Thomas Jane’s dramatization of rage is shrewdly comical in its overt and ultimately moving über-manliness.
Richard Turner is a charismatic subject who demands more than a conventionally entertaining documentary.
Leatherface may as well have been overseen by any hipster looking to make a mark at Platinum Dunes.
Criterion offers a rough and gorgeous transfer of Welles’s audaciously personal Othello.
Alexandre O. Philippe’s 78/52 comes to life when riffing on the psychosexual perversity of Alfred Hitchcock’s Psycho.
Director Natalia Leite’s ambition and accompanying uncertainty give the film its unruly and resonant energy.
It presents patterns in suicidal people while according them humanity, which isn’t a small accomplishment.
Kino Lorber issues a slim but attractive restoration of John Irvin’s nasty and woefully underappreciated crime thriller.
Blade Runner 2049 is so terrified of disreputability that it renders itself dead from the waist down.
Criterion’s restoration of a horror masterpiece achieves a nearly contradictory state of ghostly clarity.
Andrei Konchalovsky’s film is more than an exercise, as pitiless moments accumulate with enraged relentlessness.
Criterion emphasizes sensorial texture over context, with a sparse supplements package that leaves quite a bit to the imagination.
The Criterion Collection honors the ghostly delicacy of a new classic of American loneliness.
It look both old and new, subtly insisting that our hopeful and tortured past is also possibly our present.
A good transfer and a great audio commentary pivotally contextualize this neurotic and lastingly influential American melodrama.
John Carroll Lynch’s Lucky is an impeccably acted yet sentimental film that’s bashful about said sentimentality.
Mike Flanagan’s Gerald’s Game is the rare Stephen King adaptation to be undone by the story itself.
Throughout the festival, audiences were occupied with the distinctions between fiction and reality.
Loving Vincent is driven by an off-putting and oxymoronic fusion of reverence and egotism.
It predictably utilizes Facebook to superficially spit-shine another wanly Americanized J-horror retread.