This neurotic psychodrama in monster-movie clothing is accorded a deservedly top-notch A/V presentation.
Arrow Video has achieved the seemingly impossible, culling together an ultimate edition of an endlessly reissued cult classic.
It displays a vivid awareness of how domestic routines can spiritually ground one during a time of demoralizing chaos.
The premise of director Michael Winterbottom’s series has devolved from moderately diverting to actively stifling.
Criterion is resurrecting Curtiz’s reputation and legacy, illustrating to young cinephiles that there’s more to this underrated director than Casablanca.
A slim and somewhat inconsistent package, though Fuller’s poignant and dynamic film is still a beautiful sight to behold.
On the occasion of the release of Detroit, we look back at the filmmaker’s kinetic body of work.
Criterion’s restoration of Lost in America is important for rightfully contextualizing the film as an American masterpiece.
Clint Eastwood’s Unforgiven brought the revisionist revenge film into the 1990s and, by extension, the 21st century.
The filmmaker discusses the stories that hide in between the lines of art.
The seeming miracle of Columbus is its mixture of formal precision with a philosophical grasp of human mystery.
Katherine Dieckmann’s film is beholden to a studiously weird narrative that’s governed by formula screenwriting.
The film is so humorless and in love with its own obviousness that it grows laughable.
This is history that we should know, and the filmmakers approach Rumble as an introductory survey course.
A preoccupation with the totemic materiality of cinema runs through Michael Almereyda’s documentary.
There’s something remote and stiflingly preordained about Mark and Jay Duplass’s series.
As in Gillian Robespierre’s prior collaboration with Jenny Slate, the film’s studied amiability becomes obnoxious.
One of the most beautiful and mysterious of all existentialist adventure films receives a deservedly lush and subtle transfer.
Whatever its faults, such an edition of the violent, well-acted, yet emotionally monotone The Hunting Party would’ve been unimaginable once.
Writer-director Marti Noxon understands that the only truthful ending to this story is no ending.