Production Company(ies)
Charles Chaplin Productions,
 
Distributor
NA
 
Release Type
Streaming, Theatrical
 
Filming Location(s)
Broken Hill, New South Wales, Australia
 
MPAA / Certificate
R
 
Year of Release
1971
 

 
Genre(s)
Drama
 
Keyword(s)
starring Gary Bond, Donald Pleasence, Chips Rafferty, Sylvia Kay, Jack Thompson, Peter Whittle, directed by Ted Kotcheff, written by Evan Jones, drama, box office performance, budget, reviewed by Tom Milne, Derek Malcolm, Margaret Hinxman, Mark Kermode, Geoffrey Macnab, Tim Robey, Trace Thurman, Joe Lipsett, Travis Johnson, Dilys Powell, Nicholas Bell, R rating, Australian cinema, Outback, mining town, gambling, alcohol, kangaroo hunt, suicide, teacher, girlfriend, Sydney, hard-drinking locals, toxic masculinity, animal abuse, hot weather, Christmas, social horror, battles of human soul, realistic, intense, powerful, well-made
 

Cast & Crew

Gary Bond

John Grant

Donald Pleasence

Doc Tydon

Chips Rafferty

John Grant

Doc Tydon

Jock Crawford

Janette Hynes

Dick

Gary Bond – John Grant
Donald Pleasence – Doc Tydon
Chips Rafferty – Jock Crawford
Sylvia Kay – Janette Hynes
Jack Thompson – Dick
Peter Whittle – Joe

 

Ted Kotcheff

Evan Jones

George Willoughby

Director

Writer

Producer

Producer

Producer

Director(s)
Ted Kotcheff
 
Writer(s)
Evan Jones
 
Producer(s)
George Willoughby

 

Film Festivals

 
Awards & Nominations
1 nomination
 
Academy Awards

Top Reviews

Tom Milne

Derek Malcolm

Margaret Hinxman

Mark Kermode

Geoffrey Macnab

Financial Times

Guardian

Daily Telegraph (UK)

Observer (UK)

Independent (UK)

WAKE IN FRIGHT
  All Critics (59) | Top Critics (23) | Fresh (57) | Rotten (2)
  [Has some] fine photography of the Australian wilds, but also veers into melodrama.
 
  March 19, 2020
 
  Tom Milne
  Financial Times
  TOP CRITIC
  [It] will will not please the Australian Tourist Board. It may not even please Australians. But it ranks, along with Nicholas Roeg’s Walkabout, as the most impressive piece of special pleading about the country I’ve seen.
 
  March 19, 2020
 
  Derek Malcolm
  Guardian
  TOP CRITIC
  It’s a remarkable film and I’m not at all happy with it.
 
  March 19, 2020
 
  Margaret Hinxman
  Daily Telegraph (UK)
  TOP CRITIC
  Blends staged re-enactments with documentary footage of senseless slaughter to extremely distressing effect.
 
  March 9, 2014 | Rating: 4/5
 
  Mark Kermode
  Observer (UK)
  TOP CRITIC
  Brilliantly directed by Kotcheff, the film has the disorienting and menacing quality of Joseph Losey films such as Accident and The Servant.
 
  March 7, 2014 | Rating: 4/5
 
  Geoffrey Macnab
  Independent (UK)
  TOP CRITIC
  It presents a world in which refusing a pint has violent consequences, high spirits quickly curdle, and an unspoken homoerotic undertow gets ever more disturbing.
 
  March 7, 2014 | Rating: 4/5
 
  Tim Robey
  Daily Telegraph (UK)
  TOP CRITIC
  Reaches a level of anxiety-inducing terror that few other films have achieved.
 
  May 24, 2022 | Rating: 3.5/5
 
  Trace Thurman
  Horror Queers Podcast
  Wake in Fright is searing condemnation on masculinity, urban vs rural divides and alcohol abuse that traps its audience in toxic cycles as much as its lead character. The real life animal abuse is unforgivable, though
 
  May 18, 2022 | Rating: 4/5
 
  Joe Lipsett
  Horror Queers Podcast
  If anything, the film has become more potent, more poignant, even more capable of shocking and disturbing.
 
  June 29, 2021
 
  Travis Johnson
  Blunt Magazine
  Perhaps it will be argued that [its intention] is to excite disgust with crudeness, to invite us… to recognise a general tough goodwill which teaches the visitor to know his own weaknesses Maybe. Myself I find that the film excites disgust, period.
 
  March 19, 2020
 
  Dilys Powell
  Sunday Times (UK)
  Captures a dusty, sweaty Australia, equal parts friendly and terrifying.
 
  August 5, 2019
 
  Nicholas Bell
  IONCINEMA.com
  John Grant is absolutely note-perfect as the stiff-upper-lipped Englishman stranded in an environment that he couldn’t be any further removed from.
 
  April 12, 2018 | Rating: 9/10
 
  Andrew Pollard
  Starburst…

 

Plot
John Grant, a teacher working in the remote Australian town of Tiboonda, is under a financial bond with his Government job. At the end of term before Christmas holidays, he plans to visit his girlfriend in Sydney. In order to catch a flight to Sydney, he takes a train to the nearby mining town called Bundanyabba (or “The Yabba”), and plans to stay there overnight before moving on further to the airport. But things go grossly out of script as he is engulfed by the Yabba and its disconcerting residents.
 
Trivia

 
Goofs / Tidbits
The film features Donald Pleasence in a supporting role as Doc Tydon.
 

