The idle one-thing-after-another-ness of Mandibles is evocative, disturbing, and moving.
Samuel Fuller’s diamond-hard yet poignant crime classic receives a wonderful transfer and a somewhat warmed-over extras package.
Streetwise and Tiny: The Life of Brockwell are social documents as searingly personal street art.
Mama Weed is intended to wash over you, leaving good vibes in its wake, but it doesn’t challenge Isabelle Huppert or the audience.
Starring Nicolas Cage in a surprisingly subdued performance, Pig is a revenge film that’s ultimately about the futility of vengeance.
No Sudden Move mixes an old-school 1950s noir with a modern sense of social self-consciousness.
Zola earns its cutting observations about how social media encapsulates culture’s ability to commercialize anything.
The film is a muddle of clichés and unremarkable action sequences that bleed together into a cacophony.
The film becomes unexpectedly, effectively violent just when you’ve written it off as a glorified SNL sketch.
Morgan Neville’s documentary understands that Anthony Bourdain’s gifts and curses were cojoined.
The living dead enabled the influential George A. Romero to free himself from self-consciousness.
With The Amusement Park, George Romero holds a cracked (funhouse) mirror up to a callous and ultimately terrified society.
The characters don’t exist solely to affirm the film’s various themes, and as a result, their humanity gets under your skin.
Masters of Cinema has outfitted its release with extras that offer ripe interpretations of the film and the undersung Ritt’s work.
The Real Thing holds the viewer at arm’s length, and you have to be willing to come to it.
Throughout, it’s difficult to sort the contrivances that writer-director Jason William Lee is parodying from those he’s indulging.
This extraordinary, once rare, horror noir has been outfitted with a transfer that honors its beautiful, nearly blasphemous power.
Simon Barrett imbues his narrative with a purplish emotionality that the Urban Legend movies didn’t even think to bother with.
Hopper’s eccentric, fetishistic, and very sexy neo noir film from 1990 receives a red-hot facelift.
The film utilizes a trendy issue as window dressing for a tedious and delusional exploitation film-slash-museum piece.