Wong Kar-Wai is considered influential. In the Mood for Love (2000) was a big commercial success for him. How does it compare to Wong Kar-Wai’s other work?
Behind the Mask supposes that the horror stories that haunt Elm Street or Crystal Lake are elaborate hoaxes which elevate their authors to legendary status.
David Ehrenstein condemns melodramas like Coming Home for perpetuating the illusion that they can affect social change instead of creating real change.