 
Ted-Kotcheff.jpg

 
Production Company(ies)
New Regency Productions, The Wolper Organization Warner Bros.,
 
Distributor
20th Century Fox
 
Release Type
Theatrical
 
Filming Location(s)
Château d’If, Marseille, Bouches-du-Rhône, France
 
MPAA / Certificate
R
 
Year of Release
1971
 

 
Genre(s)
Crime/Mystery & thriller
 
Keyword(s)
starring Gene Hackman, Roy Scheider, Fernando Rey, Tony Lo Bianco, Marcel Bozzuffi, Frédéric de Pasquale, directed by William Friedkin, written by Ernest Tidyman, crime, mystery, thriller, drama, R rating, box office success, Philip D’Antoni produced, reviewed by Alexander Walker, Martha DuBose, Derek Malcolm, John Russell Taylor, Myles Standish, David Wilkening, Michael Billington, James Wegg, Danielle Solzman, J Oliver Prescott, Noel Taylor, David Hale, Gene Hackman as Det Jimmy “Popeye” Doyle, Roy Scheider as Det Buddy “Cloudy”‘Russo, Fernando Rey as Alain Charnier, Tony Lo Bianco as Salvatore “Sal” Boca, Marcel Bozzuffi as Pierre Nicoli, Hit Man, Frédéric de Pasquale as Henri Devereaux
 

Cast & Crew

Gene Hackman

Fernando Rey

Roy Scheider

Tony Lo Bianco

Marcel Bozzuffi

Det. Jimmy “Popeye” Doyle

Alain Charnier

Det. Buddy “Cloudy” Russo

Salvatore “Sal” Boca

Pierre Nicoli

– Gene Hackman as Det. Jimmy “Popeye” Doyle
– Fernando Rey as Alain Charnier
– Roy Scheider as Det. Buddy “Cloudy”‘Russo
– Tony Lo Bianco as Salvatore “Sal” Boca
– Marcel Bozzuffi as Pierre Nicoli, Hit Man
– Frédéric de Pasquale as Henri Devereaux
– Director: William Friedkin
– Producer: Philip D’Antoni
– Writer: Ernest Tidyman

 

William Friedkin

Ernest Tidyman

Philip D’Antoni

Director

Writer

Producer

Producer

Producer

Director(s)
William Friedkin
 
Writer(s)
Ernest Tidyman
 
Producer(s)
Philip D’Antoni

 

Film Festivals

 
Awards & Nominations
Won 5 Oscars
22 wins & 12 nominations total
 
Academy Awards
Oscar Best Picture Winners, Oscar Winners
 

Top Reviews

Alexander Walker

Martha DuBose

Derek Malcolm

John Russell Taylor

Myles Standish

London Evening Standard

Sydney Morning Herald

Guardian

Times (UK)

St. Louis Post-Dispatch

THE FRENCH CONNECTION
  All Critics (87) | Top Critics (27) | Fresh (84) | Rotten (3)
  If you want a dog-eared guide book, stuffed with authentic detail, to the work of the New York narcotics squad, this is your film. It certainly is mine. Every element coalesces into a hard bunch of excitement you can’t imagine belter done.
 
  February 10, 2022
 
  Alexander Walker
  London Evening Standard
  TOP CRITIC
  No matter how hard I try to control my enthusiasm, I cannot help thinking that The French Connection is the most exciting, most stylish — in fact, the best piece of cops-and-robbers cinema since the silents.
 
  April 15, 2021
 
  Martha DuBose
  Sydney Morning Herald
  TOP CRITIC
  Apart from telling a pretty exciting story with great mechanical skill, Friedkin examines the cop and his prey with a sceptic’s eye.
 
  April 15, 2021
 
  Derek Malcolm
  Guardian
  TOP CRITIC
  Quite efficient but pretty unremarkable.
 
  April 15, 2021
 
  John Russell Taylor
  Times (UK)
  TOP CRITIC
  One of the most exciting and breathtaking chase films ever made.
 
  April 15, 2021
 
  Myles Standish
  St. Louis Post-Dispatch
  TOP CRITIC
  Connection tells a straight story, has some respect for its viewer’s intelligence, and maintains dramatic situations that build with increasing tension from one scene to another.
 
  April 15, 2021
 
  David Wilkening
  Orlando Sentinel
  TOP CRITIC
  Written by Ernest Tidyman and directed by William Friedkin, It has exactly the kind of ruthless professionalism and headlong pace one ands in the American cinema at its best.
 
  February 10, 2022
 
  Michael Billington
  Birmingham Post
  Too much ado about drugs.
 
  January 17, 2022 | Rating: 2/5
 
  James Wegg
  JWR
  The French Connection helps bring about a new era in filmmaking–much thanks to Friedkin and company–and cinema would never be the same.
 
  October 8, 2021
 
  Danielle Solzman
  Solzy at the Movies
  Director William Friedkin has carefully contrived the intense action of this film to jolt you, to assault your nervous system. He is undeniably successful.
 
  April 15, 2021
 
  J. Oliver Prescott
  Tampa Bay Times
  Friedkin has a gripping story to tell and wastes little time with diversionary devices.
 
  April 15, 2021
 
  Noel Taylor
  Ottawa Citizen
  Director William Friedkin, whose previous efforts were The The Night Raided Minsky’s and The Boys in the Band proves expert at keeping the customers on the edge of their seats by automating comedic moments with moments of violence.
 
  April 15, 2021
 
  David Hale
  Fresno Bee…

 

Plot
William Friedkin’s gritty police drama portrays two tough New York City cops trying to intercept a huge heroin shipment coming from France. An interesting contrast is established between ‘Popeye’ Doyle, a short-tempered alcoholic bigot who is nevertheless a hard-working and dedicated police officer, and his nemesis Alain Charnier, a suave and urbane gentleman who is nevertheless a criminal and one of the largest drug suppliers of pure heroin to North America. During the surveillance and eventual bust, Friedkin provides one of the most gripping and memorable car chase sequences ever filmed.
 
Trivia

 
Goofs / Tidbits
Gene Hackman delivers a commanding and humanized performance as Detective Jimmy “Popeye” Doyle in The French Connection.
 

