7 Star Films

Robert De Niro is in his element here as Sam—cool, competent, and calculating. De Niro plays him with quiet authority, bringing subtlety rather than flash to a character who’s always thinking three steps ahead. It's one of his most understated and convincing performances of the late ’90s, free of ego and all the more effective for it.

The Godfather Part III, released in 1990, is one of cinema’s most debated conclusions to a beloved saga. Serving as the epilogue to Francis Ford Coppola’s monumental crime saga, this third entry attempts to tie a definitive bow on the saga of Michael Corleone—a man who sought legitimacy but never escaped the sins of his past.

Nicholas Hytner’s The Madness of King George (1994) is a captivating historical drama laced with biting wit, political intrigue, and profound humanity. Adapted by Alan Bennett from his own acclaimed stage play The Madness of George III, the film dramatizes the mental decline of King George III with equal measures of humor and pathos, delivering a sharply observed portrait of monarchy, madness, and the fragile structures of power.

David Cronenberg’s Crash (1996) is one of the most controversial films of the 1990s—a provocative, transgressive, and often disturbing exploration of the intersection between technology, sexuality, and death. Based on J.G. Ballard’s 1973 novel of the same name, Crash is not a film that seeks to comfort or moralize. Instead, it confronts viewers with taboo-breaking ideas and cold, clinical detachment, asking them to look at human desire through a lens that is both erotic and m

Roman Polanski’s Death and the Maiden is a chilling, psychologically taut drama that unfolds almost entirely in one isolated location, yet grips like a vice. Adapted from Ariel Dorfman’s acclaimed 1991 stage play, the 1994 film plunges into the dark terrain of trauma, justice, and moral ambiguity in a post-dictatorship society. With only three characters and minimal action, it builds unbearable tension through dialogue, silence, and psychological warfare.

Kenneth Branagh's Dead Again is a stylish, twist-laden neo-noir thriller that doubles as a Gothic romance, drawing on classic Hollywood influences while showcasing Branagh’s flair for ambitious storytelling. Combining reincarnation, murder, mistaken identity, and fate, the film straddles genres and eras, delivering a visually arresting and emotionally satisfying mystery that feels both old-fashioned and fresh.

In the Line of Fire, directed by Wolfgang Petersen, is a gripping political thriller that combines taut suspense, character depth, and old-school star power. Released in 1993, the film is a showcase for Clint Eastwood, who delivers one of his most compelling performances of the decade, portraying a flawed yet determined Secret Service agent haunted by past failure.

Martin Scorsese’s 1991 remake of Cape Fear is a brooding, nightmarish psychological thriller that transforms the classic 1962 film into something more visceral, provocative, and morally complex. With powerhouse performances—especially from a terrifying Robert De Niro—and stylish, Hitchcockian direction, Scorsese reinvents the material as a gothic tale of vengeance, guilt, and family disintegration. It’s a film that simmers with menace, pushing the boundaries of suspense and m

When Mission: Impossible exploded into cinemas in 1996, it marked the reinvention of a classic television series into a slick, high-octane espionage thriller for a new generation. Directed by the ever-stylish Brian De Palma and starring Tom Cruise in a career-defining role, the film delivered cerebral intrigue, double-crosses, and one of the most iconic action sequences in modern cinema history.

Ivan Reitman’s 1988 comedy Twins is a quintessential odd-couple film that draws its humor and heart from the wildly mismatched pairing of Arnold Schwarzenegger and Danny DeVito. As a high-concept comedy with an unlikely emotional core, Twins is both a product of its time and a charming example of late-80s Hollywood’s experimental side, when studios were more willing to gamble on quirky premises — especially when bankable stars were attached.

The End is an odd, bold, and frequently funny film that tackles taboo topics with irreverence and surprising heart. Though uneven and occasionally too zany for its own good, it earns points for its originality and for showcasing a more vulnerable, daring side of Burt Reynolds. For fans of dark comedy and '70s cinema that refuses to play it safe, The End is a flawed but fascinating gem.

Directed by Michael Curtiz and loosely based on the life of jazz cornetist Bix Beiderbecke, Young Man with a Horn is a stylish and somber musical drama that explores the passion, pain, and personal demons of a gifted jazz musician. With a stellar cast led by Kirk Douglas, Lauren Bacall, and Doris Day, the film blends vibrant musical sequences with intense character study, set against the smoky, seductive world of 1940s jazz.

Released by MGM in 1936 and directed by Robert Z. Leonard, The Great Ziegfeld is a sprawling, opulent biographical musical-drama chronicling the life and legacy of Broadway impresario Florenz Ziegfeld Jr. Starring William Powell in the titular role, alongside Myrna Loy as Billie Burke and Luise Rainer in an Oscar-winning performance as Anna Held, the film is a landmark in Golden Age Hollywood—both for its lavish production and for its place in cinematic history.

Metro-Goldwyn-Mayer’s 1936 screwball comedy Libeled Lady is a shining example of the studio system at its most polished and effective, blending the star power of four Hollywood heavyweights with a witty, fast-paced script. Directed by reliable studio hand Jack Conway and boasting an impeccable cast led by Jean Harlow, William Powell, Myrna Loy, and Spencer Tracy, the film sparkles with charm, sophistication, and comedic precision.

Few on-screen pairings in classic Hollywood can rival the enduring charm and comedic synergy of William Powell and Myrna Loy. In I Love You Again (1940), their 9th collaboration, the duo once again delivers a delightful screwball comedy that deftly blends romance, mistaken identity, and con artistry into a briskly entertaining package.

Gentlemen Prefer Blondes (1953) is more than just a splashy Technicolor musical—it’s a dazzling, tongue-in-cheek celebration of femininity, friendship, performance, and materialism. Adapted from the 1949 stage musical (itself based on Anita Loos’s 1925 novel), the film pairs two of Hollywood’s most iconic leading ladies—Marilyn Monroe and Jane Russell—in a transatlantic romp that balances cheeky satire with genuine warmth.

Double Wedding (1937) stands as a classic example of 1930s screwball comedy, bringing together the legendary screen duo William Powell and Myrna Loy in one of their most spirited and eccentric pairings.

Topper Returns (1941) is the third and final entry in the delightfully offbeat Topper series, which began in 1937 with Topper, followed by Topper Takes a Trip (1938).

That Touch of Mink (1962) is a classic romantic comedy that captures the glossy charm and societal mores of early 1960s America. Starring the ever-suave Cary Grant and the queen of the rom-com, Doris Day, this film was a major box-office success in its time and remains a notable example of the final golden years of Hollywood’s studio-produced, screwball-influenced comedies.

Ulysses (1954), a lavish Italian-American co-production directed by Mario Camerini, represents one of the most ambitious attempts of the postwar era to bring Homer’s Odyssey to the silver screen. Starring Kirk Douglas in the titular role, this film blends classical myth, mid-century cinematic spectacle, and psychological depth to retell one of literature’s most enduring epics.