The Apartment (1960)

June 15th, 1960 | by Padraic Coffey

On the surface, it would seem ludicrous to compare John McTiernan’s 1988 trailblazing action thriller Die Hard¬†with Billy Wilder’s 1960


Rio Bravo (1959)

March 18th, 1959 | by Padraic Coffey

An adage on low-budget filmmaking, often attributed to the screenwriting guru Robert McKee, dictates that you “take twelve actors to


Vertigo (1958)

May 9th, 1958 | by Padraic Coffey

In 2012, Alfred Hitchock’s Vertigo managed a feat that no other film had accomplished in fifty years; usurping Orson Welles’


Wild Strawberries (1957)

December 26th, 1957 | by Padraic Coffey

Though it would be crudely reductionist to assess the discrepancies between European and American cinema by a simple comparative study


12 Angry Men (1957)

April 12th, 1957 | by Padraic Coffey

Many courtroom thrillers fall into the category of ‘whodunit’, stories in which a crime has been committed, the perpetrator of


Rear Window (1954)

September 1st, 1954 | by Padraic Coffey

“You asked for something dramatically different. You got it”, quips a temporarily disabled James Stewart at the beginning of Alfred


Ikiru (1952)

October 9th, 1952 | by Padraic Coffey

Sam Mendes’ overvalued American Beauty begins with its omnipotent narrator detailing the mortality of an oblivious central protagonist. This protagonist


The Red Shoes (1948)

September 6th, 1948 | by Padraic Coffey

At first, it may seem perplexing that Martin Scorsese cite Michael Powell and Emeric Pressburger’s The Red Shoes as his


Rebecca (1940)

April 12th, 1940 | by Padraic Coffey

Rebecca opens with a tracking shot that glides through a seemingly inanimate iron gate and leads us up the path


Angels with Dirty Faces (1938)

November 24th, 1938 | by Padraic Coffey

Though Howard Hawks’ Scarface and William A. Wellman’s The Public Enemy had both been produced in early 1930s, before the



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