 
William-Friedkin.jpg

 
Production Company(ies)
Greenwich Film Productions, Herald Ace Nippon Herald Films,
 
Distributor
Warner Home Vídeo
 
Release Type
Theatrical
 
Filming Location(s)
La Loma, Durango, Mexico
 
MPAA / Certificate
R
 
Year of Release
1969
 

 
Genre(s)
Western
 
Keyword(s)
Western, Sam Peckinpah, William Holden, Ernest Borgnine, Robert Ryan, Edmond O’Brien, Warren Oates, Jaime Sanchez, Phil Feldman, Walon Green, Roy N Sickner, R rating, Warner Home Vídeo, box office, budget, reviewed by Penelope Gilliatt, Tom Milne, Judith Crist, Sheila Johnston, David Ansen, Pauline Kael, Brian Eggert, Mike Massie, Allen Almachar, Jean Carey Bond, Paul Schrader, Fernando Trueba, Neptune Frost, 18 1/2, H.P Lovecraft’s Witch House, 11th Hour Cleaning, Sh*t Saves the World, Stay Prayed Up, Final Caller, Girl in the Picture, Hello, Goodbye, Everything in Between, Confessions from the Hart, The Prey: Legend of Karnoctus, Moon, 66 Questions, Dreaming Walls: Inside the Chelsea Hotel, The Road to Galena, Incantation, Dangerous Liaisons, Jewel, Warriors on the Field, Fair Play
 

Cast & Crew

William Holden

Ernest Borgnine

Robert Ryan

Edmond O’Brien

Warren Oates

Pike Bishop

Dutch Engstrom

Deke Thornton

Freddie Sykes

Lyle Gorch

William Holden – Pike Bishop
Ernest Borgnine – Dutch Engstrom
Robert Ryan – Deke Thornton
Edmond O’Brien – Freddie Sykes
Warren Oates – Lyle Gorch
Jaime Sanchez – Angel

 

Sam Peckinpah

Walon Green

Phil Feldman

Director

Writer

Producer

Producer

Producer

Director(s)
Sam Peckinpah
 
Writer(s)
Walon Green, Roy N. Sickner, Sam Peckinpah
 
Producer(s)
Phil Feldman

 

Film Festivals

 
Awards & Nominations
Nominated for 2 Oscars
6 wins & 8 nominations total
 
Academy Awards

Top Reviews

Penelope Gilliatt

Tom Milne

Judith Crist

Sheila Johnston

David Ansen

New Yorker

Sight & Sound

New York Magazine/Vulture

Independent (UK)

Newsweek

THE WILD BUNCH
  All Critics (64) | Top Critics (21) | Fresh (58) | Rotten (6)
  Apart from Peckinpah’s simple technical control and the cut of his script, which is a knife that never slips off the bone, there is an angry quality to his mind.
 
  July 7, 2022
 
  Penelope Gilliatt
  New Yorker
  TOP CRITIC
  The film drives to its foregone conclusion with the sureness of an arrow.
 
  March 18, 2020
 
  Tom Milne
  Sight & Sound
  TOP CRITIC
  If you must see The Wild Bunch, be sure to take along a barf bag.
 
  January 1, 2020
 
  Judith Crist
  New York Magazine/Vulture
  TOP CRITIC
  Remains hugely impressive, both for its technical brilliance and the emotional ferocity of its themes: old age, friendship, betrayal and the struggle to retain some kind of cock-eyed code of honour in an increasingly cynical world.
 
  December 3, 2018
 
  Sheila Johnston
  Independent (UK)
  TOP CRITIC
  Underneath the movie, which is set on the eve of World War I, there’s an elegiac plangency that stays with you long after the shocks have worn off…The Wild Bunch still won’t go down easy.
 
  February 21, 2018
 
  David Ansen
  Newsweek
  TOP CRITIC
  It’s a traumatic poem of violence, with imagery as ambivalent as Goya’s.
 
  March 28, 2016
 
  Pauline Kael
  New Yorker
  TOP CRITIC
  Demystifying the traditional Western through raw, unglamorous violence, The Wild Bunch exploded onto the screen in 1969 and altered the face of the genre, and filmmaking, forever.
 
  February 23, 2022 | Rating: 4/4
 
  Brian Eggert
  Deep Focus Review
  This controversial epic was as highly praised as it was condemned upon its release, boomingly announcing the arrival of daring new director.
 
  August 27, 2020 | Rating: 10/10
 
  Mike Massie
  Gone With The Twins
  It is one of the greatest of all westerns.
 
  July 30, 2020
 
  Allen Almachar
  The MacGuffin
  It has canonized, for our enjoyment and monstrous edification, the freak-out.
 
  July 16, 2020
 
  Jean Carey Bond
  Freedomways
  The result is one of the strongest emotional kickbacks of any film. The Wild Bunch does for the emotions what Shane did for the intellect.
 
  July 1, 2020
 
  Paul Schrader
  Los Angeles Free Press
  The Wild Bunch is the last and indisputable epic story of the Western genre. [Full Review in Spanish]
 
  August 6, 2019
 
  Fernando Trueba
  El Pais (Spain)…

 

Plot
It’s 1913, and the “traditional” American West is dying. Amongst the inhabitants of this dying era are a gang known as “the wild bunch.” After a failed railroad office robbery, the gang heads to Mexico to do one last job. Seeing their times and lives drifting away in the 20th century, the gang takes the job and ends up in a brutally violent last stand against their enemies deemed to be corrupt, in a small Mexican town ruled by a ruthless general.
 
Trivia

 
Goofs / Tidbits
William Holden shows range in his portrayal of the blood-letting Pike in The Wild Bunch.
 

