The film mixes a self-help message with moments of hard, cruel detail.
Criterion honors the beauty of this evocative film poem of a Japan that may be slipping away.
The film is in tune with the need to remain lucid and empathetic while in the maw of human extremity.
Michael Goi’s film comes to feel as if lacks a through line, collapsing into a series of disconnected horror-movie beats.
Kino’s restoration of Hitchcock’s first sound production happens to feature a gorgeous transfer of...a silent film.
Kevin McMullin displays a piercing awareness of the tensions that drive the dynamics of adolescent outsiders.
Vincenzo Natali’s film divests itself of stakes in the name of total meaninglessness.
First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.
Fassbinder’s trilogy is accorded a series of breathtakingly, resonantly gorgeous transfers by Criterion.
Like most of Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
Zombie discusses how he corrals his films’ furious sense of energy and how sex appeal can trump common moral sense.
The Dardennes maintain a distance from Ahmed as a way of celebrating their refusal to reduce him to any easy psychological bullet points.
Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime.
A wonderful high concept is compromised for another story of lonely people learning to connect.
Kôji Fukada adores stray textures that stick in the proverbial throat and free-associatively affirm his characters’ rootlessness.
The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.
We’ve compiled the best feature-length adaptations of King’s work, excluding the mostly mediocre TV adaptations.
Throughout, artists intermingle in scenes that have been rendered with an Altman-esque sense of personal panorama.
The film is so clichéd and scattershot as to make Copycat look like Peeping Tom by comparison.
With this extraordinary transfer, Criterion honors the profound hothouse intensity of Spike Lee’s greatest film.