This is a beautiful refurbishing of one of Jarmusch’s more uneven films, which is still a must-see for a handful of beautiful performances.
Eddie Alcazar’s film is a purposefully inscrutable, wandering, disconnected, symbolic, and highly precious mood bath.
The filmmakers are interested in world building only as a pretext for maintaining a tone of non-contemplative ennui.
The film goes down easy because it saves the self-improvement clichés for the homestretch.
The final season fulfills the possibilities of the show’s concept, informing it with humanist fury.
The film seeks to elevate genre clichés by slowing down the speed with which they’re typically offered.
The film is often quite moving in spite of its evasions, suggesting a real-life Charlotte’s Web.
Criterion has beautifully restored two glorious action epics, allowing Chan’s formal audacity to shine.
The film essentially indulges in the same act of willful distractedness as Ted Bundy’s admirers.
Throughout, Ellis waves a broadsword at political correctness.
Zhang viscerally unites musical and action forms, underscoring their similarity as celebrations of movement.
Ant Timpson’s feature debut is a crazed parody of the self-pity inherent in familial resentments.
Appearing to recognize the flimsiness of her material, Roxanne Benjamin overcompensates with insistent direction.
The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge.
Willem Baptist’s film is a free-form essay on the spiritual differences between analog and digital.
Nia DaCosta indulges one of rural quasi-thriller’s most tiresome gambits: humorlessness as a mark of high seriousness.
There are no real supplements on this disc, but Eastwood’s eccentric and moving film speaks quite well for itself.
Forget Dog Day Afternoon, as the film doesn’t even clear the bar set by F. Gary Gray’s tense and exciting The Negotiator.
The miniseries at least gives ample space for Sam Rockwell and Michelle Williams to richly inhabit their characters.
Its refusal to commit to its passing fancies is a highly intentional declaration of Qiu Sheng’s arthouse bona fides.