 
Sam-Peckinpah.jpg

 
Production Company(ies)
Carolco Pictures, Pacific Western Lightstorm Entertainment,
 
Distributor
Pathé Contemporary Films
 
Release Type
Theatrical, Theatrical (Limited)
 
Filming Location(s)
L’Aygade, Hyères, Var, France
 
MPAA / Certificate
Not Rated
 
Year of Release
1969
 

 
Genre(s)
Drama
 
Keyword(s)
starring Jean-Paul Belmondo, Anna Karina, directed by Jean-Luc Godard, written by Jean-Luc Godard, drama, box office performance, budget, reviewed by Joe Morgenstern, Renata Adler, David Parkinson, Edward Porter, Kathy Fennessy, produced by Georges de Beauregard, MPAA rating, crime spree, French countryside, love affair, enigmatic babysitter, pursued by foreign thugs, subversive, colorful, beguiling, quintessential work, poetic, introverted, personal, loose picaresque format, postmodern games, scattergun shots, consumerism, cultural imperialism, Vietnam War, Algerian War, self-discovery, self-destruction, French New Wave, intellectual energy, colorful playfulness, pop-intellectual discourse, lost love, Raoul Coutard, striking images, ultimate Godard movie, homage, Chaplin hi-jinks, sweet Anna Karina
 

Cast & Crew

Jean-Paul Belmondo

Anna Karina

Dirk Sanders

Raymond Devos

Graziella Galvani

Ferdinand Griffon

“Pierrot”

Marianne Renoir

Fred

le frère de Marianne

Jean-Paul Belmondo – Ferdinand Griffon, “Pierrot”
Anna Karina – Marianne Renoir
Dirk Sanders – Fred, le frère de Marianne
Raymond Devos – L’homme du port
Graziella Galvani – La femme de Ferdinand
Jean-Luc Godard – Director

 

Jean-Luc Godard

Jean-Luc Godard

Georges de Beauregard

Director

Writer

Producer

Producer

Producer

Director(s)
Jean-Luc Godard
 
Writer(s)
Jean-Luc Godard
 
Producer(s)
Georges de Beauregard

 

Film Festivals
Cannes
 
Awards & Nominations
NA
 
Academy Awards

Top Reviews

Joe Morgenstern

Renata Adler

David Parkinson

Edward Porter

David Jenkins

Newsweek

New York Times

Empire Magazine

Times (UK)

Time Out

CRAZY PETE
  All Critics (46) | Top Critics (15) | Fresh (40) | Rotten (6)
  “Pierrot” is less successfully artistically than several Godard films that followed it: Masculine Feminine, La Chinoise and Weekend. It’s much more than historically interesting, though, this funny little fugue for soured sweethearts.
 
  July 6, 2022
 
  Joe Morgenstern
  Newsweek
  TOP CRITIC
  The film is poetic, quiet, introverted, personal.
 
  January 9, 2018
 
  Renata Adler
  New York Times
  TOP CRITIC
  Godard abandoned the conventions of narrative cinema and adopted a loose picaresque format around which he could arrange subversive generic tropes, poetic digressions, political ideas and comic-book escapades.
 
  July 16, 2014 | Rating: 4/5
 
  David Parkinson
  Empire Magazine
  TOP CRITIC
  At its worst, in some of its improvised rambles, it demonstrates the value of a well-thought-out screenplay. At its exhilarating and poignant best, it proves that a film can play all sorts of postmodern games yet still touch its viewers’ emotions.
 
  May 28, 2009 | Rating: 4/5
 
  Edward Porter
  Times (UK)
  TOP CRITIC
  A wild-eyed, everything-in-the-pot cross-processing of artistic, cinematic, political and personal concerns, where the story stutters, splinters and infuriates its way to an explosive finale.
 
  May 22, 2009 | Rating: 5/5
 
  David Jenkins
  Time Out
  TOP CRITIC
  Godard opens up his box of tricks and tips it all over the screen in a flurry of improvised, postmodernism that takes scattergun shots at consumerism, cultural imperialism and the Vietnam and Algerian wars.
 
  May 22, 2009 | Rating: 4/5
 
  Ed Potton
  Times (UK)
  TOP CRITIC
  It’s [Jean-Luc] Godard in a nutshell–all for the price of one ticket.
 
  September 15, 2021 | Rating: 4/4
 
  Kathy Fennessy
  Seattle Film Blog
  a uniquely Godardian mess, which means that you can sense the order through the chaos, even if you can’t always put your finger on what, exactly, Godard is after at any given moment
 
  November 5, 2020 | Rating: 3.5/4
 
  James Kendrick
  Q Network Film Desk
  This is Godard in free-floating form.
 
  October 13, 2020 | Rating: 3/4
 
  Matt Brunson
  Film Frenzy
  The film is beauty, whimsy, and magic all wrapped around a sour center.
 
  October 9, 2020 | Rating: 4.5/5
 
  Michael J. Casey
  Boulder Weekly
  It’s a masterpiece, one of the monumental films of our time.
 
  January 27, 2020
 
  Gene Youngblood
  Los Angeles Free Press
  There’s cool and then there’s Jean-Paul Belmondo. No one ever made being bored look so exciting, and the effortlessly graceful and impossibly hip actor gave the mid-’60s nouvelle vague a needed macho punch.
 
  July 16, 2014 | Rating: A
 
  Corey Hall
  Metro Times (Detroit, MI)…

 

Plot
Uninterested in his stagnant life, Ferdinand falls in love with his enigmatic babysitter and embarks on a crime spree with her through the French countryside in “Crazy Pete.”
 
Trivia

 
Goofs / Tidbits
The critic reviews for Crazy Pete describe the film as “colorful, subversive, and overall beguiling” and “a uniquely Godardian mess.”
 

 
Jean-Luc-Godard.jpg

 
Production Company(ies)
Kudos Film and Television, BBC Films, Serendipity Point Films,
 
Distributor
Master Movies, Sinister Cinema, Anchor Bay Entertainment, Elite Entertainment Inc., Something Weird Video, Vestron Video, Reel Media International [us], Image Entertainment Inc., Continental Distributing Inc., BijouFlix Releasing, Republic Pictures, United Video, Navarre Entertainment, UAV Entertainment.
 
