Rene Clair's 1931 satire on industrialization was overshadowed for many years by Chaplin's Modern Times and then forgotten, though its recent release on DVD has given it a second—and well-deserved—lease on life.
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After the people of Afghanistan voted to lift restrictions on public singing and dancing in 2004, the independent Tolo TV channel, inevitably perhaps, launched a native version of Britain's Got Talent and American Idol, called Afghan Star.
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A state-of-the-art Hollywood issue drama (2010), with strong performances all around and a script that digs deep into the problems of criminal justice.
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Aside from Richard Pryor, no American monologuist has translated to the screen better than Spalding Gray (Swimming to Cambodia, Monster in a Box, Gray's Anatomy), who battled depression all his adult life and apparently committed suicide in 2004.
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An early-80s contemporary of Anthrax, Slayer, Metallica, and Megadeth, the Canadian speed-metal band Anvil never made the big time, and 25 years after the band's commercial peak, documentary maker (and former Anvil roadie) Sacha Gervasi finds the two founding members—Robb Reiner and Steven “Lips” Kudlow—hacking out a lower-middle-class existence in Scarborough, Ontario, still dreaming of rock stardom.
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Part thriller, part social history, this tense 2008 drama traces the rise and fall of the Baader-Meinhof gang, a violent communist terror group whose track record of carnage across West Germany in the late 60s and early 70s made the Weather Underground look like a tea party.
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Abel Ferrara's cult favorite Bad Lieutenant (1992) was a Scorsese-style exercise in macho histrionics and tortured Catholicism; this Werner Herzog drama plays more like a dark comedy, powerfully alive to the relaxed morality and hothouse culture of its title town.
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Though open to criticism for its obsession with the brutality of modern life, this 1948 film by Vittorio De Sica is undeniably the most important neorealist film after Rossellini's Open City.
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This 1955 film noir borders on total abstraction for most of its length and then achieves it in an astonishing final scene—a shoot-out in the fog that suggests an armed and dangerous Michelangelo Antonioni.
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It might as well be titled “The Birth of the Movies.” D.W. Griffith's 1915 Civil War epic was the first commercially successful feature-length film.
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Who wants to think about Mexican janitors—illegal aliens, working in the buildings where movie stars do business with their agents—who decide to unionize to end their exploitation?
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