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  • El Dorado

    This late masterpiece (1966) by Howard Hawks is a virtual remake of Rio Bravo, just as Rio Bravo was a virtual remake of To Have and Have Not—only Hawks could make three great, and very different, films from one screenplay. more...
  • Man of Tai Chi (R)

    Keanu Reeves makes his directorial debut with this satisfying pastiche of Hong Kong action cinema, incorporating knock-out martial arts choreography (courtesy of the great Yuen Woo-ping), operatic brutality reminiscent of John Woo, balletic camera movements a la Johnnie To, and even some of Jackie Chan’s populist humor. more...
  • Stagecoach

    It's fashionable to put down John Ford's 1939 classic; certainly it's the weakest of Ford's major westerns, burdened with a schematic and pretentious Dudley Nichols script (the "cross section of society" on board the stagecoach), but its virtues remain intact. more...
  • Thunderbolt

    Except for The Saga of Anatahan, this 1929 release is probably the most underrated of Josef von Sternberg's sound pictures, and it's underrated for the same reason: Sternberg is known almost exclusively as a visual stylist, but the most exciting thing here is the highly creative sound track. more...
  • Faces

    John Cassavetes's galvanic 1968 drama about one long night in the lives of an estranged well-to-do married couple (John Marley and Lynn Carlin) and their temporary lovers (Gena Rowlands and Seymour Cassel) was the first of his independent features to become a hit, and it's not hard to see why. more...
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  • The Sting (PG)

    Top-notch entertainment (1973), pairing Paul Newman and Robert Redford as two penny-ante con men who set up a hilariously complex “Big Con” to fleece Irish gangster Robert Shaw out of half a million dollars in Depression-era Chicago. more...
  • Our Daily Bread

    A marvelously clearheaded bit of Depression-era agitprop, King Vidor's independently financed and produced 1934 fable, about an ordinary young couple who establish a communal society and lick the problems of social strife, hunger, and unemployment, is saved from excessive sentimentality by the straightforward presentation of Vidor's utopian notions and by the stylishness of his mise-en-scene. more...