The doc displays a staggering propensity for carefully examining its unauthorized scenario without succumbing to either too insular or too general a set of assertions.
Brian R. Jacobson discusses architectural formations as inextricable from their industrial and artistic capabilities.
Criterion’s 4K Blu-ray masterfully displays what makes Merchant Ivory productions a continued commercial attraction.
Everything here is needlessly bloated to accommodate its status as an international, prestige production.
It forays into satirical terrain in order to elide actual dealings with the problems at hand, so that each piece feels alternatively frivolous and weighty.
For Akerman, there can be no home, there can be no movie, and there certainly cannot be a combination of the two.
We spoke with the filmmaker about Breaker Morant and Mister Johnson, two of the Criterion Collection’s latest titles.
Shots of the sun open and close Mister Johnson, but the sun won’t soon be setting on the film, thanks to Criterion’s transfer.
The Criterion Collection reaches the Great Beyond with their miraculous 4K Blu-ray of Bruce Beresford’s Breaker Morant.
It mistakes touch-and-go navel-gazing for comprehension, as if speaking to as many subjects as possible produces an inherently compelling take.
The film displays little ability to utilize Ashby’s violent actions for means other than high-concept fodder and out-of-place bloodshed.
North Korean culture is lensed in part through a South Korean perspective, with the final chapter asking: “Is reunification possible?”
It uses convention to its advantage through intriguing casting choices and effective allusions to film history.
For all of its evident toil in recreating historically accurate environments, Edgar Reitz’s film has little force as a work of cinema.
A mostly laugh-free, paint-by-numbers approach to a pair of former pros vying for relevance as they enter into their mid 30s.
Even if the title is meant to be ironic, the latest from Neil LaBute is a frustratingly stilted vision of middle-aged repression unleashed.
A work of arduous assemblage that values information over affect and zip over conviction in its ramshackle historicizing of Apple CEO Steve Jobs.
It wants for a keener vision of corrupted power, but at least it navigates its main character’s sudden slew of infidelities without banalizing them.
In Anna Muylaert’s film, character relations are hinted at and even primed for confrontation, but without payoff or meaningful conclusion.
It might be a misguided paean to cinematic love, but Criterion’s Blu-ray is positively magical, with a blistering array of divisive supplements.