This Halloween, let’s break down the enduring power and laughs of SHAUN OF THE DEAD, Edgar Wright’s 2004 masterpiece all about, yes, a zombie apocalypse, but also about the dangers of arrested development, and how growing up is more of a choice than a natural process.

This week, I close out my series on Steven Spielberg’s 90s filmography by looking back on the legacy of his other WWII epic of the decade. The opening is famously visceral and brutal, but it’s more than just a gimmick: it’s crucial to setting the stakes of the movie’s titular decision, one dramatized by an all-star cast and a director still at the top of his game.

Long from the glow of his triumphant SCHINDLER’S LIST, Steven Spielberg’s return to the historical epic is a well-meaning step down. AMISTAD tells a story that deserves to be told, but does it in the most streamlined, Hollywood-safe way that it feels more like a history lesson than a dramatic film. Djimon Honsou good, tho.

This week, we review Hollywood’s return to the prehistoric island that changed 90s filmmaking with the awkwardly-titled THE LOST WORLD: JURASSIC PARK. A regretful Steven Spielberg is kind of sleep-walking through this, and assembling a new cast around the returning Jeff Goldblum doesn’t recapture the magic of the first go-around. But, are there still enough individual thrills to justify this sequel? Kind of?

This week, we cover the movie that forever altered Steven Spielberg’s legacy. SCHINDLER’S LIST proved that the director synonymous with family entertainment could find another gear, taking an intensely personal story and depicting it with an unflinching, brutal eye. It’s an astounding piece of work that has generated discussion for the thirty years since, even if it has its legitimate detractors among the Jewish community.

This week, we revisit perhaps the most popular movie Steven Spielberg ever made. Let’s take a trip to JURASSIC PARK! Even though this is technically a part of yet another Spielberg Summer series, it’d be malpractice not to turn our eye to the work that the recently-deceased Sam Neill puts in here. The movie is almost unimaginable without him; let’s drill into why.

This week, my look back at movies from 1967 I had never seen concludes with BONNIE AND CLYDE, a Depression-era crime piece that reflects back at us our own uncertain economic times (both in 1967 and today), as well as our ability to overlook criminality in the name of excitement, charm and thrill.