Release Type
Theatrical, Theatrical (Limited)
 
Filming Location(s)
Evans City Cemetery, Evans City, Pennsylvania, USA
 
MPAA / Certificate
Not Rated
 
Year of Release
1968
 

 
Genre(s)
Horror
 
Keyword(s)
Horror, George A Romero, Karl Hardman, Russell Streiner, Duane Jones, Judith O’Dea, John A Russo, realistic gore, political undercurrent, box office, budget, reviewed by Kevin Thomas, Elliott Stein, Ann Guarino, Steve Rose, April Wolfe, Amos Barshad, Brian Eggert, Stephanie Archer, Matt Brunson, directed by George A Romero, produced by Karl Hardman and Russell Streiner, written by George A Romero and John A Russo, MPAA rating, zombies, survival, abandoned house, corpses, pragmatic, panic, order, prey, disparate group, fresh human bodies, taut, uncompromising, bitter irony, Los Angeles Times, Sight & Sound, New York Daily News, Guardian, Village Voice, New York Magazine/Vulture, Deep Focus Review, Film Inquiry, horror classic, American Werewolf in London, The Good, the Bad and the Ugly, Day of the Dead, Evil Dead 2, The Fly, streaming, theaters, black and white, Academy, mono, Master Movies, Sinister Cinema, Anchor Bay Entertainment, Elite Entertainment Inc., Something Weird Video, Vestron Video, Reel Media International [us], Image Entertainment Inc., Continental Distributing Inc., BijouFlix Releasing, Republic Pictures, United Video, Navarre Entertainment, UAV Entertainment
 

Cast & Crew

Duane Jones

Judith O’Dea

Karl Hardman

Keith Wayne

Judith Ridley

Ben

Barbra

Harry

Tom

Judy

Duane Jones – Ben
Judith O’Dea – Barbra
Karl Hardman – Harry
Keith Wayne – Tom
Judith Ridley – Judy
Marilyn Eastman – Helen

 

George A. Romero

George A. Romero

Karl Hardman

Russell Streiner

Director

Writer

Producer

Producer

Producer

Director(s)
George A. Romero
 
Writer(s)
George A. Romero, John A. Russo
 
Producer(s)
Karl Hardman, Russell Streiner

 

Film Festivals

 
Awards & Nominations
6 wins
 
Academy Awards

Top Reviews

Kevin Thomas

Elliott Stein

Ann Guarino

Steve Rose

April Wolfe

Los Angeles Times

Sight & Sound

New York Daily News

Guardian

Village Voice

NIGHT OF THE LIVING DEAD
  All Critics (76) | Top Critics (16) | Fresh (73) | Rotten (3)
  Night of the Living Dead is taut and uncompromising, ending on a note of bitter irony. Performances are adequate and often better, especially in the case of Jones, who clearly has what it takes to go on to bigger things.
 
  September 8, 2021
 
  Kevin Thomas
  Los Angeles Times
  TOP CRITIC
  Romero was offered a budget for colour; he preferred shooting in black and white; the result is a flat murky ambience which is perfect for the ramshackle American Gothic landscape where the events occur.
 
  September 8, 2021
 
  Elliott Stein
  Sight & Sound
  TOP CRITIC
  The title immediately cues a tale of horror; but does not prepare one for the shocking treatment of the dead… The theme could not be in poorer taste.
 
  September 8, 2021 | Rating: 1/4
 
  Ann Guarino
  New York Daily News
  TOP CRITIC
  Romero conjures moments of eeriness and dread throughout, keeping the lighting low and the special effects to a minimum, though there will be blood, fire, cannibalism and a great deal of death.
 
  October 24, 2018 | Rating: 5/5
 
  Steve Rose
  Guardian
  TOP CRITIC
  The immediate, quasi-documentary feel, a result of budgetary constraints, actually served the film’s horror, jolting audiences because it all seemed just a little too real.
 
  October 13, 2017
 
  April Wolfe
  Village Voice
  TOP CRITIC
  If [Romero’s] original vision of the undead looks dulled by today’s standards, his embedded political commentary on racism feels just as sharp.
 
  October 7, 2013
 
  Amos Barshad
  New York Magazine/Vulture
  TOP CRITIC
  Beyond discussions of social commentary and cultural reflectivity, the timelessness of its allegories, and the stark suggestions made by the visual presentation, Night of the Living Dead is great entertainment.
 
  March 21, 2022 | Rating: 4/4
 
  Brian Eggert
  Deep Focus Review
  It is not only the legacy that Night of the Living Dead leaves that makes it a classic but also its examination of the instant removal of humanity.
 
  October 9, 2021
 
  Stephanie Archer
  Film Inquiry
  A landmark of American cinema. Intentional or not, the film’s sociopolitical content remains as potent as ever.
 
  September 1, 2021 | Rating: 4/4
 
  Matt Brunson
  Film Frenzy
  Episode 13: Raison D’être
 
  September 1, 2021 | Rating: 60/100
 
  Taylor Baker
  Drink in the Movies
  I love how the black and white cinematography adds to the mood
 
  October 11, 2020
 
  Rachel Wagner
  Rachel’s Reviews (YouTube)
  This was an American horror movie, so it needed no English accents or familiar character actors. It was grim and unflinching…
 
  September 17, 2020
 
  A.S. Hamrah
  The Baffler…

 

Plot
Barbra and Johnny visit their father’s grave in a remote cemetery when they are suddenly set upon by zombies. Barbra manages to get away and takes refuge in what seems to be an abandoned farm house. She is soon joined by Ben who stopped at the house in need of gas. Beset by the walking dead all around them Ben does his best to secure the doors and windows. The news reports are grim however with creatures returning to life everywhere. Barbra and Ben are surprised when they realize there are 5 people hiding out in the basement: Harry, Helen and Karen Cooper; and a young couple, Tom and Judy. Dissensions sets in almost immediately with Harry Cooper wanting to be in charge. As their situation deteriorates, their chances of surviving the night lessen minute by minute.
 
