A crackerjack pulp thriller that alternately smirked and shocked its way into defining both a expanding cinematic genre and a director’s burgeoning career with its gallows vantage, Double Indemnity also maybe lets slip the secret of life as it nuzzles up against (and makes a joke, seduction, and parable out of) death itself.
Uncut Gems is itself an uncut gem—jagged and terrifying on the outside, yet encompassing a startlingly beautiful and cosmic humanism within.
Breathless is at once a ferociously horny and formally audacious remake of Godard’s hyper-referential film, as well as an all-or-nothing, frenetically American and self-aware meditation on desperately empty people lost in the thrall of the pop culture that gives form to their wants and needs.
Obsessed with manifesting Sorcerer’s message on film, Friedkin failed to see he was living that very message during its sanity-snapping production: that which is behind us cannot be returned to. All one can do is persevere for as long as possible into the fates that our pasts have shaped for us.
A trio of 1994 Hollywood mainstream softcore films (Disclosure, Color of Night, and The Last Seduction) are each, in their own way, gripped with masculine fears concerning established sex and gender roles and the women who refuse to conform to them.