Ace in the Hole - MatthewHunt

The first project Selznick gave to Hitchcock when the director came to America â€" and it's a
ghost story. Rebecca is dead â€" and did she deserve it! Maxim is the husband she left
behind, a wreck, and "I" is the new wife. But Mrs Danvers stands guard over Rebecca's room,
her clothes and her power.
Rebel Without a Cause
(Nicholas Ray, 1955)
Knife fights, smooching with Natalie Wood, a deadly game of chicken in hot rods - it's hardly
surprising that angsty, charismatic James Dean became an icon of 50s teen alienation. Ray
handles the story of a rebellious boy's long night of the soul, and his youthful cast, with skill
and sensitivity, to create a classic tale of teenage alienation.
Red Rock West
(John Dahl, 1992)
En route to a promised job in Wyoming, Nicolas Cage is mistaken for, and pretends to be, one
"Lyle from Dallas," not knowing that Lyle is a hired contract killer. And, of course, Lyle himself
soon shows up. The movie that put Dahl on the map, and which he hasn't bettered since.
Red Sorghum
(Yimou Zhang, 1987)
It's easy to see why Zhang's debut was instruental in opening up Chinese cinema to a new
generation. He manages to tell a remarkably complex and allegory-rich story using
surprisingly little dialogue. The stunning cinematography and the presence of Gong Li renders
words superfluous anyway.
Repentance
(Tengiz Abuladze, 1984)
Full-throated satire on Stalinism issuing from glasnost-era Georgia. The corpse of a recentlydead
town mayor won't stay in its grave; as the film unspools, we come to understand the
sinister events that lie behind this surreal form of vengeance.
Repo Man
(Alex Cox, 1984)
Punk sensibility, if that isn't an oxymoron, and black humour course through Cox's low-budget
trawl through LA. Repo novice Emilio Estevez hunts the city's concrete spaces for '64 Chevy
with a shining secret in the boot - looking backwards to Kiss Me Deadly and forwards to Pulp
Fiction - and it seems like the whole of Hollywood's broken dreams are lying around as well.
Requiem for a Dream
(Darren Aronofsky, 2000)
Aronofsky followed his no-budget debut Pi with an adaptation of the Hubert Selby Jr novel
about addiction's many guises, embellishing his already itchy visual habits with new surgical
precision. Huge dilating pupils, split-screen pill-popping, fish-eye psychosis â€" the best of
New Hollywood's MTV-versed graphic mania hammers home a relentless descent into
breakdown.
Reservoir Dogs
(Quentin Tarantino, 1992)
The brash, young former videostore clerk Tarantino made no secret of his borrowings from
other Hollywood and Hong Kong thrillers for this debut movie, and yet he had transformed the
influences into something all his own. Its sheer, sexy style made him the face of the 1990s,
and he became a cult figure for imitators, admirers and detractors all over the media.
The Return of Martin Guerre
(Daniel Vigne, 1982)
A well-crafted French costume drama that inspired a Hollywood remake, Sommersby. Gerard
Depardieu brings charm and gravitas to his role as the soldier who claims to be Nathalie