S.O.B. (1981)
Black comedy that doesn't flinch from acid Hollywood satire, even as it finds warmth with its characters and plenty of physical and verbal laughs with producer Richard Mulligan transforming a flop into a soft-core musical. Julie Andrews sheds her image, Robert Preston is a delight.
Sabotage (1936)
A richly atmospheric London provides the backdrop for anarchist destruction. Dark humor, tense detail and a streamlined story are the bedrock for some thrilling sequences and a captivating Sylvia Sidney is the emotional, anguished heart that leads to murder.
Sabrina (1954)
Astute blend of romance and comedy, told with playful literacy, plush visuals and endearing leads, as ignored chauffeur's daughter Audrey Hepburn returns sophisticated from Paris and confuses playboy William Holden and straitlaced Humphrey Bogart. Social fairytale embraces contrary character resolutions.
Sabrina (1995)
Solid production and lush John Williams score aid appealing cast spin leisurely paced romantic comedy, with ignored Julia Ormond returning sophisticated from Paris and confusing playboy Greg Kinnear and his business-focused brother Harrison Ford. Adaptation hues close to original film, though lacks visual and emotional snap and sweep.
Safari (1956)
Attractive locations and fluid staging attempts to compensate convoluted mix of expert hunter Victor Mature's personal revenge tale, cruel British millionaire's obsession with killing mythical lion and drifting Janet Leigh's journey to romantic freedom, all set against Mau Mau rebellion. Fitfully involving.
Sahara (1943)
Intense wartime adventure sees brusque tank commander Humphrey Bogart inadvertently pick up allied soldiers and make last stand against overwhelming German forces. Terrific package of pointed dialog, gritty performances and snappy pace results in punchy action and rousing climax.
The Sailor Who Fell From Grace With The Sea (1976)
With its rigid formalism and attractive visuals, obscure story of Oedipal confusion is deliberately disquieting and confronting. Charismatic Kris Kristofferson is sailor who enters life of needy widow Sarah Miles. Brutally uncompromising.
Le Salaire de la peur (The Wages Of Fear) (1953)
Parched, desperate Central American village provides background for four losers to seek financial salvation by driving trucks packed with insecure explosives across untamed land. Expertly tuned, sweaty suspense cranked up to bitter end.
The Salamander (1981)
Proficiently made conspiracy thriller sees intense Franco Nero investigating a series of murders that reveal corruption and a plot to overthrow the Italian government. Typically overstuffed, name driven Lew Grade production offers few surprises or tension, though Jerry Goldsmith's score is strong.
Salt (2010)
Buoyed by a relentless score and continuous action set pieces, an impassively athletic Angelie Jolie is constantly on the run to prove her innocence and prevent global catastrophe. Plot logic is quickly jettisoned, visuals and tight rhythms dominate, an exciting and dynamic ride.
Salvador (1984)
Compelling confusion of moods sends erratic photojournalist James Woods and unstable DJ Jim Belushi to turbulent El Salvador where US support fuels brutal oppression. Jittery immediacy spins ragged personal horrors and political rage with corrosive set pieces ripped from conflict.
Samaritan (2022)
Intriguing setup and background sees superhero, presumed killed by evil brother 25 years ago, identified alive by teenage fan when city is newly threatened. Reluctant Sylvester Stallone provides solid center, yet bland third act runs out of steam and telegraphs twists.
Sand Trap (1997)
Though story twists provide potential for a memorably amoral villain, execution never really delivers as sadistic wife Elizabeth Morehead plans husband's death, but finds the desert turns murder into revenge. Mostly predictable and without a distinctive style.
Sandome no Satsujin (The Third Murder) (2017)
Framed within a court trial procedural, assured lawyer Masaharu Fukuyama peels away the truth of blunt client Kōji Yakusho's murderous actions to reveal a thoughtful take on morality and human emotion. Gripping in detail and human motive.
Sarajin Bam (The Vanished) (2018)
Immaculately made, fluid visuals heighten mystery as body disappears from morgue on a stormy night and guilty husband grows increasingly frayed. Eccentric detective Kim Sang-kyung leads cat and mouse maneuvers as schematic narrative surprises unfold.
Såsom i en spegel (Through A Glass Darkly) (1961)
Luminous images burn through the confusion and gnawing sadness of family disintegration under the strain of a descent into madness. Harriet Andersson is a searing presence, painfully aware of what she will lose, even as she waits for the door to open.
The Satan Bug (1965)
Gleaming widescreen production values partly compensate for glacial and convoluted storytelling, with occasional visuals mirroring the dread of a manmade, killer virus. Jerry Goldsmith provides a snarling, propulsive score.
The Savage Bees (1976) / The Incredible Melting Man (1977)
Forever tied together as a UK double-bill release, two films with titles that explain exactly what you get. Minor efforts with little suspense or narrative comprehension though plenty of gratuitous buzzing and melting.
Save Me (1993)
Crudely hewn characters jump through baffling motivational hoops to provide un-erotic thrills and gunplay. The actual start point for stressed Harry Hamlin's obsessive relationship with damaged Lysette Anthony piques interest. Final reel devolves into nonsense.
Scandal Sheet (1952)
Brisk, acidic noir with sleazy tabloid editor Broderick Crawford chasing readers with trashy news, before finding own past catching up. Generous Donna Reed provides principles, cynical John Derek finally grows a conscience. Efficiently made and grittily absorbing.
