Soderbergh’s formal gamesmanship enlivens what could have been a stodgy scenario.
Shot through with darkly existentialist humor, the film finds Aubrey Plaza throwing a gauntlet to filmmakers who have typecast her in the past.
Julia Hart drains the crime film genre of its macho bluster without replacing it with anything.
The big disappointment of the film is that McCarthy’s performance is all Jekyll and no Hyde.
One of the tensions driving the film is a question of its subject’s self-awareness.
Criterion’s exacting presentation of Scorsese’s late-inning masterpiece is a testament to the enduring value of physical media.
Kino outfits the despairing, pioneering film with a beautiful transfer and one of the best audio commentaries of the year.
Kino outfits Siegel’s underrated gothic masterpiece with an appropriately luscious restoration.
Eastwood’s directorial debut is a thriller with the loose, impressionistic swing and free-floating sting of a midnight jazz song.
If it weren’t so airless, it’d be easier to appreciate Fatman as a character study of Santa’s midlife woes.
Mank’s most haunting sequences are self-contained arias in which characters grapple with their powerlessness.
This supernatural fable elevates the subtext of Bryan Bertino’s earlier work to the level of text.
Nothing hinders surrealism more than the sense that its creators are actively working for it.
Director Max Winkler truly seems to believe that he’s cutting to the heart of the boulevard of broken dreams.
Kino outfits one of Eastwood’s bleakest westerns with a sturdy transfer that honors its savage beauty.
This disc sheds light on an underrated, mournful western that anticipated the genre’s revisionism roughly a decade later.
Nayman’s discussion of Anderson’s ellipses implicitly cuts to the heart of why some critics and audiences resist Anderson’s work.
The film’s purposeful archness challenges the sentimentality that marks many a film and real-life ceremony.
Elan and Rajeev Dassani’s Evil Eye has no set pieces, jokes, or surprises.
In French Exit’s best passages, sadness and curt, resonant comedy exist side by side unceremoniously.