Trivia

 
Goofs / Tidbits
Night of the Living Dead features Duane Jones as the pragmatic Ben, who tries to control the situation as corpses begin to leave the graveyard in search of fresh human bodies to devour.
 

 
George-A.-Romero.jpg

 
Production Company(ies)
Twentieth Century Fox,
 
Distributor
Paramount Pictures
 
Release Type
Theatrical
 
Filming Location(s)
Dakota Hotel – 1 West 72nd St. at Central Park West, Manhattan, New York City, New York, USA
 
MPAA / Certificate
Approved
 
Year of Release
1968
 

 
Genre(s)
Horror
 
Keyword(s)
starring Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, Ralph Bellamy, directed by Roman Polanski, written by Roman Polanski, Ira Levin, horror, box office performance, budget, reviewed by Judith Crist, Kathleen Carroll, Noel Murray, Eric Henderson, Mark Harris, Stephen Whitty, Michael Calleri, Michel Pérez, Brian Eggert, Kristy Strouse, William Castle, MPAA rating R, Satanism, pregnancy, New York City apartment, neighbors, isolation, diabolical truth, birth, sound mix Mono, aspect ratio Flat (1.85:1), distributor Paramount Pictures, Rosemary Woodhouse, Guy Woodhouse, Minnie Castevet, Roman Castevet, Edward “Hutch” Hutchins, Dr Abe Sapirstein
 

Cast & Crew

Mia Farrow

John Cassavetes

Ruth Gordon

Sidney Blackmer

Maurice Evans

Rosemary Woodhouse

Guy Woodhouse

Minnie Castevet

Roman Castevet

Edward “Hutch” Hutchins

Mia Farrow – Rosemary Woodhouse
John Cassavetes – Guy Woodhouse
Ruth Gordon – Minnie Castevet
Sidney Blackmer – Roman Castevet
Maurice Evans – Edward “Hutch” Hutchins
Ralph Bellamy – Dr. Abe Sapirstein

 

Roman Polanski

Roman Polanski

William Castle

Director

Writer

Producer

Producer

Producer

Director(s)
Roman Polanski
 
Writer(s)
Roman Polanski, Ira Levin
 
Producer(s)
William Castle

 

Film Festivals

 
Awards & Nominations
Won 1 Oscar
11 wins & 12 nominations total
 
Academy Awards

Top Reviews

Judith Crist

Kathleen Carroll

Noel Murray

Eric Henderson

Mark Harris

New York Magazine/Vulture

New York Daily News

AV Club

Slant Magazine

Entertainment Weekly

ROSEMARY’S BABY
  All Critics (77) | Top Critics (20) | Fresh (74) | Rotten (3)
  The fault ultimately is in the Polanski screenplay which overlooks character for effect, disastrously. Involvement is absent; all is surface and it is a smooth one, without the shimmer of the evil that is within.
 
  October 1, 2019
 
  Judith Crist
  New York Magazine/Vulture
  TOP CRITIC
  Right to its bitter end, there is no escaping “Rosemary’s Baby.” On film Ira Levin’s best selling novel is as horribly frightening as it was on paper.
 
  June 11, 2015
 
  Kathleen Carroll
  New York Daily News
  TOP CRITIC
  Rosemary’s Baby is suffused with Polanski’s style and preoccupations.
 
  October 7, 2013 | Rating: A
 
  Noel Murray
  AV Club
  TOP CRITIC
  So long as there are men in power who are still fuzzy on the definition of rape, Rosemary’s Baby will endure as a cautionary tale.
 
  October 29, 2012 | Rating: 4/4
 
  Eric Henderson
  Slant Magazine
  TOP CRITIC
  Polanski worked with an elegant restraint that less talented filmmakers have been trying to mimic ever since.
 
  February 12, 2009 | Rating: A-
 
  Mark Harris
  Entertainment Weekly
  TOP CRITIC
  One of the finest horror films ever made.
 
  October 30, 2008
 
  Stephen Whitty
  Newark Star-Ledger
  TOP CRITIC
  The movie is a masterpiece of editing (by Sam O’Steen and Bob Wyman) and the acting is flawlessly delivered by a brilliant, tour-de-force cast.
 
  June 3, 2022
 
  Michael Calleri
  Niagara Gazette
  Polanski does not relinquish his personality to Hollywood; he proves that he can achieve dazzling success where many European filmmakers of his generation failed.
 
  April 5, 2022
 
  Michel Pérez
  Positif
  Rosemary’s Baby builds tension with masterful patience and detail, not because it relies entirely on the payoff of its devilish finale, but because Roman Polanski wants to submerge the viewer in paranoia.
 
  February 14, 2022 | Rating: 4/4
 
  Brian Eggert
  Deep Focus Review
  It’s pure psychological horror at its best, elegant in a way that’s rarely seen now, as the anticipation of what’s to come and the walls of security and certainty begin to fall around Rosemary.
 
  November 12, 2021
 
  Kristy Strouse
  Wonderfully Weird and Horrifying
  Highly referenced throughout film and TV, its cinematic influences continue to hold strong, Rosemary’s Baby a classic for the ages.
 
  May 14, 2021
 
  Stephanie Archer
  Film Inquiry
  Still stands as template of the film industry’s far-reaching allure to achieve a European arthouse aesthetic successfully melded with mainstream pulp.
 
  November 18, 2020
 
  Nicholas Bell
  IONCINEMA.com…

 

Plot
Desiring to start their family, young Catholic homemaker Rosemary Woodhouse and her struggling-actor husband Guy move into The Bramford: New York City’s iconic building that brims with unpleasant stories of obscure dwellers and ghastly occurrences. The young couple is soon befriended by their eccentric next-door neighbors, Roman and Minnie and Castevet; shortly afterward, Rosemary gets pregnant. However, little by little
 
Trivia

 
Goofs / Tidbits
Ruth Gordon won the Best Supporting Actress Oscar for her role in Rosemary’s Baby.
 

