This 1933 film is the best known of the Warner Brothers Depression-era musicals, though it doesn't compare in dash and extravagance to later entries in the cycle.
more...
Adapting David Mamet's play Sexual Perversity in Chicago, screenwriters Tim Kazurinsky and Denise DeClue have done an admirable job of turning an unfilmable piece into a polished commercial product (1986), yet so much of the flavor of the original has been lost that you wonder why they bothered with the Mamet in the first place.
more...
The invective against the press and the First Amendment contained in Sydney Pollack's 1981 film is probably its least objectionable aspect: the picture has a smug, demoralizing sense of pervasive corruption, putting forward the Paul Newman character (a businessman libeled by reporter Sally Field) as the last good and true human being in the United States.
more...
Pier Paolo Pasolini's first film is neo-neorealism, set in the slums and back alleys familiar from De Sica and Fellini but directed with a cold dispassion that belongs to Pasolini alone.
more...
John Huston's sort-of sequel to The Maltese Falcon, with Humphrey Bogart, Mary Astor, and Sydney Greenstreet together again in an equally obscure plot, involving Nazi spies in Panama.
more...
George Cukor's gracious 1949 comedy about a lady lawyer (Katharine Hepburn) married to a district attorney (Spencer Tracy) and what happens when they find themselves on opposite sides of a shooting trial.
more...
This French import plays like the dumbo version of Bresson's L'argent: a young actor (Richard Berry) is sent to prison for coming to the aid of a beautiful shoplifter (Victoria Abril), incurs the wrath of a psychotic guard (Richard Bohringer), has his sentence quadrupled, and is forced into the killing of a sadistic fellow inmate.
more...