Scarlet Street (1945)
At times meandering melodrama that gradually draws the audience into the lead characters' amoral lives and finally leads to murder and execution as Edward G Robinson is driven to madness. Twisted Dan Duryea and manipulative Joan Bennett are viciously appealing.
Scoop (2024)
Solid account of events leading to infamous BBC interview with Rufus Sewell's confused Prince Andrew offers opportunity for sympathetic roles yet adds little to illuminate social or political context. Royal and broadcasting intrigue provides brisk amusement without real drama.
Score! (2017)
Introduction to history and art of film composition features admirable array of industry interviews even if the view is more narrowly modern Hollywood and rapid pace never allows thoughts to fully develop. Well produced documentary remains engaging, if not rousing.
Screamers (1995)
Solidly realized Philip K Dick adaptation about the remnants of war on a distant planet where deadly AI threatens both sides. A bleak visual palette provides a grimness to the action amid the themes of identity and humanity. Even if there are few surprises, the film remains involving.
Sea Of Love (1989)
Gritty, sexy, smartly written and realized New York romantic thriller with as much emphasis on hunt for lonely hearts killer as study of damaged, hungry souls in search of intimacy. Unstable Al Pacino, prickly Ellen Barkin and genial John Goodman add vibrant edge.
Seance On A Wet Afternoon (1964)
Low key, carefully controlled thriller with effective performances from damaged Kim Stanley and distressed Richard Attenborough who kidnap a child to prove their medium abilities. An ominous atmosphere pervades a story of loss and strained needs.
Secondhand Lions (1992)
Appealingly sentimental and lightly dramatic as errant Kyra Sedgwick leaves insecure Haley Joel Osment with eccentric uncles Michael Caine and Robert Duvall for the summer. Warm family and coming-of-age humor, flavored by colorful tall tales, succumbs to awkward ending.
Secret Beyond The Door (1947)
Little makes sense, yet Fritz Lang's visual sense, the atmospheric lighting and the striking design make this fever dream oddly compelling. Joan Bennett is the new bride stripping away the Freudian secrets to potentially homicidal Michael Redgrave.
The Secret Of Convict Lake (1951)
Escaped convicts find themselves in a rural town run by women, with Glenn Ford out for revenge and Gene Tierney and Ethel Barrymore repelling the male threat. Crisply photographed and designed, engaging melodrama that keeps the storytelling lean.
El secreto de sus ojos (The Secret In Their Eyes) (2009)
Finely judged blend of the personal and political, Argentine history in 70s and 90s reflected through unsolved murder case and unresolved relationship between court investigators Ricardo Darin and Soledad Villamil. Polished technique, raw emotions.
Le semeur (The Sower) (2017)
Framed with elegiac beauty, the women of a 19th century village must band to create their own society when all males are taken by the French emperor and the younger vow to share any man who might appear. Bracing and original view of socio sexual politics with sweeping emotion.
Sensation (1994)
Lurid, slickly told thriller with typical 90s nudity and wholly preposterous plot as susceptible Kari Wuhrer experiences visions of a murdered student and is infatuated with suspicious professor Eric Roberts. Plenty of lazy red herrings and messy sequences involving paint.
Seraphim Falls (2007)
An initially lean pursuit western turns from gritty, harsh realism to ponderously metaphysical with diminishing results. Obsessive Liam Neeson chases down weary trapper Pierce Brosnan across transforming natural landscapes captured with feeling and texture.
Serenity (2005)
Knowledge of the original TV series 'Firefly' adds empathy for the characters, but the narrative and secrets of Summer Glau's River Tam work as a standalone sci-fi Western adventure with sharp dialog and energetic action. Tone darker, humor still punctuates the drama.
Serenity (2019)
What seems to be a neo-noir with Anne Hathaway's femme fatale persuading Matthew McConaughey obsessive island fisherman to murder her husband, spins into such a head-scratching melodrama mid-way through that the entire narrative disintegrates. Stupefyingly misguided and cold.
Set It Up (2018)
Despite fanciful setup, energy and charm of overworked assistants Zoey Deutch and Glen Powell keep comic and romantic touch humming as they try to manipulate respective bosses Lucy Liu and Taye Diggs into relationship. Assured, predictable narrative emains engaging.
Seupeulrit (Split) (2015)
While agitated Lee Jung-Hyun sets up high stakes contests to pay off debt-ridden bowling alley, washed-up ex-pro Yoo Ji-Tae finds chance for redemption in potential of autistic David Lee. Intriguing detail, visual polish, and involving characters despite end contrivances.
Seuwingkizeu (Swing Kids) (2018)
Immensely and intensely enjoyable, dynamically paced musical sees diverse tap-dancing troupe in Korean prison camp provoke tragic change. Wild tonal diversions, yet visceral energy carries emotion, and sharply choreographed characters provide depth.
The Seventh Veil (1945)
Seductively shot with a pervading sense of gothic romance, a wickedly enjoyable tale as repressed Anne Todd cracks under the glare of brooding James Mason. Though it falters during the third act, hugely satisfying melodramatic nonsense, expertly orchestrated.
Shadow In The Cloud (2020)
A combative Chloë Grace Moretz is forced to battle sexism, Japanese fighters and gremlins on board a WW2 bomber above the Pacific. Building from intimate claustrophobia, a frenetic mashup that propels is heroine and audience on a cracking, bumpy ride.
