A sturdy transfer and little else, but fans will still happily add this retro slice of practical effects geekery to their shelves.
For fans of 1980s-era horror cinema, this is surely one of the home release events of the year.
At least it doesn’t make the mistake of attempting to check off every moment of a man’s life over the course of a few hours.
Riffing on early portions of Thomas Harris’s novel of the same name, Hannibal is similarly liberated by its protagonist’s unmasking.
The film’s subtitle is apropos, as this is a decidedly locked-down and lead-footed talk-o-rama.
Throughout, Saverio Costanzo hypocritically drapes his scenes in a cloak of faux-empathy.
Sense8 suggests a night spent watching as the show’s creators channel-surf back and forth through eight mediocre genre films.
As in Room 237, the subject of obsession is complemented by a despairing attempt to process it, corral it, and somehow conquer it.
Appropriately, the film’s images suggest flashes of memory relived from the vantage point of the future.
A must-buy for the beautiful aural/visual rendering of one of Fassbinder’s gentlest, most direct films.
Samuel Fuller’s Pickup on South Street is an amazing example of what might be called noir jazz.
It seizes upon physical training as a resonant metaphor for the work and risk that are inherent in cultivating interpersonal connections.
Nightingale is first an intellectualized puzzle, and a portrait of a man losing his mind a very distant second.
Tom Six has achieved the seemingly impossible: He’s made a film even less watchable than The Human Centipede II.
Eastwood’s visceral, divisive war film receives a top-shelf A/V presentation, though be sure to skip the dull puff pieces masquerading as extras.
Evocative performances and sporadically astute direction enliven a film that’s too often overstuffed with plodding, literal-minded humanism.
Harley Davidson and the Marlboro Man remains a legendary title in search of a film to match it.
The film’s problem is familiar to sporadically involving crime procedurals: It’s just good enough to inspire wishes that it were better.
Andrew Niccol has awkwardly shoehorned in broad talking points from various sides of the drone controversy.
Bessie is remarkably poignant, even if that resonance is somewhat disreputable.