Celebrating great films, uncut and commercial-free, since April 14th, 1994.
For 31 Days of Oscar, we're looking at Joan Crawford and how 'Mildred Pierce' marked a turning point in her career from being typecast in MGM roles to her glorious comeback role that ultimately earned her an Oscar for Best Actress.
In February 2023, TCM is shining a spotlight on screwball comedies, and so in this episode of Film 101, we're focusing on three from the charming duo of Katharine Hepburn and Cary Grant--Bringing Up Baby (1938), Holiday (1938), and The Philadelphia Story (1940).
This January, TCM is shining a spotlight on car chases, and in this episode of Film 101, we're tracing the evolution of this particular set piece. Join us as we look at what Bullitt (1986), The French Connection (1971), and Mad Max: Fury Road (2015) have to say about the characters behind the wheel.
Learn more about director Ida Lupino and how her final film, The Trouble with Angels (1966), may seem like a departure, but fits it nicely with the themes of her previous features.
Orson Welles' 1958 spellbinding noir 'Touch of Evil' has one of the most famous opening shots in cinema history. In this episode of Film 101, we breakdown the intricate continuous shot to point out how Welles lays the foundation for the rest of the movie in less than four minutes.
What was the Hollywood Blacklist? How did this dark chapter of Hollywood history unfold? In the first episode of our new YouTube series, Film 101, we take a look at who participated in blacklisting Hollywood talent, who fought back, and the lasting repercussions.
For a sense of soaring joy on the screen, nothing competes with the moment when a great Hollywood dancer takes…
The critics panned them, the church banned them, but audiences couldn’t get enough. In June of 1997, TCM presented this…
Boxing has been the subject of more movies than any other sport, and it’s easy to see why. The fight…
Hollywood’s feistiest women playing the roles that put them front and center in melodramas, romances, musicals, film noir, comedies, westerns…
All the films featured on TCM's Musical Matinees hosted by Dave Karger. Catch it on Saturday afternoons at Noon! Let…
For over a hundred years, the Western has been the most classically American of film genres with its wide-open landscapes,…
WATCH: Actress and Filmmaker Maggie Gyllenhaal shares the classic influences behind her latest film, THE BRIDE! (2026) which takes inspiration from Mary Shelley's acclaimed novel, the film THE BRIDE OF FRANKENSTEIN ('35), and so much more.
WATCH: Oscar-nominated filmmaker Paul Thomas Anderson sits down with TCM’s Ben Mankiewicz to discuss The Battle of Algiers (1966), sharing why the film left a lasting impression and how it influenced One Battle After Another.
Amy Madigan, who received an Oscar nomination for her performance, told TCM's Dave Karger that part of her characterization of Aunt Gladys was inspired by Bette Davis in WHATEVER HAPPENED TO BABY JANE?
See the full interview here.
"I think it's one of the most profound love stories of all time because it's difficult," director Emerald Fennell spoke to us about her adaptation of WUTHERING HEIGHTS.
See the interview here
I mostly love this movie from a historical perspective. King Vidor virtually funded this by himself because he wanted to see it made due to his admiration of black culture. It's one of the least embarrassing depictions of African Americans from its time period, and God bless Nina Mae McKinney for being a beautiful boss (and the first black woman to have a studio contract). It's not the best representation of course, because it's still from a white man's 1929…
Can’t remember what they were reviewing but I have a very clear memory of Gene Siskel saying “they could put the missing reel of The Magnificient Ambersons in the middle of this movie and I still wouldn’t recommend it!”
I think about that line a lot.
The rare Hollywood comedy that manages to be actively unpleasant at times (and always wildly inconsistent in tone), everything about Blondie of the Follies becomes clear when you find out that William Randolph Hearst’s obsessive fingerprints are all over it. Much like Howard Hughes with basically everything, Hearst’s desperate need to micromanage Marion Davies’ career undermined it terribly, and kept her from achieving the long-terms greatness for which her immense talent had positioned her.
In the specific case of Blondie of…
Dyan Cannon’s manic pixie performance stole the show. Then James Coburn’s acerbic virility, followed by Joel Schumacher’s ultra-70s costumes. Murder, He Wrote.
