🎬 Baltimore Revival Cinema

Mike Myers wrote and stars in this 1997 spy spoof directed by Jay Roach, lampooning 60s Bond films with inspired silliness and genuine comedic commitment. Myers pulls double duty as both the swinging, clueless Austin and his villain Dr. Evil, and that dual performance is where the real magic lives. The jokes hit harder than you'd expect from a parody, and Dr. Evil's therapy scene alone is worth the runtime.

Mike Myers wrote and stars in this 1997 spy spoof directed by Jay Roach, lampooning 60s Bond films with inspired silliness and genuine comedic commitment. Myers pulls double duty as both the swinging, clueless Austin and his villain Dr. Evil, and that dual performance is where the real magic lives. The jokes hit harder than you'd expect from a parody, and Dr. Evil's therapy scene alone is worth the runtime.

Mike Myers wrote and stars in this 1997 spy spoof directed by Jay Roach, lampooning 60s Bond films with inspired silliness and genuine comedic commitment. Myers pulls double duty as both the swinging, clueless Austin and his villain Dr. Evil, and that dual performance is where the real magic lives. The jokes hit harder than you'd expect from a parody, and Dr. Evil's therapy scene alone is worth the runtime.

John Avildsen's 1984 classic follows a bullied teen who learns karate from his enigmatic handyman neighbor. Pat Morita and Ralph Macchio nail the mentor-student bond with real warmth and zero cheese. The crane kick ending still lands after 40 years.

John Avildsen's 1984 classic follows a bullied teen who learns karate from his enigmatic handyman neighbor. Pat Morita and Ralph Macchio nail the mentor-student bond with real warmth and zero cheese. The crane kick ending still lands after 40 years.

John Avildsen's 1984 classic follows a bullied teen who learns karate from his enigmatic handyman neighbor. Pat Morita and Ralph Macchio nail the mentor-student bond with real warmth and zero cheese. The crane kick ending still lands after 40 years.

John Waters, 1994. Kathleen Turner plays a picture-perfect Baltimore housewife who murders people for minor etiquette violations — not recycling, wearing white after Labor Day. Turner is terrifyingly funny and fully committed, and the film skewers suburban respectability without ever blinking.

John Waters, 1994. Kathleen Turner plays a picture-perfect Baltimore housewife who murders people for minor etiquette violations — not recycling, wearing white after Labor Day. Turner is terrifyingly funny and fully committed, and the film skewers suburban respectability without ever blinking.

John Waters, 1994. Kathleen Turner plays a picture-perfect Baltimore housewife who murders people for minor etiquette violations — not recycling, wearing white after Labor Day. Turner is terrifyingly funny and fully committed, and the film skewers suburban respectability without ever blinking.

John Carpenter, 1982. A research team in Antarctica gets picked apart by a shapeshifting alien that can look like anyone. Ennio Morricone's score, practical effects that still hold up, and a paranoia that never lets up — the ending will mess with you for days.

John Carpenter, 1982. A research team in Antarctica gets picked apart by a shapeshifting alien that can look like anyone. Ennio Morricone's score, practical effects that still hold up, and a paranoia that never lets up — the ending will mess with you for days.

John Carpenter, 1982. A research team in Antarctica gets picked apart by a shapeshifting alien that can look like anyone. Ennio Morricone's score, practical effects that still hold up, and a paranoia that never lets up — the ending will mess with you for days.

Charles Walters, 1948. Judy Garland and Fred Astaire dance their way through 17 Irving Berlin numbers, and somehow it never feels like too many. Garland's "Better Luck Next Time" alone is worth the runtime.

Charles Walters, 1948. Judy Garland and Fred Astaire dance their way through 17 Irving Berlin numbers, and somehow it never feels like too many. Garland's "Better Luck Next Time" alone is worth the runtime.

Dean Parisot's 1999 sci-fi comedy casts washed-up TV actors accidentally recruited by real aliens who mistook their show for historical documents. Tim Allen, Sigourney Weaver, and Alan Rickman nail every beat — sincere enough to work as actual sci-fi, sharp enough to skewer it. Rickman delivering Shakespearean gravitas while wearing a rubber head is worth the runtime alone.

Dean Parisot's 1999 sci-fi comedy casts washed-up TV actors accidentally recruited by real aliens who mistook their show for historical documents. Tim Allen, Sigourney Weaver, and Alan Rickman nail every beat — sincere enough to work as actual sci-fi, sharp enough to skewer it. Rickman delivering Shakespearean gravitas while wearing a rubber head is worth the runtime alone.

Dean Parisot's 1999 sci-fi comedy casts washed-up TV actors accidentally recruited by real aliens who mistook their show for historical documents. Tim Allen, Sigourney Weaver, and Alan Rickman nail every beat — sincere enough to work as actual sci-fi, sharp enough to skewer it. Rickman delivering Shakespearean gravitas while wearing a rubber head is worth the runtime alone.

Rob Reiner, 1992. Cruise and Demi Moore defend Marines accused of murder, but it's Nicholson's courtroom explosion that owns the whole film. The script is Sorkin at his sharpest — every scene is a chess match.

Frank Oz directs this 1984 gem where Kermit and the gang hustle Broadway to stage their college show. The romance between Kermit and Miss Piggy finally lands, and the Muppet Babies dream sequence alone is worth your time. Spoiler: they actually get married.

Frank Oz directs this 1984 gem where Kermit and the gang hustle Broadway to stage their college show. The romance between Kermit and Miss Piggy finally lands, and the Muppet Babies dream sequence alone is worth your time. Spoiler: they actually get married.

Rob Reiner, 1986. Four boys walk 50 miles to see a dead body and somehow it becomes the most honest film about childhood friendship ever made. River Phoenix alone is worth the runtime.

