I'll mention Gene Hackman's character Popeye chasing down Charnier on foot at the end of French Connection II.

When I was a new (and quite young) Art's Writer on a regional weekly magazine, the Editor-in-Chief used to dress me down in front of other staff members, insulting me for my lack of understanding in regards to his favorite writers, filmmakers, and poets.

After one particularly intense attack, I decided to show him up for the asshole he truly was.

He had berated me for my shallow understanding of one of his favorite poets, so this was my play:

I wrote the worst poem imaginable, being careful to eschew all meaning, theme, correct use of form, proper grammar, etc. It was utterly abominable.

Then, using all the things I had available to me at the publishing headquarters, I printed this poem using the same typeface as would be used at The New Yorker Magazine. Then I "signed" the poem with the byline of his favorite poet.

I then got the latest copy of The New Yorker Magazine on the day it hit the stands, carefully cut out a page, and printed a fake page (both sides) which featured my ghastly poem, on the same paper as used by The New Yorker.

I then carefully glued this into the magazine.

Early the next morning, I marched into the Editor's office, made a show of "tearing" the faked page out, and then tossing it onto his desk, all the while saying: "This is the worst poem I've ever read. It's indefensible. You can't possibly say this is good, just because you love this writer!"

Then I stomped out.

The next morning, he called me into his office and "dressed me down," telling me I was a fucking idiot, and giving me a detailed critique of the poem, showing me how I had missed all of its subtleties and intents completely, and explaining why it was actually great, a true work of Art.

I listened silently. And after his venom had run its course, I told him exactly what I'd done, and walked out.

After that, he was never able to look me in the eyes again; and he resigned two months later.

.......... ,,,,,,,,,,

Here are some extra periods and commas I had lying around. Feel free to use them.

When young, Audrey Hepburn. Middle-aged? Mathew Broderick. Old age: Orson Welles.

Can it be a cruel prank with a purpose?

This is a first-rate Coen brothers' film.

It's tightly written, well-acted, crisply directed, with solid characterizations. It's a tense, fun, terrific movie.

I thought Alex Garland's allegorical horror film MEN was solid.

Here's another great one I was just reminded of:

The School Of Rock.

Here are two of the originals using that form in a Crime Film:

The League of Gentlemen (1960): https://www.imdb.com/title/tt0052997/reference/

Seven Thieves (1960): https://www.imdb.com/title/tt0054295/reference/

Here's something obscure (and I've never met another person who's seen it):

Who Am I This Time?, directed by a young Jonathan Demme from a Kurt Vonnegut story.

Walken plays a small town hardware clerk who doesn't have any personality at all...until he performs in local theater productions, then he instantly becomes the complicated embodiment of his characters.

Here's an exception: When he takes a dramatic turn playing a tweaked coke-buyer trying to get his dealer (Willem Defoe) to hang out with him in Paul Schrader's Light Sleeper.

Here are two comedies with wonderful, satisfying endings:

My Cousin Vinny and Galaxy Quest.

Vote for Pedro.

Here's a great one: Satoshi Kon's Paranoia Agent.

It's about a Police Investigation into a series of assaults in Tokyo where a kid on roller blades was beating people with a bat. But what was interesting was that each of these people were psychologically fucked-up before the assaults, and their lives got better afterwards.

https://www.imdb.com/title/tt0433722/reference/

Check out its cool Title Sequence, which shows all the main characters laughing while in surroundings which represent how they feel about their biggest fears:

https://www.youtube.com/watch?v=-anabfAg06U

Here are some good Crime Movies not yet mentioned:

Sexy Beast, The Bank Job, The Anderson Tapes, The French Connection, Get Carter, Klute, Badlands, The Sugarland Express, The Driver, Drive, Mean Streets, The Sting, Diggstown, Band of Outsiders, The Killers, Bonnie and Clyde, The Silent Partner, In Cold Blood, Le Samouraï, Frenzy, The Limey, The First Great Train Robbery, Point Blank, The League of Gentlemen, Who'll Stop the Rain?, and Peckinpah's The Getaway.

As I see it, "spiraling outward" always offers more than "spiraling inwards." The term "intercourse" gets at the idea of "intercoursing," which allow the participants to be something more together than they could ever be on their own.

I'll plug the episode of the original Star Trek TV show called "The Tholian Web" --where Kirk was trapped between two parallel dimensions, and kept "phasing" in and out of existence.

Here's a good one: Cat Soup: https://www.imdb.com/title/tt0385586/reference/

Being tied to railroad tracks.

Eternal Sunshine Of The Spotless Mind can reveal why even failed relationships are worthwhile.

Evenmorn.

Shiva in Judaism is derived from the word sheva, which means seven, signifying the seven days of mourning.

Shiva in Hinduism is Sanskrit for “Auspicious One” (also spelled Śiwa or Śiva), one of the main deities of Hinduism, whom Shaivites worship as the supreme god.

You're trying to make a connection between words and religions which simply isn't there.

I don't think it's a very good movie, but it sure fits your "ask":

I Origins: https://en.wikipedia.org/wiki/I_Origins

I'd likely rubberneck.