The Shallows (2016)
Elevated B-movie features resourceful Blake Lively stranded in secluded Mexican cove while angry great white shark circles. Though technical virtuosity can prove distracting, bracing technique also hammers sufficient thrills and athletic lead delivers beyond sketchy character.
Shattered (1991)
Polished, noir-soaked thriller, hinging on a third act surprise either shocking or ridiculous depending on your involvement. Tom Berenger is the amnesiac trying to uncover the truth about his car accident and wife Greta Scaachi. Bob Hoskins is the detective pet shop owner. Sharp, beguiling Alan Silvestri score.
Shazam! (2019)
At its best when it plays with the character origins and the relationship between Zachary Levi's adult Shazam and superhero fan Jack Dylan Fraser. Faced with a super villain, it tends to lack a spark. Colorful design and VFX add considerably to the humor and affectionate tone.
Shazam! Fury Of The Gods (2023)
Despite over-stuffed narrative and over-extended VFX confrontations, personality of kids transformed into superhero gang retains goofy innocence and manages moments of emotional family resonance. Energetic Zachary Levi maintains humor and charm even as mechanics of battling revived Helen Mirren loses steam.
She Said (2022)
Unaffected detailing of New York Times reporters Carey Mulligan and Zoe Kazan’s grit determination in exposing details and coverup of Weinstein scandal. Appropriately somber and technically precise depiction of important social story, yet misses cinematic tension and evolving characters.
She Wore A Yellow Ribbon (1949)
Permeated with sense of changing times, retiring captain John Wayne's soulful presence and elegiac visuals elevate traditional cavalry tale beyond fierce action and comic sentimentality. Supported by boisterous Victor McLaglen and spiky Joanne Dru, lightness of touch pierces violence forged in American expansion.
She's Funny That Way (2014)
An engaging, scatty Imogen Poots is the new Broadway star as an equally scattershot narrative weaves backstage stories of an appealing cast with a mostly potent succession of jokes. At times too self-aware and without focus, the genial tone is winning.
Shenandoah (1967)
Solidly produced, sentimentally constructed Civil War drama, with typically commanding James Stewart as Virginian farmer in futile attempt to maintain family's neutrality. Engaging support cast pulls through tragedy and action though sedate pace tends to underwhelm.
Shockproof (1949)
Crisply detailed and tormented descent for parole officer Cornel Wilde as he falls for and becomes fugitive with recently released Patricia Knight. Solid characters and story dynamics, cleanly designed visuals, though ending is soft dodge on bleaker resolve.
Short Term 12 (2013)
Seared with tragic honesty, damaged counsellors cope with equally hurt kids in teen care facility, as open Brie Larson reflects personal issues with troubled Kaitlyn Dever. Jolts of humor amid pain, narrative threads too neatly wrapped, yet cast remains vital.
Shotgun Wedding (2022)
Comedy action confusion has enough energy to keep bubbling through Philippines wedding of Jennifer Lopez and Josh Duhamel violently interrupted by ransom demanding pirates. Broad targets see concentration on visuals and physicality, darker character concerns left unexplored.
Shut In (2017)
Naomi Watts is always persuasive and the tense atmosphere is nicely established, yet the structure is fatally schematic and twists telegraphed, as a child psychologist finds herself trapped in a winter storm. Low-key thrills never build and provide only modest intrigue.
Sibyl (2019)
Fragmented style plays on psychotherapist and hopeful novelist Virginie Efira's own damage and addictions with vivid sense of dark comedy. Once on Mediterranean film set of client and actress Adèle Exarchopoulos, more straightforward contortions falter, though conclusion proves resonant.
Sicario (2015)
Dark, cynical and bloody, the clinical, searing imagery matches the cool, detached tone and suppressed violence that will infect and consume. Emily Blunt provides a glimpse of humanity amid brutal border fights, Benicio del Toro a jaundiced assassin out for revenge.
Silent Fall (1994)
Lapses in logic and plausibility would be less serious if tone weren't so earnest, pulp revelations that need more propulsive narrative energy. Intriguing cast lost in smooth production values as reluctant therapist Richard Dreyfuss uncovers secrets behind autistic child's witness to murder.
The Silent Partner (1978)
Nimble thriller with a mean streak as unadventurous bank officer Elliott Gould impulsively takes advantage of sociopathic bank robber Christopher Plummer, resulting in sadistic cat and mouse games. Unfussy style allows for vicious twists even as logic unravels.
The Silver Fleet (1943)
Story and characters distilled to compelling production, shipbuilder Ralph Richardson treated as traitor working on German U-boats, but actually is Dutch legend undermining enemy efforts. Crisp pacing, effective visuals and Allan Gray score combine for potent conclusion.
Silver Linings Playbook (2012)
Spirited performances and intelligent film-making embolden the drama and laughs as Jennifer Lewis and Bradley Cooper's damaged souls find a sense of resolution. Snappy and ragged, languid and propulsive, a romantic comedy in the best sense with a rousing finale.
Silverado (1985)
Tonally and narratively disjointed, a frustrating, amiable western adventure with a fine cast that mixes all the genre ingredients without focusing on the basics or allowing for the mythic. Bruce Broughton delivers a rousing score; individual set pieces and visuals are winning.
Sing Street (2015)
Generous coming-of-age tale pitches smart balance of lived-in detail and optimistic creativity, as teen Ferdia Walsh-Peelo finds release from family breakup and society dead-ends by establishing band to impress aspiring model Lucy Boynton. Bright songs and humour point to pleasing resolve.
