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The Hell of Your Home

When you go home do you look around and wonder, ‘Who are these people, where did I even come from?’” Claudia Larson, as played by Holly Hunter, wonders. “I mean, you look at them all sitting there, you know… they look familiar, but who the hell are they?”

Photo courtesy of NBC Television Network

The Wizard of Oz

"When all the clouds darken up the skyway, there's a rainbow highway to be found." And when Thanksgiving is done, and even the leftovers are picked clean, there's still a way to entertain your family. Over 80 years later, MGM's adaption of L. Frank Baum's turn of the century fairy tale of the American Midwest dazzles.

Photo Courtesy of Variance Films

Decision To Leave

Director Bong Joon-ho may have taken home the Oscar for his 2020 Best Picture winner "Parasite," but Park Chan-wook can still be credited for first bringing the twisty delights of South Korean psychological thrillers to a broad American audience.

Photo courtesy of Neon

Triangle of Sadness

In his 2014 dark satire “Force Majeure” the gleefully cynical observer of modernity Ruben Östlund showed us you never know who you are — or who you’re married to — until disaster strikes. A little snow was all the Swedish director needed to unravel the relationship of two business-class yuppies on holiday with their children in the French Alps.

Photo courtesy of Focus Features


"Tár" is the cinematic watchword of the coming awards season, even if you don’t know how to say it. Tar? Ter? Tah? What is that acute accent over the A, and what accent will Australian chameleon Cate Blanchett deliver to us on the screen?

Night of the Living Dead

Terror at every turn! It’s not the 1960s as you remember them — or maybe it is. The year is 1968 and a 28-year-old director, with a budget of just a little over $100 thousand, releases a movie about race, war, and police violence, about the world literally eating itself alive. Of course, horror is just fiction, right?

Photo courtesy of Film At Lincoln Center

Bones And All

After the success of his Best Picture-nominated “Call Me By Your Name,” Italian director Luca Guadagnino, a kind of Visconti heir apparent known for his sun-dappled films of simmering emotion and European beauty, turned to horror.


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