The documentary is just more of what we’ve come to expect from director Richard Linklater’s expanded fanverse.
James Schamus’s screenplay is rich with culturally specific details that deepen these forking moral predicaments.
The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake.
Cohen elevates Van Gogh to its rightful status as the work of a world-class auteur at his peak.
It potently clarifies how our lives are spent distracted from matters of the closest personal significance.
It’s too texturally exacting in its recreation of a transitory moment in U.S. history to register as a failure.
National tragedies are touchy podiums for artistic license, so it’s rare for a work that flexes its creativity responsibly.
It’s dispiriting to come across a Criterion package that’s merely pro forma, but this is still the best version of Fantastic Planet on the market.
What makes The Shallows churn so forcefully for so long is Jaume Collet-Serra’s visual acrobatics.
The film introduces canny aesthetic digressions as the story wades into psychological horror.
Criterion delivers a robust package for Wenders’s trilogy, a breakthrough moment in the New German Cinema.
Walter Salles reinforces the impression of Jia’s art as emerging fluidly from the vagaries of his own life.
The film is as quintessentially American a text as one could hope for in today’s divided union.
This political thriller from director John Frankenheimer’s spotty late period is a much richer film than its reputation implies.
The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery.
Conceived like an ambient album, Dead Slow Ahead is at its best when simply airing out its otherworldly energies.
What Means Something lays bare filmmaker Ben Rivers’s own process.
Everybody Wants Some!! luxuriates in a world that’s the platonic ideal of youthful indulgence.
This lackluster presentation of Corman’s alternately groovy and goofy LSD drama seems to take a cue from the hallucinogenic drug experience.
A flaccidly directed film that basks for two hours in a carefully art-designed simulation of the past.