Singin' In The Rain (1952)
The years never diminish the energy, skill and pure joy that bursts from every image. A sublime combination of song, dance and comedy as Gene Kelly, Debbie Reynolds and Donald O'Connor cope with the advent of the talkies. MGM production values shine.
Sitting Pretty (1948)
Generous and breezy domestic comedy with despairing Maureen O'Hara and Robert Young mistakenly hiring imperious Clifton Webb as live-in babysitter to three unruly sons. Light on plot until revelations of newcomer's intentions to reveal small town secrets, a series of solid comic situations.
Det sjunde inseglet (1957)
Compelling, sometimes bleak, more often poetic, a surprisingly literal search for God as a knight returns from the futility of the Crusades to face the wasteland of a horrific plague. Humour and violence contrast with a need for humanity before the final chess move.
Sketch Artist (1992)
Sleek visuals permeate grungy tale of coincidence as eyewitness Drew Barrymore's description of wanted killer resembles paranoid police sketch artist Jeff Fahey's girlfriend Sean Young. Though twists are predictable, detail and atmosphere remain involving.
Sketch Artist II Hands That See (1994)
Jeff Fahey's sleazy intensity as a police sketch artist collides with blind rape victim Courtney Cox who identifies through touch. Bland style subdues more interesting narrative elements and never builds needed energy for courtroom finale.
Skyscraper (2018)
Chiseled security consultant Dwayne Johnson leaps into burning tower to save wife Neve Campbell and children as well as defeat snarling criminal Roland Møller and brutal gang. Robustly produced, defiantly unsurprising, elaborate action simmers at enjoyably diverting pace.
Skyggen i mit øje (The Bombardment) (2021)
Crisply shot and designed, a dark, emotional tragedy rooted in the accidental bombing of Danish school. Technically skilled, strongly performed, dry sequence of events and suffering keeps a distance that tends to prevent greater involvement.
De Slag Om De Schelde (The Forgotten Battle) (2020)
Strong visuals and impressive production underpin persuasive narrative that entwines resistance fighter Susan Radder, Brit pilot Jamie Flatters and Axis soldier Gijs Blom. Intense warfare builds from consequences of loss and compassion.
Slap Shot (1977)
Bleak realities of a failing industrial town finds release when local, losing hockey team turns to unrepentant violence (and even stripping). Riotously funny, brutally made and shot through with hard realism beyond the thrill. A terrific Paul Newman personifies the film.
Sleep, My Love (1948)
Controlled storytelling with atmospheric set pieces and sufficient twists despite unsurprising resolution, as inquisitive Robert Cummings discovers insecure Claudette Colbert is being sent mad by suave but cruel Don Ameche. Solid production and performances.
Sleeping Car To Trieste (1948)
Remake of Rome Express that substitutes agents for art thieves and includes a robbery prologue before boarding the Orient Express. Otherwise, narrative beats remain familiar with a light tone, appealing performers and a breezy, tight construction.
Sleeping With Other People (2015)
The quirky, damaged supporting characters in typical romcoms become the central duo in a snappy, raunchy comedy, as Alison Brie and Jason Sudeikis attempt to preserve a relationship by avoiding sex. Even when jokes fall flat, modern observations ring true.
Sliver (1993)
Dreamy visuals and rich design fail to disguise empty-headed narrative twists and absurd characters as repressed book editor Sharon Stone moves into exclusive Manhattan apartment building consumed by sex and murder. Technological and voyeuristic themes land with a confused thud.
Smash-Up The Story Of A Woman (1947)
Overwrought morality tale focuses on successful singer Susan Hayward promoting husband Lee Bowman before marriage & career stagnation sees her descend into alcoholism. Strong self-destructive lead turn though character development never gains depth.
Smultronstället (Wild Strawberries) (1957)
Anchored by Victor Sjöström's soulful, affecting performance, a physical and spiritual journey that sometimes feels forced in addressing themes, but is shot through with humour, compassion and a poetic spirit. Ingrid Thulin is moving, the ending redemptive.
The Snows Of Kilimanjaro (1952)
Expansively produced, sumptuously photographed, Gregory Peck's Hemingway stand-in remembers his loves and adventures on his sickbed. Bernard Herrmann's typically intuitive score, so full of yearning and loss, provides the emotion that the fragmentary narrative never captures.
So Long At The Fair (1950)
Sumptuous design and photography lend an enticing atmosphere as vibrant Jean Simmons' visit to the 1896 Paris Exhibition becomes a nightmare when her brother disappears. More a low-key mystery, enhanced by elegant background detail and spirited score.
So Well Remembered (1947)
Gripping portrait of struggling industrial town in northern England underpins emotional melodrama of activist John Mills' relationship with callous mill owner's daughter Martha Scott. Strongest when accent is on socio-economic issues. Evocatively conceived.
La sociedad de la nieve (Society Of The Snow) (2023)
True story of survivors from plane crash in the Andes is told with expansive clarity and humanistic purpose, characters pushed to physical and emotional extremes. Impressive visuals don't quite sustain length, though end remains resonant.
Some Like It Hot (1959)
Witnesses to a mob hit in prohibition Chicago, pliable bass player Jack Lemmon and manipulative sax performer Tony Curtis escape to sunny Florida as part of all girl band - and find love with uncertain singer Marilyn Monroe and carefree millionaire Joe E Brown. Deftly conceived and performed, always fresh and funny.
