By: Adam McGovern

A torture-chamber of temporary adjustments.

By: Jacob Mikanowski

Seventies soul, eloquent monsters, Talmudic etiquette-parsing, Samuel L. Jackson.

By: Brian Berger

“SCHOOL DAZE sets race back 200 years.”

By: Jacob Mikanowski

His films are pentagrams for the conjuration of narrative.

By: Adrienne Crew

Like a comet, she appears now and then to dazzle us.

By: Franklin Bruno

His is an unwieldy and rarely screened oeuvre.

By: Tucker Cummings

He is the best at “over­confident because I’m over­compensating.”

By: Jerrold Freitag

No disparity between what’s funny and what hurts.

By: David Smay

“The strange and sinister embroidered on… the normal and easy.”

By: Jerrold Freitag

His smiles, tears, and wall-punching are the best.

By: Tucker Cummings

“I have no desire to cuddle my audience.”

By: Jacob Mikanowski

He was part of the bad old post­modernism, in a good way.

By: Joshua Glenn

A scene from CANDYMAN (1992)

By: Joshua Glenn

A scene from ROBOCOP (1987)

By: Tucker Cummings

He was dis­illusioned by the materialism of modern Japan.