The sight of Rossellini’s war trilogy remastered in HD will be cause alone for some to double dip.
If you’re looking to step into a rain shower before diving headfirst into Jacques Demy’s cinematic pool, this wonderful release is the best place to start.
For a three-hour, epoch-ending epic made by a comedy neophyte, it yields a treasure of showbiz lore on a par with the loot buried under the Big W.
It’s presented in close-to-ideal context and the best possible digital quality, while preserving the look and sound of its original incarnation.
This symphony of pristine 4K images doesn’t add up to one grand epiphany, but an intermittent cluster of small ones.
Dino Risi’s well-cast leads can’t quite sell his heavy-handed irony as truths about masculine character.
While no classic of anti-establishment comedies, Richard Lester’s swashbuckling spoof gets by on star power and perpetual motion.
It chronicles the quest of a self-described “geek,” and there are pleasurable frissons of discovery in the detective work.
This pair of hour-long docs depicts a community of agrarian or hard-laboring citizens without condescension and with a touch of populist poetry.
Bille August’s film is a protracted, soporific trip into Portuguese history that would like to be a romantic thriller.
Criterion issues this nakedly political satire-thriller with scrupulous attention to its makers’ intentions and the film’s place in European film history.
D.W. Griffith’s masterpiece, likely the most influential film ever made, has been given new life with a gold-standard digital cleanup.
While the backstory of this enormously popular hit isn’t served by the barebones package, the charms of its superstar leads and utopian approach to social problem-solving is hard to resist.
This methodically balmy version of the dramatic poem often lurches about at a remote, enigmatic distance.
LisaGay Hamilton and Yolonda Ross persuasively embody modern urban feminine strength, but they’re eventually stranded in a recycled road movie.
This Polish “gay priest tempted” drama is almost as confused about the moral quandaries of its characters as they are.
The film doesn’t temper enough of Cormac McCarthy’s excesses, but Ridley Scott and his ensemble find enough meat in the scenario to make for diverting, bloody pleasure.
Jacques Demy and Michel Legrand’s reinvention of the movie musical has tinsel, Technicolor, and a beating, broken heart.
It’s a pity that it hews to sitcom-like formula rather than using this bank of knowledge and sympathy to create something more original.
An unnerving, all-archival account of Philadelphia citizens suddenly terrorized by the unchecked violence of rogue “law and order.”