Justified’s characters skirt familiar archetypes, but the writing and performances consistently subvert accepted lowlife caricatures.
It defers to a familiar, nondescript urgency to work through its particular depiction of a troubled but no less honorable civil institution.
The strain to make the film both an educational tool and a child-minded entertainment is noticeable throughout.
The film’s half-hearted plea for responsibility in the news smacks of plain pandering.
Life pours out of Treme and, like all good things, the series ends with equal parts rage and love in its bombastic heart.
Ford’s hugely fascinating and troublesome debut in color gets a serviceable but unremarkable A/V transfer from Twilight Time.
The breadth of Vince Vaughn’s gregarious persona has never been given free reign by any director and this certainly isn’t the game-changer.
The sexism isn’t quite as noxious as one might find in Tyler Perry’s films, but that’s as far as the compliments go when it comes to this overextended and deeply crude sermon.
In an efficiently run universe, Criterion’s set would come with any film-school acceptance letter.
Gavin Hood relays a vague sense of what it’s like to live in duty, and yet at a distance from one’s home, but this vision of the future never rouses, never asks to be remembered.
Absent of humor and thrills, it’s also accented with designs and color schemes that are equally notable for their lack of risk.
The film preaches a familiar strain of cynical, unchallenged self-righteousness in the face of widespread abuse of civil liberties.
Del Toro’s hulking sci-fi actioner strides onto Blu-ray with an astonishing, muscular A/V transfer.
Clair’s delightful, creative romantic comedy looks better than ever thanks to the Criterion Collection’s excellent A/V transfer.
The longer you watch Dracula, the more it becomes clear that it isn’t as interested in revitalizing the legend as it is in inoculating it.
The immediacy and the fury of Kiyoshi Kurosawa’s violent emotions resonates in spite of the film’s atonal second half.
It looks toward John Ford’s “print the legend” quote, as the series is less interested in how the apocalypse happened than what happens next.
Coppola’s beguiling, expertly directed true-crime tale nabs a fantastic transfer from Lionsgate.
The tawdriness of the 2010 film has been tempered substantially in Machete Kills.
Llewyn Davis is arguably the most vivid and complex character the Coens have dreamed up since Marge Gunderson.