 
Roman-Polanski.jpg

 
Production Company(ies)

 
Distributor
Warner Bros. Pictures
 
Release Type
Theatrical
 
Filming Location(s)
Coffee Cantata, Union Street, San Francisco, California, USA
 
MPAA / Certificate
M/PG
 
Year of Release
1968
 

 
Genre(s)
Crime/Drama
 
Keyword(s)
starring Steve McQueen, Robert Vaughn, Jacqueline Bisset, Don Gordon, Robert Duvall, directed by Peter Yates, written by Robert L Pike, Alan R Trustman, Harry Kleiner, crime, drama, box office performance, budget, reviewed by John Mahoney, Dave Kehr, Tom Milne, Clark Collis, Douglas Pratt, Roger Ebert, KC Star Staff, David Nusair, Alan Edmonds, Tom Hutchinson, Harvey G Cox, PG, Warner Bros Pictures, produced by Philip D’Antoni, car chase, San Francisco, police procedural, mob boss, witness protection, hitmen, detective, Frank Bullitt, Walter Chalmers, Pete Ross, Johnny Ross, Pat Renella, Vic Tayback, MP
 

Cast & Crew

Steve McQueen

Robert Vaughn

Jacqueline Bisset

Don Gordon

Robert Duvall

Detective Lieut. Frank Bullitt

Walter Chalmers

Cathy

Det. Sgt. Delgetti

Weissberg (Sunshine Cab driver)

Steve McQueen – Detective Lieut. Frank Bullitt
Robert Vaughn – Walter Chalmers
Jacqueline Bisset – Cathy
Don Gordon – Det. Sgt. Delgetti
Robert Duvall – Weissberg (Sunshine Cab driver)
Simon Oakland – Captain Sam Bennett

 

Peter Yates

Robert L. Pike

Philip D’Antoni

Director

Writer

Producer

Producer

Producer

Director(s)
Peter Yates
 
Writer(s)
Robert L. Pike, Alan R. Trustman, Harry Kleiner
 
Producer(s)
Philip D’Antoni

 

Film Festivals

 
Awards & Nominations
Won 1 Oscar
7 wins & 9 nominations total
 
Academy Awards

Top Reviews

John Mahoney

Dave Kehr

Tom Milne

Clark Collis

Douglas Pratt

Hollywood Reporter

Chicago Reader

Time Out

Empire Magazine

Chicago Sun-Times

BULLITT
  All Critics (44) | Top Critics (10) | Fresh (43) | Rotten (1)
  It is simply one of the most exciting and intelligent action films in years, probably the best good-cop film we can expect to encounter.
 
  October 17, 2018
 
  John Mahoney
  Hollywood Reporter
  TOP CRITIC
  There isn’t much here, and what there is is awfully easy.
 
  March 1, 2007
 
  Dave Kehr
  Chicago Reader
  TOP CRITIC
  The action sequences are brilliant, done without trickery in real locations (including a great car chase which spawned a thousand imitations) to lend an extraordinary sense of immediacy to the shenanigans and gunfights.
 
  February 9, 2006
 
  Tom Milne
  Time Out
  TOP CRITIC
  Stlick, stylish and ineffably cool, this was perhaps McQueen’s defining role. Also mention goes to the uncreditied star of the film; San Francisco.
 
  July 6, 2005 | Rating: 4/5
 
  Clark Collis
  Empire Magazine
  TOP CRITIC
  Even though the story almost makes no sense and the Oscar-winning editing has several illogical cuts, Bullitt is an exquisitely satisfying motion picture, particularly if there is still an adolescent boy lodged somewhere in your psyche.
 
  June 21, 2005
 
  Douglas Pratt
  Hollywood Reporter
  TOP CRITIC
  McQueen is great in Bullitt, and the movie is great, because director Peter Yates understands the McQueen image and works within it. He winds up with about the best action movie of recent years.
 
  October 23, 2004 | Rating: 4/4
 
  Roger Ebert
  Chicago Sun-Times
  TOP CRITIC
  Here is lean, mean perfection in the treatment of a screen standard, the detective melodrama. Steve McQueen is in top form as the convention-flouting cop involved in thwarting gangsters.
 
  March 2, 2022
 
  KC Star Staff
  Kansas City Star
  …seems to have established the template for a certain kind of cop movie (and television show).
 
  December 23, 2021 | Rating: 3/4
 
  David Nusair
  Reel Film Reviews
  Fast cars, a go-it-alone cop who doesn’t trust the system, Steve McQueen, jazz, and 1968 San Francisco – it just doesn’t get more quintessentially American than that.
 
  May 11, 2021 | Rating: 10/10
 
  Andy Howell
  Film Threat
  Good as it is, Bullitt inevitably leaves one wondering: Why doesn’t somebody make a movie about the real social significance of cops-and-robbers: police brutality?
 
  March 13, 2021
 
  Alan Edmonds
  Maclean’s Magazine
  It’s always McQueen’s movie. He’s snappy, laconic and cynical in equal doses, and his performance is complemented by the assured support of Robert Vaughn as a sleazy politician whose interference gets under the cool cop’s skin.
 
  March 13, 2021 | Rating: 4/5
 
  Tom Hutchinson
  Radio Times
  So forget the story. It’s confusing and ambiguous anyway, maybe even banal. But let the color, noise, action and hardware put their hex on you.
 
  January 6, 2021
 
  Harvey G. Cox
  Tempo (National Council of Churches)…

 

Plot
San Francisco Police Lieutenant Bullitt’s tasked by ambitious Walter Chalmers, to guard Johnny Ross, a Chicago mobster who’s about to turn evidence against the organisation. Chalmers wants Ross’ safety at all cost, or else Bullitt will pay the consequences.
 
