This would-be blockbuster goofily fashions itself as a sweeping romance, time-travel sci-fi tale, and gallant period piece all at once.
Little of this schmoozing strikes a notable chord beyond the démodé back-patting engaged throughout.
Criterion’s 4K restoration reveals the film to be the most simultaneously rapturous and claustrophobic film Federico Fellini ever made.
Larry Clark is in full-on zeitgeist mode with The Smell of Us.
It masks depleted drama under a progression of long takes, music cues, and a three-chapter structure that grows successively tedious.
Robin Campillo stages a theater of confrontation that deftly seeks to dismantle stereotypical representation.
Criterion’s Blu-ray upgrade of An Autumn Afternoon strikingly renders Ozu’s most direct critique of the Westernization of modernized Japan.
It lacks an ability to construct significant instances of character drama as symbolic of larger concerns pertaining to nationalist dilemmas.
Criterion offers this abandoned short feature with an illuminating assortment of supplements that are essential for all Renoir completists.
It convincingly insists that the human figure is no more vital to the image than the rapidly shifting landscape it inhabits.
Criterion offers the film in an immaculate Blu-ray packaging that’s as impressive as any of the company’s releases in recent memory.
The material being offered has been edited, composed, and made sentimental with the rigor of a political ad campaign.
Christmas, Again opens with a series of diffuse, colorful lights, suggesting the electronic video art of Nam June Paik in their abstract arrangement against a black background.
Thomas Wolfe once said “you can’t go home again,” but you’ll believe the contrary with Criterion’s beautiful new Blu-ray.
An informative, if largely deferent, biographical documentary that tritely explains the ascendancy of Filipino boxer Manny Pacquiao.
Brian A. Miller’s Vice takes the basic premise from 1973’s Westworld and morphs it into an incoherent slog.
This is anything but a paint-by-numbers revisioning of the United States’s exploitation of Naples during post-WWII liberation efforts.
It functions as a summation of Dumont’s thematic interests over the previous two decades and as a bonkers remake of L’Humanité.
Another of Lumet’s dark police procedurals is given light in this stunning, but nearly extra-free BD from Kino Lorber.
The worst posters of 2014 merely amplify the already contemptuous elements present in the films being advertised.