Film Reviews

National Lampoon’s Animal House (1978) isn’t just a movie—it’s a cultural milestone. Directed by John Landis and co-written by comedy legends Harold Ramis and Douglas Kenney, the film marked the big-screen debut of the National Lampoon brand and redefined college comedy for a generation.

There Was a Crooked Man… (1970) is a unique and subversive entry in the Western genre, directed by the veteran filmmaker Joseph L. Mankiewicz in his final directorial effort. Written by Bonnie and Clyde scribes David Newman and Robert Benton, the film straddles the line between traditional Western iconography and the dark, ironic revisionism that defined the genre during the late 1960s and early '70s.

Suddenly, Last Summer (1959) is a riveting, disturbing, and richly layered film adaptation of Tennessee Williams’s one-act play, expanded into a full-length feature with the help of screenwriter Gore Vidal and under the elegant, often provocative direction of Joseph L. Mankiewicz. The film dives deep into themes of repression, mental illness, class, and sexual secrecy with an intensity that was bold for its time and still feels unsettling today.

Joseph L. Mankiewicz’s The Barefoot Contessa (1954) is a lush, moody, and ultimately tragic examination of fame, class, and illusion. A film both enchanted by and critical of the Hollywood dream factory, it tells the rise-and-fall story of a fictional movie star—Maria Vargas—through a prism of male narration and personal regret. It is equal parts melodrama and satire, as much about the people who surround a star as about the star herself.

A Letter to Three Wives (1949) is a gem of mid-century American cinema, blending drama, satire, and subtle psychological insight with elegant storytelling and razor-sharp dialogue.

Manhattan Melodrama (1934) is a landmark film that straddles genres—part gangster movie, part courtroom drama, and part romantic triangle—yet rises above the sum of its parts due to sharp direction, strong performances, and a story that explores friendship, fate, and the nature of justice.

For a Few Dollars More (Per qualche dollaro in più), released in 1965, is the second entry in Sergio Leone’s legendary Dollars Trilogy, a follow-up to A Fistful of Dollars (1964) and a prelude to The Good, the Bad and the Ugly (1966).

A Fistful of Dollars (Per un pugno di dollari, 1964) is more than just a Western—it is a seismic event in film history.

Directed by Stanley Donen and starring Audrey Hepburn and Albert Finney, Two for the Road (1967) is a sophisticated, emotionally resonant, and structurally daring exploration of love, marriage, and memory.

Funny Face (1957) is a visually sumptuous and musically charming romantic comedy-musical directed by Stanley Donen, starring Audrey Hepburn, Fred Astaire, and Kay Thompson. Loosely based on the 1927 stage musical of the same name.

Seven Brides for Seven Brothers is a 1954 Technicolor musical directed by Stanley Donen and choreographed by the legendary Michael Kidd.

Love Affair is one of classic Hollywood’s most cherished romantic films. Directed by Leo McCarey, the film weaves charm, wit, and heartache into a graceful narrative that explores love not only as a passionate connection but as a test of character, sacrifice, and emotional resilience.

Life with Father is one of the most beloved family comedies of classic Hollywood—a Technicolor jewel that blends wit, warmth, and an idealized vision of late 19th-century domestic life.

Theodora Goes Wild is a seminal screwball comedy from the golden age of Hollywood that helped redefine Irene Dunne’s screen image. Known until then primarily for musical and dramatic roles, Dunne stunned audiences with her sparkling comedic talent, earning her an Academy Award nomination for Best Actress.

Cluny Brown is one of those rare comedies that’s both effervescent and quietly radical. Directed by Ernst Lubitsch, in what would tragically be his last completed film, it is a parting gift of lightness laced with sharp social critique.

Few films have dared to laugh in the face of tyranny with the audacity, intelligence, and finesse of Ernst Lubitsch’s To Be or Not to Be. Released in March 1942, during the darkest early days of World War II, the film stands as a singular achievement in cinematic satire—a work that blends comedy with political critique in a manner that feels both subversive and human.

The Shop Around the Corner is not just one of the most delightful romantic comedies ever made—it’s also a quiet masterclass in tone, character, and storytelling. Directed by the inimitable Ernst Lubitsch, it exemplifies his famed “Lubitsch Touch”: the light-handed, witty, emotionally intelligent style that could blend comedy and heartbreak with unparalleled grace.

Released at the tail end of the 1930s, Ninotchka marks a pivotal moment in both film history and star image. It is most often remembered as “Garbo laughs”—a reference to the publicity campaign heralding Greta Garbo’s transformation from enigmatic diva to sparkling comedienne. But beyond this famous tagline lies a film of exceptional intelligence and charm, one that critiques authoritarianism and capitalism alike while weaving a tender, deeply human love story.

Ernst Lubitsch’s Trouble in Paradise is a masterwork of wit, elegance, and charm—arguably one of the most perfectly executed romantic comedies in cinema history. Released in 1932, before the enforcement of the Hays Code, the film is imbued with a gleeful irreverence and a frankness about sex, class, and morality that would soon vanish from American screens for decades.

When Star Trek: The Motion Picture premiered in December 1979, it arrived with the immense burden of expectation. Riding the wave of sci-fi popularity in the wake of Star Wars (1977), and propelled by the enduring cult success of the original Star Trek television series (1966–69), Paramount envisioned a grand cinematic rebirth for Gene Roddenberry’s universe.