Drama

The Thin Man is one of the most influential genre hybrids in cinematic history — a brilliant fusion of screwball comedy, hard-boiled detective fiction, and sophisticated romance.

Born Yesterday (1950) is a witty, sharply written comedy with a political edge, elevated to classic status by Judy Holliday’s Oscar-winning performance. Adapted from the successful Broadway play by Garson Kanin, the film mixes satire, romance, and social commentary, examining the corrupting influence of money and the transformative power of education and self-respect.

Indiana Jones and the Last Crusade is the third instalment in the iconic Indiana Jones franchise. After the darker and more polarizing Temple of Doom (1984), Spielberg and George Lucas return to the tone of the original Raiders of the Lost Ark (1981) — a mix of action, humour, and mythological adventure.

Richard Lester’s 1973 adaptation of The Three Musketeers is one of the most energetic, irreverent, and stylish takes on Alexandre Dumas’s classic novel ever put to screen. Blending period-authentic detail with slapstick humour and modern wit, this version offers a refreshing departure from the more stately or romanticized adaptations that preceded it.

This 1934 adaptation of Anne of Green Gables holds a special place in film history, not just as the first talkie adaptation of L.M. Montgomery’s beloved novel, but also because it introduced audiences to a young actress, Dawn O'Day, who so closely identified with the character of Anne Shirley that she adopted the name for the rest of her career.

Hans Christian Andersen is not a biopic in the traditional sense. In fact, the film opens with a disclaimer: “This is not the story of his life, but a fairytale about this great spinner of fairy tales.” And that sentiment perfectly captures the essence of this vibrant, whimsical musical.

Brannigan is a fascinating cultural artifact—an attempt to repackage the quintessential American cowboy hero, John Wayne, into the mould of a modern urban cop thriller set in 1970s London. Directed by Douglas Hickox and produced in the wake of Dirty Harry and The French Connection, the film represents both a genre experiment and a late-career pivot for its iconic star.

The Lost Boys is a stylish, energetic blend of horror and teen comedy that helped redefine the vampire genre for a new generation. Released in 1987 and directed by Joel Schumacher, the film merges punk aesthetics, MTV-era sensibilities, and mythic horror into a uniquely vibrant cinematic cocktail. It took the classic vampire lore and injected it with ‘80s cool, complete with leather jackets, saxophones, motorcycles, and sun-drenched California boardwalks.

The Titfield Thunderbolt is a whimsical and affectionate British comedy produced by Ealing Studios, best known for their run of clever, character-driven post war satires. Released in 1953 and inspired by the real-life story of villagers in Cambridgeshire who fought to save their branch line (the first to be operated by volunteers), the film celebrates community spirit, individual initiative, and the enduring romance of the railway age.

Passport to Pimlico is one of the standout entries in the golden era of Ealing Studios comedies, a post war British film institution known for its dry wit, ensemble casts, and uniquely British sense of humour. Released in 1949, this film delivers a delightful mix of absurdism, satire, and social commentary, rooted firmly in the trials and tribulations of post war British society.

Dunkirk (1958) is a sombre, character-driven war film depicting the British Army’s retreat and evacuation from Dunkirk, France, in 1940. Released nearly two decades after the actual events, it is one of the first major cinematic attempts to portray Operation Dynamo—the massive, hastily-organized evacuation effort that saved over 330,000 Allied troops and became a defining moment of British WWII history.

633 Squadron is a 1964 British war film that dramatizes the perilous missions of an elite RAF fighter-bomber squadron during World War II. Loosely based on real RAF operations, the film follows a fictional campaign involving daring low-level attacks against Nazi fortifications in Norway, particularly a heavily guarded munitions plant vital to Germany’s war effort.

Beetlejuice is a madcap gothic comedy that marked a defining moment in the early career of director Tim Burton. Surreal, anarchic, and bursting with visual invention, it’s both a darkly comedic tale of the afterlife and a clever satire of suburban life and modernity.

9 to 5 is a landmark feminist workplace comedy that remains surprisingly relevant more than four decades after its release. Directed by Colin Higgins and starring Jane Fonda, Lily Tomlin, and Dolly Parton (in her first film role), the movie is a sharp, funny, and ultimately empowering satire of corporate America, gender inequality, and female solidarity.

Indiana Jones and the Temple of Doom (1984) is the second instalment in the legendary Indiana Jones series, though chronologically a prequel to Raiders of the Lost Ark (1981).

Escape from New York (1981) is a gritty, atmospheric, and wholly original dystopian action film that helped define the punk-tinged aesthetic of early 1980s science fiction. Directed by genre master John Carpenter and led by an iconic performance from Kurt Russell, the film blends B-movie sensibilities with post-Vietnam/post-Watergate cynicism, imagining a future where the U.S. has responded to its societal collapse not with reform, but with barbed wire and fascism.

In a world ravaged by economic collapse and warfare, Max Rockatansky (Mel Gibson), a former police officer, roams the deserts of Australia in his supercharged V8 Interceptor. Traumatized by the death of his family (as depicted in the first film), Max has become a solitary scavenger—“a burnt-out shell of a man,” as the opening narration describes him.

Wait Until Dark (1967) is a tense, tightly constructed psychological thriller that transforms a small Greenwich Village apartment into a claustrophobic battleground between vulnerability and menace. Adapted from Frederick Knott’s stage play and directed by Terence Young (best known for early James Bond films), the film is a masterclass in suspense that weaponizes darkness, silence, and perception in ways that were ground-breaking at the time—and remain effective today.

Cape Fear (1962) stands as a haunting, stripped-down exercise in psychological terror and one of the finest examples of noir-tinged suspense in American cinema. Directed by J. Lee Thompson and based on John D. MacDonald's novel The Executioners, the film is a morally complex, unrelenting tale of fear and justice, elevated by two commanding performances—Gregory Peck as a principled lawyer and Robert Mitchum as one of the most menacing villains in screen history.

House on Haunted Hill (1959) is a quintessential mid-century B-movie horror film that remains a beloved cult classic. Directed by the showman William Castle, a filmmaker known more for his marketing gimmicks than for cinematic artistry, the film transcends its low-budget roots thanks to an iconic performance by Vincent Price, a memorably creepy setting, and a clever blend of horror and whodunit tropes.