Stanley Kubrick considered "The Killing" (1956) to be his first mature feature, after a couple of short warm-ups. He was 28 when it was released, having already been an obsessed chess player, a photographer for Look magazine and a director of "March of Time" newsreels. It's tempting to search here for themes and a style he would return to in his later masterpieces, but few directors seemed so determined to make every one of his films an individual, free-standing work. Seeing it without his credit, would you guess it was by Kubrick? Would you connect "Dr. Strangelove" with "Barry Lyndon?"
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Alamo Race Track
Black Cat John Brown
Stanley vs Hannah
Breaker-Breaker 1-2
Re-Release Date: 7/24/2007
Tryavna (5 out of 5 stars) Alamo Race Track is one of those bands that, once discovered, I never know whether to introduce to all my friends or to keep to myself and savor privately. That s probably because the two defining characteristics of ART are their quirkiness and eclecticism. After all, how many of my friends are going to realize that The Killing is a meditation on the characters played by Elisha Cook Jr. and Marie Windsor in Stanley Kubrick s film of the same name? Or how many are going to get the joke inherent in the title of the song Lee J. Cobb Is Screaming a Lot ? And then there s ART s sound, which has been compared variously to Modest Mouse, Arcade Fire, Radiohead, The Strokes, and Peter Bjorn & John. Frankly, I don t think that ART sounds very much like any of those other bands except in passing moments. In fact, on the whole, ART doesn t really
12 Movies to Watch If You Like Mission: Impossible
Your mission, should you choose to accept it, is to watch these movies.
Welcome to
Beat the Algorithm a recurring column dedicated to providing you with relevant and diverse streaming recommendations based on your favorite movies. Today, we’re recommending films to watch if you’re a fan of Brian De Palma’s 1996 espionage thriller Mission: Impossible.
Without
Brian De Palma, there would be no
Mission: Impossible. No repelling off the Burj Khalifa, no slow-motion doves, no mask disguises, no HALO jump. De Palma’s established fluency with genre cinema, commanding visual style, and obsessive cinematography made for a uniquely energetic cloak and dagger caper. 1996’s