Amazeballs

The first shock of 28 Days Later, before you know a Rage virus from a droplet of Thames rain, is Cillian Murphy, shivering into sentience among the plastic flowers of a London hospital, naked as Adam and just as raw. It’s a beginning unclothed in every sense, stripping away the reassuring illusions of civilization as effectively as the virus that, we come to learn, has erased all the comforting bustle of the city. Danny Boyle has always been a kinetic filmmaker, one who moves with the pulse of the streets and the shuffle of fast-talking characters, but here, those streets are hauntingly, disturbingly empty. The effect is eerily transformative: in 2002, this was less an apocalypse than a waking dream.

In the chilling landscape of South Korean cinema, Park Chan-wook’s Sympathy for Mr. Vengeance emerges as a haunting exploration of the human psyche entangled in the web of moral ambiguity.

The 2002 adaptation of "The Count of Monte Cristo," directed by Kevin Reynolds, offers a compelling interpretation of Alexandre Dumas's classic tale.