by Jen Chaney
Dave LaMattina and Chad N. Walker’s beautiful documentary profiles the man who has inhabited the suit and soul of Sesame Street’s most recognizable resident for 45 years.
Two years after Jaws sparked an eco-horror trend, Colin Eggleston’s distinctive Ozploitation thriller stranded a bickering couple in the forest and had all the local animals go on the attack.
In 1966 Spain, a high-school teacher (Talk To Her’s Javier Cámara) drives to Almería to meet John Lennon, but winds up on a redemptive cross-country adventure of the Little Miss Sunshine variety.
The latest from Rubber and Wrong director Quentin Dupieux goes further and further down the rabbit hole.
Loosely adapted from Albert Camus’ short story “The Guest,” David Oelhoffen’s refreshingly sincere Western follows a schoolteacher (Viggo Mortensen) in 1950s Algeria who must escort a confessed killer to trial.
A benchmark for black filmmaking in the 1970s, Michael Schultz’s film could be called an inner-city answer to American Graffiti if its memories of growing up in Chicago’s Near North Side weren’t so specific.
Adapted from Charles Willeford’s crime novel, George Armitage’s colorful 1990 Florida noir is by turns fizzy and menacing, and a brilliant showcase for Alec Baldwin, Jennifer Jason Leigh, and Fred Ward.
David Lynch’s Palme D’Or-winning 1990 feature is a woolly road-trip adventure that’s simultaneously nuts and more controlled than most road movies.
Director Jean Renoir worked in black-and-white his entire career—and then traveled to India for a sumptuous production that Martin Scorsese ranks as one of the most beautiful films ever made in color.
The 1983 musical Eddie And The Cruisers fell way, way short of its ambitions as a rock-’n’-roll Citizen Kane, but when the soundtrack took off a year after the film flopped, Eddie got an equally clunky but entertaining sequel.
A few years after collaborating with Steven Spielberg on Poltergeist, Tobe Hooper remade William Cameron Menzies’ 1953 science-fiction/horror classic as a dark, subversive counter-narrative to Spielberg’s suburbia.
Two years before making The Third Man, director Carol Reed ventured into noir-like territory with this thriller starring a great James Mason as a wounded Irish nationalist seeking shelter in Northern Ireland after a botched robbery.
Cameron Crowe’s directorial follow-up to Say Anything… never fully shapes its portrait of Seattle couples struggling with relationships and adulthood, but it remains a fascinating snapshot of a cultural moment.
After collaborating on the Pink Panther classic A Shot In The Dark, director Blake Edwards and a pre-Exorcist William Peter Blatty made this excellent WWII farce about Americans and Italians faking a battle.
The rise of the beatniks led to some unfortunate reactionary cinema, like this 1959 MGM production about the hunt for a serial rapist inside the beatnik community.
Though The Player is widely considered Robert Altman’s comeback after a difficult run in the 1980s, this unconventional Van Gogh biopic had much of the evocative vision and scope of his 1970s heyday.
Now available on two Criterion Blu-rays—his first two films in one, the third in the other—Errol Morris’ verité portraits of eccentrics in Gates Of Heaven and Vernon, Florida look different than the stylized true crime of The Thin Blue Line, but they have a lot in common.