The way the documentary’s interviewees matter-of-factly speak of atrocity is transcendent and intensely haunting.
This set provides an awesome cornucopia of detail and beauty—enough to honor the fastidiousness of del Toro’s exacting art.
The Living and the Dead offers the pleasure of derivative yet confidently sustained atmosphere.
The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that’s conventional.
In terms of formal orchestration, Creepy is as sublime as any prior Kiyoshi Kurosawa film.
It collapses into repetition and unintended self-parody, as it’s devoid of the subtext and empathetic audacity.
Criterion offers a correspondingly bold and beautiful transfer of one of the most astonishingly fragile and intuitive of all American movies.
The film conveys a sense of pastiche unpredictably giving way to a raw and primordially intimate emotional realm.
Park Chan-wook is a fussy, almost anal-retentive formalist at heart, and that quality serves The Handmaiden.
Aquarius is a critique of a daydream that has the imaginative daring to live that very dream anyway.
The documentary pushes through one story point to the next, occasionally prizing velocity over texture.
Mark Duplass and Sarah Paulson paint a cumulative portrait of the fragility and rareness of being truly in sync with a partner.
A civics lesson in Alison Maclean’s film tethers a promising tale of artistic toil to the strictures of melodrama.
It changes gears whenever one is lulled into believing that it has finally settled into a recognizable narrative pattern.
Cat People is a sex tragedy in horror-film drag, and Criterion has restored it to its full, brutally beautiful glory.
Joe Swanberg’s Easy is about sex, even and especially on the rare occasion when it doesn’t appear to be.
The ABC political drama Designated Survivor offers tapioca disguised as spicy contemporary cuisine.
Christophe Gans’s telling of Beauty and the Beast abounds in impersonal and unsatisfying sumptuousness.
Throughout Tanna, there’s often a sense that the narrative and the setting are at odds with one another.
The film attains a chilly existential quality as Matt Johnson’s character discerns the weight of his actions.