Rob Reiner, 1986. Four boys walk 50 miles to see a dead body and somehow it becomes the most honest film about childhood friendship ever made. River Phoenix alone is worth the runtime.

Rob Reiner, 1986. Four boys walk 50 miles to see a dead body and somehow it becomes the most honest film about childhood friendship ever made. River Phoenix alone is worth the runtime.

Elia Kazan, 1954. Brando plays a washed-up boxer tangled in mob corruption on the New Jersey docks — and delivers what many consider the greatest screen performance ever captured. "I coulda been a contender" didn't become a cliché by accident.

Elia Kazan, 1954. Brando plays a washed-up boxer tangled in mob corruption on the New Jersey docks — and delivers what many consider the greatest screen performance ever captured. "I coulda been a contender" didn't become a cliché by accident.

Elia Kazan, 1954. Brando plays a washed-up boxer tangled in mob corruption on the New Jersey docks — and delivers what many consider the greatest screen performance ever captured. "I coulda been a contender" didn't become a cliché by accident.

Sidney Lumet's 1978 all-Black reimagining of Wizard of Oz transplants Dorothy to a neon-drenched, funk-soaked New York City. Diana Ross, Michael Jackson, and Lena Horne bring serious star power, and Quincy Jones's score hits different every time. The Emerald City sequence alone is worth the runtime.

Sidney Lumet's 1978 all-Black reimagining of Wizard of Oz transplants Dorothy to a neon-drenched, funk-soaked New York City. Diana Ross, Michael Jackson, and Lena Horne bring serious star power, and Quincy Jones's score hits different every time. The Emerald City sequence alone is worth the runtime.

Sidney Lumet's 1978 all-Black reimagining of Wizard of Oz transplants Dorothy to a neon-drenched, funk-soaked New York City. Diana Ross, Michael Jackson, and Lena Horne bring serious star power, and Quincy Jones's score hits different every time. The Emerald City sequence alone is worth the runtime.

David Zucker's 1988 spoof is relentless joke-per-minute comedy done right. Leslie Nielsen plays Detective Frank Drebin with a completely straight face, which makes everything funnier. The baseball stadium finale alone is worth the whole runtime.

David Zucker's 1988 spoof is relentless joke-per-minute comedy done right. Leslie Nielsen plays Detective Frank Drebin with a completely straight face, which makes everything funnier. The baseball stadium finale alone is worth the whole runtime.

David Zucker's 1988 spoof is relentless joke-per-minute comedy done right. Leslie Nielsen plays Detective Frank Drebin with a completely straight face, which makes everything funnier. The baseball stadium finale alone is worth the whole runtime.

Robert Aldrich, 1955. Mike Hammer chases a mystery box that turns out to be the last thing anyone should've wanted to find. Brutal, weird, and way ahead of its time — noir that goes full apocalyptic before the credits roll.

Robert Aldrich, 1955. Mike Hammer chases a mystery box that turns out to be the last thing anyone should've wanted to find. Brutal, weird, and way ahead of its time — noir that goes full apocalyptic before the credits roll.

Robert Aldrich, 1955. Mike Hammer chases a mystery box that turns out to be the last thing anyone should've wanted to find. Brutal, weird, and way ahead of its time — noir that goes full apocalyptic before the credits roll.

John Waters, 1990. Johnny Depp plays a greaser rebel in a pitch-perfect parody of 50s teen movies, complete with cry-off competitions and choreographed gang fights. Ricki Lake, Iggy Pop, and Traci Lords round out a cast that commits fully to the bit.

John Waters, 1990. Johnny Depp plays a greaser rebel in a pitch-perfect parody of 50s teen movies, complete with cry-off competitions and choreographed gang fights. Ricki Lake, Iggy Pop, and Traci Lords round out a cast that commits fully to the bit.

John Waters, 1990. Johnny Depp plays a greaser rebel in a pitch-perfect parody of 50s teen movies, complete with cry-off competitions and choreographed gang fights. Ricki Lake, Iggy Pop, and Traci Lords round out a cast that commits fully to the bit.

Lloyd Kaufman's 1984 splatter comedy follows a nerdy mop boy who falls into toxic waste and becomes a hideously deformed superhero. Shot in Troma's signature gleefully gross style, it's cheap, chaotic, and completely committed to its own insanity. The film that launched a franchise and proved you don't need a budget to leave an impression.

Lloyd Kaufman's 1984 splatter comedy follows a nerdy mop boy who falls into toxic waste and becomes a hideously deformed superhero. Shot in Troma's signature gleefully gross style, it's cheap, chaotic, and completely committed to its own insanity. The film that launched a franchise and proved you don't need a budget to leave an impression.

Lloyd Kaufman's 1984 splatter comedy follows a nerdy mop boy who falls into toxic waste and becomes a hideously deformed superhero. Shot in Troma's signature gleefully gross style, it's cheap, chaotic, and completely committed to its own insanity. The film that launched a franchise and proved you don't need a budget to leave an impression.

Carl Reiner's 1979 comedy launched Steve Martin as a movie star, and he earns every second of it. Martin plays a hopelessly naive man discovering the world for the first time, with physical gags that still land perfectly 45 years later. The thermos bit alone is worth the whole runtime.

Carl Reiner's 1979 comedy launched Steve Martin as a movie star, and he earns every second of it. Martin plays a hopelessly naive man discovering the world for the first time, with physical gags that still land perfectly 45 years later. The thermos bit alone is worth the whole runtime.

Carl Reiner's 1979 comedy launched Steve Martin as a movie star, and he earns every second of it. Martin plays a hopelessly naive man discovering the world for the first time, with physical gags that still land perfectly 45 years later. The thermos bit alone is worth the whole runtime.