Similar to his other noir films, Siodmak anchors his tale of deception and murder in a very genuine relationship between two likable people.

Smooth Talk is one of Laura Dern’s best, and most underrated, roles.

Jazz on a Summer’s Day, Bert Stern’s eternal document of the 1958 Newport Jazz Festival, captures a moment of thrilling uncertainty.

That Nationtime, William Greaves’ document of the 1972 National Black Political Convention in Gary, Indiana, seems far more visceral and poignant than it does arcane is unsurprising, but still unsettling.

Elia Kazan’s film—from Tennessee Williams’ original script—stirred up a large amount of controversy in its original release shortly before Christmas in 1956.

The Underneath suffers from a forgettable title, and a poor performance by Adam Trese as the brother, but it makes few other missteps.

Criterion’s new Blu-ray edition conveys Mouchette’s stark, black-and-white world in crisp detail and well-defined contrast.

Film fans sometimes refer to Stanley Donen’s comedic thriller Charade as the best Hitchcock movie that Hitchcock never made. Vying for the title is David Miller’s 1952 film Sudden Fear, which expertly blends elements of film noir, suspense and melodrama into something that would give old Hitch a run for his money.

Despite the inventive look and the generally rousing themes of class struggle and the ideas of capitalism vs. socialism vs. individualism, the end result remains something that feels somewhat flat.