turn the tables on his ex. It highlights equality in the most unexpected of ways: a sad, lost soul who turns to vengeance to balance the scales of justice. His success is equal parts cathartic and tragic, a tale of revenge served incredibly cold that has a more profound impact on Karol than it does his victims.

Red is the most acclaimed of the trilogy, in which Kieslowski looks at the meaning of fraternity by presenting a group of characters with nothing in common whose lives become entwined. The core of the story has young Valentine (Irene Jacob) encounter a reclusive, sullen retired judge named Kern (Jean-Louis Trintignant). Despite his glum personality and detached behavior, Valentine continually finds herself visiting him, trying to uncover the humanity he’s worked sorock star who goes thirty years back in time, saves his parents and transforms his loser family unit into a happy, loving, successful household. He gets the girl (though technically, he never lost her), prevents his best friend from dying, and saves the day. He even invents rock ‘n’ roll. It was a box office triumph.

Back to the Future Part II had impossibly high expectations to live up to, but its main story arc suffered from a lack of creativity and remake fever (the wholly unnecessary return trip to 1955). On the other hand, time and distance have bestowed Part II‘s first act with rose-colored glasses, as all of its ideas about the future have embedded themselves permanently into our everyday vernacular: hoverboards, wearable technology, flatscreen televisions, smart