Drama

The Haunting (1963), directed by Robert Wise and adapted from Shirley Jackson’s seminal 1959 novel The Haunting of Hill House, is one of the most acclaimed and enduring psychological horror films ever made. It is a masterclass in atmosphere, suggestion, and psychological tension, relying not on gore or special effects, but on mood, sound design, and character psychology to terrify.

The Invisible Man (1933), directed by James Whale, is a foundational work of both science fiction and horror cinema. Adapted from H.G. Wells’s 1897 novel, the film was part of Universal Pictures’ ground breaking cycle of horror films in the early 1930s, alongside classics like Dracula (1931), Frankenstein (1931), and The Mummy (1932).

Strait-Jacket (1964) is a campy, lurid, and gloriously melodramatic slice of psychological horror that exemplifies the "psycho-biddy" subgenre—a niche corner of horror and thriller cinema that places aging actresses, often former screen sirens, in grotesque or mentally unstable roles.

The Innocents (1961) is widely regarded as one of the finest psychological horror films ever made. Adapted from Henry James’s ambiguous and haunting novella The Turn of the Screw, the film transforms a tale of ghostly suspense into a profoundly unsettling exploration of repression, innocence, madness, and the blurred boundaries between the supernatural and the psychological.

Following the enormous success of Halloween (1978), director John Carpenter and producer/co-writer Debra Hill returned with a more atmospheric and stylistic horror tale: The Fog. This 1980 film, drenched in gothic imagery and old-fashioned ghost story sensibilities, marked a shift from slasher horror to supernatural suspense. Though modestly received upon its release, The Fog has since garnered cult status and is now appreciated for its mood, music, and craftsmanship.

“Hello, Dolly!” (1969) is a lavish, sprawling adaptation of the 1964 Broadway musical of the same name, which was itself based on Thornton Wilder’s play The Matchmaker. Directed by musical legend Gene Kelly and starring the inimitable Barbra Streisand in only her second film role, the movie exemplifies the final flourish of Hollywood’s golden era of big-budget musicals.

The Fall of the Roman Empire is one of the grandest historical epics ever put to film—an ambitious, lavish, and intellectually inclined spectacle from director Anthony Mann. With sprawling sets, an ensemble of major stars, and a philosophical underpinning, the film sought to combine the grandeur of Ben-Hur with the gravitas of a Shakespearean tragedy.

Murder by Death is a genre-savvy spoof that brings together caricatures of the world’s most famous fictional detectives — thinly veiled versions of Hercule Poirot, Miss Marple, Sam Spade, and Charlie Chan, among others — and places them in a haunted mansion for a mysterious dinner party. The film was penned by the legendary playwright and screenwriter Neil Simon, known for his sharp wit and theatrical flair.

After a decade away from the role, The Return of the Pink Panther marked the triumphant comeback of Peter Sellers as the bumbling, absurdly self-confident Inspector Jacques Clouseau. It was also a revival for the franchise itself, which had faltered slightly after the 1964 hit A Shot in the Dark and the Sellers-less 1968 film Inspector Clouseau.

Tommy is a surreal, audacious rock musical directed by the flamboyant British auteur Ken Russell, based on The Who’s 1969 concept album of the same name. The film is a psychedelic fever dream, built entirely around music and image rather than traditional dialogue or narrative structure. With its star-studded cast and genre-defying ambition, Tommy is both a product of its time and a lasting artifact of cinematic and musical experimentation.

Monty Python and the Holy Grail is a comedic tour de force that turns the medieval legend of King Arthur into a gleefully absurd farce. Directed by two of the Monty Python troupe’s key members — Terry Gilliam and Terry Jones — and performed by the entire group in multiple roles, the film is a subversive, self-aware parody of chivalric myths, storytelling conventions, and historical epics.

The Jungle Book (1967) is a vibrant, musically rich animated feature that holds a special place in the pantheon of Disney classics. It was the final animated film personally overseen by Walt Disney before his death in 1966, and his handprints are visible all over its tone, characters, and structure.

Death Wish is a gritty and provocative film that became one of the most controversial movies of the 1970s. Directed by Michael Winner and starring Charles Bronson in his career-defining role, the film explores the psychological and moral transformation of a peaceful man into a lethal vigilante in response to personal tragedy and the unchecked crime in his city.

Set entirely within and around the labyrinthine subway system of 1970s New York City, The Taking of Pelham One Two Three is a high-concept heist thriller that delivers both pulse-pounding suspense and a wry, streetwise sense of humour.

Earthquake (1974) was released at the peak of the 1970s disaster movie craze, a trend kicked off by Airport (1970) and further fuelled by The Poseidon Adventure (1972) and The Towering Inferno (also 1974). But Earthquake distinguished itself not only through its large-scale urban devastation but also through the innovative use of "Sensurround", a then-revolutionary theatre sound system designed to simulate the rumble of an actual quake.

Magnum Force is the second instalment in the Dirty Harry film series and represents a significant tonal and thematic pivot from its controversial predecessor. While Dirty Harry (1971) presented a no-nonsense cop who bends the rules to catch criminals, Magnum Force questions the cost of crossing the line — by pitting Harry Callahan against a group of vigilante cops who go even further than he does.

Serpico is the gripping true story of Frank Serpico, a New York City police officer who exposed widespread corruption within the NYPD in the late 1960s and early 1970s. Directed by Sidney Lumet, a master of urban realism and moral inquiry, and anchored by a career-defining performance from Al Pacino, Serpico is more than a police procedural—it is a character study of a man who refuses to compromise in a system that punishes integrity.

Terrence Malick’s Badlands is one of the most assured and influential debuts in American film history. A quiet, poetic, and unsettling crime drama, the film loosely adapts the 1958 killing spree of Charles Starkweather and Caril Ann Fugate, a real-life pair of teenage lovers who went on a rampage across the American Midwest.

Sleuth is a brilliantly constructed two-hander that plays out like a psychological chess match between two men of vastly different classes, personalities, and motives. Directed by veteran filmmaker Joseph L. Mankiewicz in his final directorial effort, the film is an adaptation of Anthony Shaffer’s Tony Award-winning stage play and retains much of its theatrical heritage—while employing cinematic tools to deepen its suspense.

Woody Allen’s Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)* is a sketch comedy anthology, loosely inspired by the bestselling 1969 sex manual by Dr. David Reuben. Rather than a straightforward adaptation or educational satire, Allen uses the book’s provocative questions as jumping-off points for seven wildly different comedy vignettes, each lampooning a particular sexual taboo, myth, or neurosis.