Stanley Kubrick’s Paths of Glory gets a superlative 4K transfer and an enlightening commentary track from Kino Lorber.
It took a dozen years, but we finally get a transfer that does full justice to the glory of this most sumptuous of all Technicolor films.
The film remains a hilarious, inventive, and moving paean to the vaudevillian era.
The film is an oddly timeless comparison of stardom and totalitarianism, mass entertainer and mass murderer, director and dictator.
Tokyo Story perhaps most clearly illuminates that Yasujirô Ozu is not the most Japanese of filmmakers, but the most human.
Even if Tangled is not one of Disney’s greatest achievements, it’s at least a heartfelt rendering of a classic fairy tale.
For better and worse, Paths of Glory is Exhibit A in defense of Stanley Kubrick against those who think he lacks human feeling.
At its heart, The Bridge on the River Kwai is a study of human will.
Jacques Tati’s Mon Oncle is, above all, a triumph of art direction.
These films offer a blueprint to the evolution of Kurosawa as an artist and the continuity of his style, windswept landscapes and all.
Though the film may be a celebration of the 1950s consumerist status quo, Howard Hawks subverts conventional social mores.
Criterion's release of The Red Shoes is the stuff that fairy tales are made of.
The transition of his character into the Establishment in Easy Street identifies a critical component of his characterization of the Tramp.
This is the film that most definitively silences critics who claim that Chaplin’s movies aren’t cinematic.
The film feels bound to the page, with a lot of compelling ideas about immigration and latter-day urban decay that are never given much dramatic shape.
What distinguishes Happiness Runs is its take on adolescents rebelling against non-conformity.
Ride with the Devil appeals more to the ears than the eyes and is more literate than cinematic.
The film offered no indication whatsoever that the animation renaissance of the ’90s awaited Disney.
It’s time to take Potemkin out of the lecture hall, out of the museum, and recognize it for the vital, alive piece of cinema it is.
Niko von Glasow makes the right choice to not merely make yet another corporate-crimes documentary.