Somebody I Used To Know (2023)
Less a deconstruction, more a fuzzy reframing of romantic comedy situations and themes as consumed Alison Brie returns to her hometown and meets with old boyfriend Jay Ellis, just a few days before his wedding. Muted laughs and faltering emotions with appealing cast.
Someone To Look Over Me (1987)
Designed with stylish, filtered visuals, promoted blue-collar detective Tom Berenger enters gilded world of Mimi Rogers after she witnesses mob killing. Superficial thrills without piercing emotions of heated affair and family life with Lorraine Bracco.
Something From Tiffany's (2022)
Minor romantic comedy sees mix up of gifts throw skittish Zoey Deutch and practical Kendrick Sampson into predictable emotional turmoil. Entirely predictable combination of better productions, anonymously amenable characters drift through New York. Glossily enjoyable.
Something Money Can't Buy (1952)
Gender politics post WW2 and emerging independence of women is used as a comic setup. Unfortunately, there's a lack of humour and energy as Patricia Roc established an employment agency while Anthony Steel goes to find himself as a mobile caterer.
Something Wild (1986)
Stiff Jeff Daniels is whisked from dry routine by uninhibited Melanie Griffith. Initial breezy, sexy, quirky tone and characters are wickedly deceptive, especially when ex-boyfriend Ray Liotta barrels onto screen. Brutal violence, sharp laughs, bracingly fresh.
Sometimes They Come Back (1991)
Unfussy, effectively straightforward Stephen King adaptation sends edgy teacher Tim Matheson to his hometown and confronts childhood horror of brother's death, as the killers return from the grave. Tangible sense of unease even if thrills are minor.
Somewhere In The Night (1946)
Amnesiac John Hodiak returns from war and is drawn into noir memories as well as real life intrigue of murder and stolen Nazi money. Nancy Guild provides tart support, Richard Conte is suitably suspicious, solidly told narrative keeps dark momentum.
Somewhere In Time (1980)
Rising playwright Christopher Reeve fulfills his destiny and wills himself into the past to romance celebrated actress Jane Seymour despite controlling Christopher Plummer. Attractively mounted and cast, a sincere and finally affecting love story with everlasting John Barry score.
Sommaren med Monika (Summer With Monika) (1953)
Vital, captivating tale of summer romance unable to cope once the dream fades. Earthy, seductive Harriet Andersson stares into our conscious as much as the gleaming visuals reveal the intensity of joy and anger that swirls through love and lust.
Sommarlek (Summer Interlude) (1951)
Ingmar Bergman's quietly absorbing tale of love and loss features a fragile Maj-Britt Nilsson dealing with tragedy after a giddy summer romance. Exquisitely lit and framed, it provides equal thought and emotion and concludes with a satisfying openness.
Sommersby (1993)
Expansive, expressive Danny Elfman score drives aching romanticism and mystery of determined Richard Gere's return from Civil War and whether he's Jodie Foster's lost husband or an imposter. Immaculate production, though final narrative texture lacks lasting effect.
Son Of Fury (1942)
Rousingly made, fleet-footed historical tale of revenge and South Seas harmony, with luxurious production values as gorgeous as its cast. Amid the spectacle and lush visuals, there's even time for a discussion of inequality while a witty Dudley Digges is an Act 3 scene-stealer.
Son Of Paleface (1952)
Riotous sequel ropes in Federal Agent Roy Rogers and Trigger to join mayhem caused by fumbling Bob Hope heading West to claim inheritance and getting mixed up with bandit and saloon singer Jane Russell. Piles on verbal and physical gags with anarchic energy.
Sons And Lovers (1960)
Evocatively photographed by Freddie Francis, images reach for more of the tension between art, family bonds and romance in coal-mining village than tentative adaptation. Wendy Hiller and Trevor Howard provide gritty marital intensity, while Mary Ure and Heather Sears reveal poignant loss.
Soshite Chichi ni Naru (Like Father, Like Son) (2013)
Acute emotions stirred by revelation that 6-year-old sons were swapped at birth forces parents from different social status to question parental dreams and love. Tender naturalism imbues melodrama with heartful feeling. Poignant end holds hope.
Sophie And The Rising Sun (2016)
Keenly told, a captivating, bittersweet, meandering narrative of racial tension and female strength as reclusive Julianne Nicholson falls for Takashi Yamaguchi in prejudiced 1941 South Carolina. Strong performances capture quietly effective tone.
Soul Survivors (2001)
With its heroine lost between the living and the hereafter, the narrative and tone feel similarly confused about whether it's a love story, mystical thriller or religious horror. Style and pacing are similarly ragged and ambition uninspired, despite the personable cast.
Sound Of Freedom (2023)
Slick, anonymously produced thriller layers glossy sheen to uncomfortable subject of child sex trafficking as committed Jim Caviezel resigns US agency to bust gangs and save stolen girl in Colombian jungle. Efficiently involving, dramatically awkward package.
Source Code (2011)
Keeping a sure momentum, storytellers find compelling balance between personal confusion of army captain Jake Gyllenhaal, stuck in repeating time loop to discover bomber on train, and kinetic ticking-clock thriller. Enjoyably tangled and satisfyingly resolved, with solid support from Vera Farmiga and Michelle Monaghan.
