The film is rich in compositions that seem to cut to the essence of the characters’ yearnings.
Flynn’s film is a lean, mean revenge thriller that could have only been made in the 1970s.
Criterion breathes new life into one of the most rapturously poetic of all American movies.
One of the film’s great strengths is how confidently it lets details speak for themselves.
The film takes the world’s addiction to self-actualization to one of its darkest implications.
A wealth of contrasting stimulation gives the film a singular and intimate atmosphere.
These three films collectively suggest a miniature narrative of Browning’s evolution as a filmmaker.
Roeg’s Don’t Look Now is driven by a crushing sense of emotional desolation.
Arrow gives one of De Palma’s most moving films the long-overdue masterpiece treatment.
For Hong, In Our Day is a gesture toward recognizing the beautiful, awful, and uncanny.
Throughout the film, Frederick Wiseman offers a suggestion of how the world could work.
Unsurprisingly, Welles doesn’t efface his artistic personality for The Trial.
As hypnotic as the film is, it’s distant, with a score to settle.
The film somehow feels tight, open and leisurely, and cloaked in dread all at once.
Most of the film’s scenes feel planted, as if Wenders is introducing exhibits in a case.
52 Pick-Up gets a sharp new presentation and some welcome bonus materials from Kino Lorber.
The film represents all of cinema’s possibilities in 106 minutes.
Almost 70 years after its initial release, The Night of the Hunter still resonates.
Lee Cronin serves up considerable gore with monotonous, po-faced earnestness.
Talk to Me consistently operates as a suggestive mood piece.