The pull that won't let go, and what it takes with it.
Kinski on a raft, losing his mind for real
Palme winner, and the most imitated character study in American film
the boat really was dragged over the mountain
a flop, and Scorsese's most prescient film
Van Sant's breakthrough, entirely unmoralising
Cage's best work
Haynes and Moore, illness as dread
a style bomb
PTA arrives
panned on release, definitive now
$60k black-and-white paranoia
Scorsese's forgotten one; it's terrific
three hours, no apologies
formally relentless
Huppert, merciless
Williams against type
Sandler recontextualized
Nolan's tightest
the other near-perfect one
Rourke, all of it
melodrama pushed to horror
Trier's saddest
McQueen and Fassbender, unsparing
PTA's most elusive
three men, all wrong about each other
Gyllenhaal's best
editing as percussion
PTA's funniest
Schrader's late peak
critically split, culturally enormous
Vinterberg, and that final dance
Schrader's late run continues
critically split, culturally inescapable
Safdie solo