The Space Between Us (2017)
Initially intriguing setup of a boy born to the lead astronaut of a space flight to Mars gets unstuck with earthbound contrivances when the teen searches for his father and love. The actors are unable to convince. The strong score provides some cohesion.
Spectre (2015)
Controlled imagery and intense staging elevates atmospherics of opening stages until typical plot machinations creak as vengeful Daniel Craig uncovers government spyware infiltrated by devilish Christoph Waltz. Technical polish can't prevent lack of tangible emotion and tension.
Speed (1994)
Jettisoning logic and story demands, the concept of a bomb on a speeding bus allows for action sequences that deliver thrills and comedy with a purity that never tires. The magnetic Sandra Bullock provides humanity and individuality amid the stunts and explosions.
Speed 2 Cruise Control (1997)
Production values are vivid and climactic set pieces deliver on promised spectacle, yet convoluted storytelling drains thrills and even quirky Sandra Bullock struggles to register character jeopardy. Jason Patric runs around amid Willem Dafoe's sabotage.
Spellbound (1945)
Preposterously plotted and wholly unbelievable, the narrative threads seem as elusive as the dream Ingrid Bergman must decipher in order to clear Gregory Peck's amnesiac of murder. Miklós Rózsa's gorgeous score is alternately as lush and overwrought as the film.
Sphinx (1981)
Production makes full use of expansive Egyptian locations, yet handles convoluted thriller narrative with staid seriousness rather than mystery or genre energy. Confused archaeologist Lesley-Anne Down falls for mysterious Frank Langella in pursuit of lost treasures.
The Spider And The Fly (1949)
Always intriguing, often tense, a character-driven piece in which a romantic triangle underpins the manoeuvres between Paris police chief and an artful thief. Atmospherically lit and designed, the World War I setting provides a rich background and unexpected narrative twists.
Spider-Man Far From Home (2019)
Breezy continuation of tone and good-natured spirit with more expansive use of European tourist spots. Structure remains retread rather than revealing, though Zendaya's MJ adds texture, while songs and score spark energy to mirror the comedy. Little actual threat subdues real tension.
Spider-Man Homecoming (2017)
Light touch coasts on the energy of eager Spidey Tom Holland and appealing cast, highlighting the comic, while individual action set pieces provide variable impact. Michael Giacchino's snappy, sparkling score helps immeasurably. Enjoyably unremarkable.
Spider-Man No Way Home (2021)
While maintaining humorous essence of previous films in series, final act involvement of Tobey Maguire and Andrew Garfield alongside Tom Holland provides spark while end features surprising emotional heft away from persistent effects. Finely honed.
The Spiral Staircase (1946)
Gilded period design, Gothic melodrama and noirish visual style fuel the tension of a fiendishly packaged thriller. As sympathetic female characters Dorothy McGuire, Ethel Barrymore and Rhonda Fleming face a serial killer, sound and music spur pacing and scares.
The Spirit Of St. Louis (1957)
Alluringly rendered visuals and powerful Franz Waxman score complement typically endearing James Stewart as a whimsical, determined Lindbergh on first solo Atlantic flight. Never quite achieves needed tension and climactic triumph despite persuasive detail.
Split Decisions (1988)
Boxing melodrama echoes better stories. Solidly delivered fights and predictable family confrontations, including gangster threats and killing, keep narrative ticking while gritty Gene Hackman anchors ensemble cast. Lacks energy to provide emotional connection.
Split Image (1982)
After college-bound, athletic Michael O'Keefe is consumed by persuasive Karen Allen and charismatic cult leader Peter Fonda, materialistic parents Brian Dennehy and Elizabeth Ashley hire intense James Woods to kidnap and deprogram son. Solid cast enliven plainly told and thematically uneven melodrama.
Split Second (1992)
Though story makes little sense, the sci-fi horror mashup is energetic B movie nonsense, with a dominant Rutger Hauer and various Brits going off the rails. Budget limits dystopian pretensions as a creature stomps through flooded London tearing out hearts.
The Spy In Black (1939)
Powell & Pressburger's first collaboration is a typically offbeat thriller that embraces the view of the German spy aiming to destroy the British fleet in remote Scotland. Conrad Veidt and Valerie Hobson provide depth and emotion in a brisk, minor effort.
The Spy Who Came In From The Cold (1965)
Crafted with bleak sense of cold war menace and final, acute tragedy, tension is built through oblique dialogue to hint at deadly personal and government agendas. Fine cast, with reluctant agent Richard Burton on last mission and reaching for salvation with idealistic librarian Claire Bloom.
The Spy Who Loved Me (1977)
Crafty mix of fluid action, knowing humour and bouts of violence, told on expansive international locations and epically conceived sets. Confident Roger Moore and tenacious Barbara Bach team to prevent crazed Curt Jürgens from nuking the world for underwater utopia.
St. Vincent (2014)
Confidently good-natured comedy drama which efficiently structures pay-offs of redemption and realization as suffering Bill Murray agrees to babysit stressed new neighbor Melissa McCarthy's son. Calculated sentimentality checked by earthy performers, including Naomi Watts' lost and pregnant hooker.
Stagecoach (1939)
Charismatic, revenge-minded John Wayne joins disparaged Claire Trevor and diverse travelers on hostile trail, all with urgent motives to risk Apache territory. Despite some clunky exposition, evocative visuals and spirited action combine with fine cast for exciting, and dramatically charged adventure.
