1990s
Reservoir Dogs, though seemingly a time capsule due to having premiered 25 years ago, is actually quite potent in today’s post-truth world.
Blending grounded animation with fantasy, Only Yesterday is a stunning work from Studio Ghibli, expressing down-to-earth life in the country.
1995’s Ghost in the Shell creates a prescient vision of a connected world that functions as both as character study & social commentary.
Revisiting Edward Yang’s A BRIGHTER SUMMER DAY, a complex and emotional film that explores the past and the present in its 4 hour runtime.
Office Space is a film that pokes at the small moments that we all deal with on a daily basis, making them funny in a relatable way.
The Grifters is a films which has largely been lost through time; here, we explore why it might be worth revisiting.
Imagine you are given a TV remote that has the power to transport you into another dimension and back in time. Imagine you accidentally allow the remote to do it. Well, that’s exactly what happens in the 1998 film Pleasantville.
In Andrew Davis’ brilliant 1993 thriller The Fugitive, the filmmakers use a variety of techniques to lead the viewer through the story. They drop hints with color and lighting that viewers are not necessarily trained to consciously notice while they’re watching, and employ a gripping editing style that effectively supports the cat-and-mouse game that embroils the film’s two main characters. Every movie has content, which is what is seen and heard on screen, and what is referred to as form, which is the way in which the film’s creators manipulate that content to their own ends and present it to the viewer.
Independence Day came out when I was 14. I was a huge X-Files fan (I did a school project on Area 51) and so thought it was pretty much the greatest film ever. It was also at this time that I began to fall in love with movies, and Independence Day was part of that trend of 90’s summer blockbusters that opened my eyes to what contemporary cinema meant to a lot of people.
Back in 1993, Steven Soderbergh just came off the disappointment that was his ambitious yet unloved second feature, Kafka. He turned his attention to a property best described as a sure-thing, a money grab, if you will; writer A. E.
Hey, it’s Space Jam Week! Among totems of ’90s nostalgia, few remain as prominent and present in 2016 as Space Jam. The film was Warner Brother’s attempt to turn Michael Jordan’s cultural capital cinematic, as well as the first use of their iconic stable of cartoon characters in a feature since the compilation films of the ’80s.