Fellini's unsparing odyssey of corrosive wealth and anxious commonality is given a reliably peerless A/V transfer from Criterion, packaged with a long conga line of extras that add context and insight into one of Italian cinema's unmovable masterpieces.
Ken Russell's bracing Billion Dollar Brain gets a solid, if unspectacular, transfer (and little in the way of extras) from Kino Lorber.
The Blob improves on the original cult classic with inventive, gracefully repulsive special effects and an agreeable post-Watergate anti-authoritarian message.
Last Embrace is a minor curio from the great Jonathan Demme, but Kino's stunning 1080p transfer should more than satisfy completists of the director.
MPI dumps Roman Polanski's perversely engrossing Venus in Fur onto DVD with a reasonably strong transfer, but precious little in the way of bonus features.
Arriving in a beautiful new package from Criterion, John Ford's first postwar film attains a harmony rare in American cinema, with its formal construction and ideological constitution standing at the nexus of tradition and progression.
Sion Sono's frantic depiction of angry, confused youth is one of his strongest, most poetic works, and Olive Films does fine by the film with faithful video and excellent audio.
The conclusion of Sion Sono's Hate trilogy gets a reliably barebones but sturdy home-video release from Olive Films.
Edge of Tomorrow is an intelligent, self-reflexive summer blockbuster with an eye for castigating proliferate franchise mentalities, and Warner Home Video has provided a fantastic Blu-ray transfer to relish the film's amusingly irreverent flair.
The comically rich visual tapestry of Blake Edwards's The Party still endures, despite Kino's half-cooked 1080p transfer.
You won't feel back-stabbed by the gorgeous audio-visual transfer on Cohen Media Group's new Blu-ray of Claude Chabrol's essential Nightcap, though you may find the scant assortment of extras to be something of a betrayal.
Cotton Comes to Harlem swaggers onto Blu-ray with a superfly transfer from Kino, accompanied, unfortunately, by nothing more contextual than the trailer.
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