anniversaries, and we start with one of his more flawed, but deconstructionist action flicks.
Robert Rodriguez and Quentin Tarantino’s grindhouse vampire thriller is a fascinating but flawed glimpse into their collaboration.
Quentin Tarantino’s classic 1994 new-cool drama set the stage for a new era of independent film, and saw the end of his own sense of mercy.
One of the few Tarantino scripts not directed by the man himself, Tony Scott’s “True Romance” is a tragically too-cool crime thriller that doesn’t age well.
Quentin Tarantino’s breakout debut feature is a bloody distillation of his best and worst instincts.
Before they made their directorial debut, Lana and Lilly Wachowski wrote the Stallone-Banderas actioner Assassins, a far cry from their future work.
Our exploration of black women directors continues with a look at Gina Prince-Bythewood’s sensitive, layered romantic drama.
From Bound to Sideways to Romy and Michelle, this year’s Ebertfest was a celebration of the weird, eclectic, and fantastic films Roger Ebert loved.
Every artist has their muse, but sometimes that relationship grows toxic and strains – with Tim Burton and Johnny Depp, that moment appears long passed.
Adapting the Topps trading cards to cackling comic life, Tim Burton! offered a twisted alien invasion alternative to Independence Day.
RELAXER’s director sits down to talk about video games and the horrors of Y2K.
Joel Potrykus’ comically grim indie shows the grotesque end result of staying on your couch playing video games all day.
Tim Burton’s recent films are dismissed as confused (dark) shadows of his career heights, but they contain brief glimmers of the filmmaker’s return to form.
Situated halfway between Tim Burton’s Gothic beginnings and contemporary epics, Sleepy Hollow is a forgotten, thoroughly enjoyable Hammer Horror homage.
Henry Selick’s stop-motion holiday fable is a spooky classic, thanks to Tim Burton’s macabre quirks and an array of catchy tunes.
Burton’s most deeply personal film is his humanistic, black-and-white celebration of the Worst Filmmaker of All Time.
Tim Burton’s superhero sequel saw the endlessly strange auteur run away with big studio money to make the most relentlessly weird comic book film ever.
A quarter of a century later, Reality Bites offers a frustratingly incomplete portrait of the MTV generation.