This lively, melancholic, quite prescient Humphrey Bogart film receives a sturdy restoration and an excellent audio commentary.
The film is simultaneously exhilarating, gorgeous, and tedious, operating as a weird fusion of auteur project and craven franchise start-up.
It offers lively and layered images that reveal the chefs both as individuals and components of a larger social organism.
One comes to distrust Gleason’s pathos, because the documentary always appears to be selling something.
This gorgeous package perfectly complements the bounty of sensory delights offered by Bava’s influential and still extraordinary giallo thriller.
The film displays an intimate chemical understanding of the exhausting and unrelentingly impotent agony of failure.
Linklater’s rowdy, sensual party odyssey is accorded a sturdy transfer that’s in dire need of a few evocative extras.
Stranger Things is competently crafted, but exists as little more than the pointless sum of its spare parts.
Herk Harvey’s Carnival of Souls has been accorded the robust and exacting Criterion treatment that it deserves.
In its second season, Mr. Robot’s aesthetic is nearing ever closer to the edge of inadvertent self-parody.
Maïwenn fashions a bracing film about co-dependency, capturing the erotic contours of subservience and flattery.
The miniseries mines our obsession with the minutiae behind the presentation and discernment of data.
It offers a visual reprieve from the cumbersomely mechanized aesthetic of so much contemporary fantasy.
The film insufficiently connects the book’s prophecy with its present-day, real-world forms of realization.
Clouds of Sils Maria is pat and self-conscious, though it’s certainly a remarkably acted formal object.
Romeo Is Bleeding projects an aura of obsessive self-consciousness that occasionally suggests the superior film that eluded its creators.
The film covers The Texas Chainsaw Massacre by way of Rob Zombie, Quentin Tarantino, and Ti West.
Independence Day: Resurgence does nothing satiric or fleetingly parodic with the notion of a world united in the midst of alien annihilation.
It infuses an outdoorsy survival tale and a coming-of-age story of friendship with Taika Waititi’s penchant for distaff flakiness.
The film shows that formula can be repurposed to serve empathetic ends without losing its self-actualizing appeal.