Stalag 17 (1953)
Enclosed tale of American POWs revolves on obsession with escape and hunt for barracks mole, with immediate suspect the hustling William Holden. Straddling broad laughs, German caricatures, cynical humor and tense drama, skillful cast and filmmakers maintain precarious balance.
Star Dust (1940)
Light comedy drama sends Hollywood scout Roland Young out to sign young hopefuls to screen tests, including determined Linda Darnell, destined for love and stardom despite designing studio exec Donald Meek. Agreeably yet anonymously told with a few effective scenes.
A Star Is Born (1937)
Gorgeously produced, archly staged, innocent Janet Gaynor finds fame in Hollywood after fading Frederic March helps her become star. Doomed love story includes amusing industry bitterness even as sentimental strength of reaching for dreams manipulates emotion.
A Star Is Born (1976)
Indulgent and undisciplined as a narrative, Barbara Streisand and Kris Kristofferson still make a charismatic couple, as the rising talent eclipses the disillusioned star. The concerts and music scene maintain a gritty appeal and the soundtrack is full of hits.
Star Wars The Rise Of Skywalker (2019)
The production values, technical expertise and expansive visual effects are without fault. Yet there remains an anemic atmosphere and a narrative going through the motions, an opportunity lost. At least it provides John Williams with a glorious finale.
Starfish (2018)
Realized with startling visuals and a dream-like mood, the intensely emotional Virginia Gardner deals with grief at the loss of her friend while surviving an alien invasion of earth. Jettisoning narrative, the sensory approach is fueled by a gorgeous, energized score.
Starlet (2012)
Bathed in tanned hues and sparkled sunlight, a friendship emanates out of guilt between drifting, 20s Dree Hemingway and reclusive, 80s Besedka Johnson. The women's relationship is as natural as it is moving, informed by the need for closeness. A genuine gem.
Starman (1984)
Tenderly judged storytelling keeps characters and narrative journey effectively simple, as still grieving Karen Allen is visited by alien Jeff Bridges who takes on her late husband's form. Sleek visuals spur chase by authorities, while potent leads develop unusually poignant sci-fi love story.
The Stars Look Down (1940)
Skillful, persuasive blend of poetic drama and social politics. As the conflict of coal mine workers and owners inevitably results in disaster, the story is personal rather than didactic, with powerful sequences and Michael Redgrave's driven performance.
State Fair (1945)
Slight narrative strands link lightly attractive characters whose time at the annual Iowa gathering of the title spans the trivial and romantic. Colorful design and effortless staging combine with enduring Rodgers and Hammerstein songs for energetic entertainment.
State Secret (1950)
Innocent doctor Douglas Fairbanks Jnr. and reluctant showgirl Glynis Johns are on the run across the European state of Vosnia, chased down by a cynically efficient Jack Hawkins. Breezy thriller with solid use of locations and a sense of humour. A diverting entertainment.
Still Of The Night (1982)
Narrative and visuals precisely honed to conjure cold Hitchcockian stylings without own distinctive identity and suspense as psychiatrist Roy Scheider deciphers murdered client's dreams to find if Meryl Streep is a killer. Intriguing rather than compelling.
The Sting (1973)
Deceptively glossed with 30s period design, twisting narrative is as slyly enjoyable as devious plans of Paul Newman and Robert Redford to scam crime boss Robert Shaw. Allied to Scott Joplin rags, populist storytelling with intelligence and richly defined characters.
Stir Of Echoes (1999)
There's texture and a grounded atmosphere to the blue collar Chicago neighborhood where ghosts are physical as well as literal. Past secrets are gradually dug up by a mournful, psychic Kevin Bacon, a story always involving if not quite delivering on potential.
Stowaway (2021)
Told with restrained style and clean visuals, confines of travel to Mars intensify when unconscious engineer discovered aboard means fourth traveler with only enough oxygen for three. Morality and sacrifice prove more compelling than ratcheting tension as situation inevitably worsens.
La Strada (1954)
Spun with textured threads of humanity by Giulietta Masina, Anthony Quinn and Richard Basehart, a revealing journey of poetry, comedy and despair that lingers through gritty, burnished visuals. Small scale circus background allows physical performances to shine with soul.
The Strange Affair Of Uncle Harry (1945)
Darkly humorous, noir-tinged drama sees staid, small town George Sanders bewitched by sophisticated Ella Raines, until possessive sister Geraldine Fitzgerald undermines romance. Unhealthy relationships and murder punctured by limp resolution.
Strange Invaders (1983)
Affectionately detailed and structured 50s alien invasion paranoia, as curious Paul LeMat and cynical Nancy Allen uncover invasion of a remote Midwest town and government conspiracy. Solid cast and visuals, uneasy balance between stiff satire and bland thrills.
The Strange Love Of Martha Ivers (1946)
Past guilt hangs heavy on DA Kirk Douglas, feelings cynically suppressed by wealthy Barbara Stanwyck until drifting Van Heflin arrives back in town. Crisply told with dark twists accentuated by ex-con Lizabeth Scott's own need to break free.
The Strange Woman (1946)
Noir-drenched period melodrama, as irresistible Hedy Lamarr tears her way through Maine society, broken emotions and bodies in her wake. Expressive visuals amp the over-heated narrative, Louis Hayward and George Sanders flailing behind dynamic, modern lead.
