The film isn’t driven by quality dancing, but by the unstated inclusiveness of the Benjy’s dance floor.
Waters interweaves his critique of noxious domesticity into the characters at the core of Multiple Maniacs.
As films about dopey dudes finding love go, Daniel Burman’s The Tenth Man is too modest for its own good.
It highlights how the ownership of art serves as a marker of capital for distinguishing one institution over another.
It’s hard to imagine many films being more suited for the Blu-ray format than Hu’s sensual wuxia epic.
Resnais’s third feature pushes the director’s formal interests into a tangible political realm.
No film about human-made catastrophe has ever been as concise and evocative as Night and Fog.
The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.
The film is an incoherent and aesthetically barren harangue masquerading as a revisionist history lesson.
The In-Laws looks swell in its Blu-ray debut thanks to another stellar release from the Criterion Collection.
Gondry discusses his interest in making a film based upon his youth, and what friendship means to his filmmaking.
It finds pathos in an amiable, fluid charting of the career (and political) ambitions of the TV producer.
This Blu-ray continues Criterion’s marvelous minting and contextualization of beloved Columbia classics.
It never addresses Disney’s manufactured stranglehold on turning adolescent desire into a consumerist impulse.
The filmmaker discusses Au Hasard Balthazar’s influence on his new film, working with younger actors, and more
Todd Solondz fails to configure the hand-offs of the dachshund in a narratively inventive manner.
Criterion continues their efforts to release classical Hollywood gems from Columbia Pictures in high definition.
The film is predominately a series of live performances staged in a style that often involves a singer or two and an equal number of dancers.
It fetishizes the subjects’ wholly modest behaviors as cute manifestations of a pure form of human interaction.
Art cinema was changed and, in some sense, defined by Antonioni’s spatially oriented filmmaking.