Trivia

 
Goofs / Tidbits
Steve McQueen is described as “cool as ice” in his role as Detective Lieut. Frank Bullitt in the film.
 

 
Peter-Yates.jpg

 
Production Company(ies)
Audiovisual Development Bureau, Ministerio da Cultura BEI Comunicações Bahiatursa
 
Distributor
Gativideo, Buena Vista Pictures, Buena Vista Home Entertainment [br], Walt Disney Pictures
 
Release Type
Theatrical, Theatrical (Wide)
 
Filming Location(s)
Walt Disney Studios, 500 South Buena Vista Street, Burbank, California, USA
 
MPAA / Certificate
G
 
Year of Release
1965
 

 
Genre(s)
Musical
 
Keyword(s)
starring Julie Andrews, Dick Van Dyke, Karen Dotrice, Matthew Garber, Glynis Johns, David Tomlinson, Ed Wynn, Hermione Baddeley, directed by Robert Stevenson, written by Bill Walsh, Don DaGradi, genre: musical, box office performance: $102.3 million, budget: $6 million, reviewed by Al Cohn, James Powers, Jake Wilson, Martin Chilton, Noel Murray, Eric Henderson, Jason Shawhan, Ken Winters, Bob Halliday, Mike Massie, Wendy Michener, Rachel Wagner, MPAA rating: G, produced by Walt Disney
 

Cast & Crew

Julie Andrews

Dick Van Dyke

Glynis Johns

David Tomlinson

Ed Wynn

Mary Poppins

Bert

Mr. Dawes

Sr.

Mrs. Winifred Banks

Julie Andrews – Mary Poppins
Dick Van Dyke – Bert, Mr. Dawes, Sr.
Glynis Johns – Mrs. Winifred Banks
David Tomlinson – Mr. George W. Banks
Ed Wynn – Uncle Albert
Hermione Baddeley – Ellen

 

Robert Stevenson

NA

Walt Disney

Director

Writer

Producer

Producer

Producer

Director(s)
Robert Stevenson
 
Writer(s)
NA
 
Producer(s)
Walt Disney

 

Film Festivals

 
Awards & Nominations
Won 5 Oscars
22 wins & 17 nominations total
 
Academy Awards
Oscar Nominees
 

Top Reviews

Al Cohn

James Powers

Jake Wilson

Martin Chilton

Noel Murray

Newsday

Hollywood Reporter

The Age (Australia)

Daily Telegraph (UK)

The Dissolve

MARY POPPINS
  All Critics (55) | Top Critics (15) | Fresh (53) | Rotten (2)
  There is nothing wrong with good, clean fantasy, if there is some sort of explanation to make it more than just a succession of camera tricks.
 
  February 3, 2021
 
  Al Cohn
  Newsday
  TOP CRITIC
  Mary Poppins is a picture that is, more than most, a triumph of many individual contributions. And its special triumph is that it seems to be the work of a single, cohesive intelligence.
 
  December 17, 2018
 
  James Powers
  Hollywood Reporter
  TOP CRITIC
  As the magical nanny who turns life upside down for her charges in Edwardian England, Julie Andrews maintains a stiff upper lip that dries out some of the Disney schmaltz.
 
  November 9, 2018
 
  Jake Wilson
  The Age (Australia)
  TOP CRITIC
  Van Dyke’s energy is prodigious (especially when he leaps around with a gang of sooty chimney-sweeps on the London rooftops) and the songs are classics.
 
  January 1, 2015 | Rating: 4/5
 
  Martin Chilton
  Daily Telegraph (UK)
  TOP CRITIC
  Whether the movie’s message is Travers-approved or not, the emphasis on joy and empathy proves heartening, even today.
 
  December 9, 2013 | Rating: 4.5/5
 
  Noel Murray
  The Dissolve
  TOP CRITIC
  With all the subtlety of Battleship Potemkin, a queue full of sour-faced old school nannies is shown blowing away into thin air to make way for the embodiment of modern female assertiveness.
 
  January 27, 2009 | Rating: 3/4
 
  Eric Henderson
  Slant Magazine
  TOP CRITIC
  Mary Poppins is of a piece with the classic art-film archetype in which a mysterious stranger helps each member of a family through unlocking their emotional blockage, for better or worse…
 
  September 10, 2021
 
  Jason Shawhan
  Nashville Scene
  Mary Poppins is a product instead of the wholly enchanting children’s art it so easily could have been.
 
  August 18, 2021
 
  Ken Winters
  Winnipeg Free Press
  Mary Poppins is a rocket ride to euphoria and fun all the way.
 
  May 12, 2021
 
  Bob Halliday
  Salt Lake Tribune
  Combines supremely catchy songs, the forward and sarcastic dialogue of the unsurpassable Julie Andrews, and a psychedelic plot.
 
  August 27, 2020 | Rating: 8/10
 
  Mike Massie
  Gone With The Twins
  The animation sequences suffer from Disney’s animals-are-just-like people coyness, and the plot is too goody-good for words. But even the worst parts are saved by an air of innocent enjoyment.
 
  July 16, 2019
 
  Wendy Michener
  Maclean’s Magazine
  I think it’s arguable one of the best family films ever made.
 
  May 9, 2019 | Rating: A+
 
  Rachel Wagner
  Rachel’s Reviews (YouTube)…

 

Plot
When Jane and Michael Banks are faced with the prospect of a new nanny, they are pleasantly surprised by the arrival of the magical Mary Poppins. Embarking on a series of fantastical adventures with he and her Cockney performer friend, Bert, they try to pass on some of her sunny attitude to their preoccupied parents.
 
Trivia

 
Goofs / Tidbits
Dick Van Dyke’s performance as Bert and Mr. Dawes Sr. earned him a nomination for the Academy Award for Best Supporting Actor.
 

 
Robert-Stevenson.jpg