A Stranger In Town (1943)
Weary Supreme Court Judge Frank Morgan intends to vacation but finds himself at the center of small town politics and corruption. Richard Carlson is the idealistic lawyer, Jean Peters the jaundiced city assistant. Breezy, good-natured comedy and romance.
Strangers On A Train (1951)
Gorgeously twisted narrative builds thrills with playful precision, as mischievously psychotic Robert Walker instigates crisscross to swap murders with tennis playboy Farley Granger. Dark wit infuses finely tuned visuals, progressed with snarling pace and sharp dialogue.
Striptease (1996)
Unfocused plot developments and tonal shifts create strange dichotomy between earnest stripper Demi Moore's efforts to get child back and satiric parade of corrupt lowlifes and Burt Reynold's political caricature pursuing her. Fitfully amusing, yet blandly unsexy and sapped of energy.
Styx (2018)
As meticulous in detail as Susanne Woolf's solo sail from Gibraltar to the Galápagos, rigid technique collides with ethical dilemma when she comes across refugees lost at sea. Told with increasing tension and humanity, a magnetic lead performance soars when a desperate boy swims for safety.
Submergence (2018)
Straining for importance and meaning amid artful romance between assured scientist Alicia Vikander and gritty agent James McAvoy, dramatic tension never takes hold. As they face death, polished visuals and persuasive Fernando Velázquez score provide a seductive sheen.
The Sugarland Express (1974)
For most part, a lively, good-natured road movie as persuasive Goldie Hawn springs reluctant William Atherton from open prison to prevent baby son's adoption. Robust visuals spur momentum, Ben Johnson provides humane authority, end tonal shift unpersuasive.
Suite Française (2014)
Sturdy cast and production values provide a surface sheen to stuttering storytelling and characters as insecure Michelle Williams finds emotion with conflicted Matthias Schoenaerts during German occupation of rural French town. Engaging moments yet lacks real fire.
Summerland (2020)
Gemma Arterton gives an affecting, soulful performance as the initially reclusive and irritable writer who gradually opens up when an evacuee from the Blitz is sent for her care and past secrets and future dreams collide. Immaculately made and quietly moving.
Summertime (1955)
Infused with bittersweet wonder for Venice's spirit, luminous visuals match vulnerable Katherine Hepburn's American tourist, succumbing to beguiling atmosphere and romance with married Rossano Brazzi. Wry comedy and aching romance, sublimely crafted and affecting.
The Sun Also Rises (1957)
As much as lush production values and sweeping European locations provide a hopeful background to title's new generation, bitterness and loss suffuse the drama of drifting Americans post WW1. Solid cast compensates for inert pacing and pervading sense of weighty suffering.
Sundown (1941)
Mysterious local leader Gene Tierney proves an alluring presence for British officers Bruce Cabot and George Sanders as well as support to defeat an aggressive tribe while war clouds descend on East Africa. Intrigue and production remains rather flat despite cast efforts.
Sunshine On Leith (2013)
Though The Proclaimers' songs often feel shoehorned into a basic structure and characters that never develop beyond narrative stereotypes, there's a charm and energy that's winning, especially an exuberant finale. Colourful style matches engaging performances.
Surrender (1987)
Struggling artist Sally Field and successful novelist Michael Caine meet when roped naked together by thieves at art gallery. Effortlessly appealing leads make observant romantic comedy breezily enjoyable, until plot contrivances and abrupt character shifts spin story off the rails.
The Suspect (1944)
Quietly involving, noirish drama with Charles Laughton driven to murder when he enjoys the company of innocent Ella Raines and is threatened by aggrieved wife Rosalind Ivan. Paced with evocative menace and dark humor, suspense and morality are finely balanced.
Suspect (1987)
Legal thriller keeps plot mechanics tight as weary public defender Cher comes to believe in homeless, deaf Liam Neeson's innocence of murder, while smooth DC lobbyist Dennis Quaid helps uncover judicial corruption. Polished characters and courtroom drama, despite unlikely twists.
Suspicion (1941)
Uncertain thriller that places tender Joan Fontaine in the hands of rakish and perhaps muderous Cary Grant. The genial atmosphere and languid pacing subdue any sense of gnawing tension, though the end section builds up a head of unease. Final revelations can't help but feel a letdown.
Swashbuckler (1976)
Exuberantly good-natured pirate adventure sees lumbering scarlet buccaneer Robert Shaw confounding venal Peter Boyle and colonial Bahamas authorities. Gutsy Genevieve Bujold provides a suitable foil amid colorful locations and design even if visuals and plot fail to capture needed romantic sweep.
Switchback (1997)
Initially intriguing character and story strands see obsessed FBI agent Dennis Quaid track serial killer to small town where sheriff R. Lee Ermey seeks reelection, while dropout Jared Leto hitchhikes with over-friendly Danny Glover. As body count increases, action suspense mechanics lose resonant detail.
Switching Channels (1988)
Enjoyably trivial updating of The Front Page via His Girl Friday, as seasoned reporter Kathleen Turner spars with manipulative boss Burt Reynolds at a cable news channel. A good number of gags deliver, pace is kept brisk, without making a lasting impression.
Sylvie's Love (2020)
Swooningly romantic, an unfiltered view of enduring love between independent Tessa Thompson and jazz saxophonist Nnamdi Asomugha set to achingly melodic period soundtrack. Tonally inconsistent and sometimes awkwardly staged, yet messy nature elevates emotions.