Its more phantasmagoric inclinations at least bear the coveted trait of attempted originality.
The film is unwilling to push its material past a certain threshold of unease or subversiveness.
The Worst Ones sets out to create a thin line between critique and replication.
Spirited proceeds as a parade of limply ironic pop-culture references and name-drops.
The film’s basic premise exists mainly to show off the possibilities of the Scope frame.
Brainwashed comes dangerously close to inhabiting its own title.
Last Flight Home is an anguished therapy session disguised as a meditation on life and death.
Writer-director Max Walker-Silverman’s film plays like a tamped-down version of Chloé Zhao’s Nomadland.
Bertrand Tavernier’s ode to jazz music and late-night Parisian culture gets a melodious 4K restoration from the Criterion Collection.
Theodore Witcher’s eloquent and underseen ensemble dramedy receives a sparkling 4K transfer from the Criterion Collection.
Joan Micklin Silver’s Hester Street is a distinctly ’70s-era mix of stylistic sparseness and thematic revisionism.
An overlooked gem of ’80s Japanese cinema makes its way onto Blu-ray with a stellar image transfer and robust slate of extras.
Sergei Loznitsa mines the archives for what amount to living documents of a past that reverberates into the present with devastating force.
The film has the feel of a mea culpa from Gainsbourg for having taken Birkin for granted.
Zou Zou and Princess Tam Tam are among the most bittersweet musical comedies ever made.
The film drops any interest in the blurring of fact and fiction as it settles into a rote account of a contemporary oil rig catastrophe.
Sexual aberrations have rarely looked and felt as seductive as they do in The Laughing Woman.
The film comes to feel like a parody of a possession flick rather than a straightforward replication of the genre’s tropes.
Expedition Content interrogates how images are produced and who produces them.
The Maniac Cop sequels are fascinating for their competing sensibilities.