The Mirror Has Two Faces (1996)

While she is undeniably one of the biggest stars to ever exist in the expansive entertainment industry, opinions on Barbra Streisand tend to vary, with some being put off by her reputation for being one of the most compulsive and forthright entertainers of her generation, while others adore her for it. Some may call Streisand…

The Animal Kingdom (1932)

If there was ever an era in which filmmakers in Hollywood were active in their efforts to take risks, it would be during the brief period known as the Pre-Code era, which may not have been as driven by the “anything goes” mentality with which some seem to assume defined this period, but still had…

Rye Lane (2023)

New filmmakers emerge every year, and while it is always heartening to see that the medium is going to be left in good hands after the old masters transition out of the industry, it isn’t often that we find someone who is so indicative of the future of cinema to the point where just watching…

The April Fools (1969)

If there is a subject Hollywood adores more than people falling in love, it is the process of falling out of it, which has been the starting point for several engaging and fascinating films over the course of the past century. Naturally, in its earliest years the idea of marital trouble or relationships being on…

A Touch of Class (1973)

Infidelity is rarely funny, and in the rare instance that it is the source of a comedic romp, it often carries with it a sense of needing to rationalize what would drive characters to engage in sordid extramarital affairs – whether it be portraying their married life as one of dull and listless convention (as…

I Know Where I’m Going! (1945)

One of the universal truths that we should all come around to believing is that, regardless of how much we try and attribute their films to being the product of style over substance, Michael Powell and Emeric Pressburger were masters of their craft. Whether or not we find value in the spectacles of Black Narcissus…

Bones and All (2022)

“The world of love wants no monsters in it, so let me help you out of it.” What defines a monster? Is it physical deformity that separates one from the rest of society based on traits that terrify rather than attract? Could it be behaviour that goes against common social and cultural standards and places…

The Madonna’s Secret (1946)

We’re not strangers to discussing film noir around these parts, and one of the more interesting ideas that come about when looking at this genre that has undergone so many different shifts in conventions and style over the decades is that there isn’t one singular formula that makes for a great entry, but rather a…

Antoine and Antoinette (1947)

In comparison to some of his contemporaries, Jacques Becker was a far less prolific director, despite having made just over a dozen films – but each one a cherished part of French film history, a work of immense importance and genre-defining brilliance in the vast majority of cases. Becker is well-regarded amongst those with a…

The Ghost and Mrs. Muir (1947)

Contrary to what many people may believe, crafting any work of well-made romance is a challenge. This isn’t applicable to the endless stream of cheap, disposable stories that think that lust and desire are adequate stimuli for a relationship, but rather those rare works that touch on issues much deeper than carnal cravings. Few texts…