The film is an epic, intuitive exploration of Edith Piaf’s hard life and times.
It seems like it’s heading toward all-out camp for a while, but it goes in a weirder direction as Anthony Perkins’s character takes over.
This is a vehicle for Vivien Leigh from the moment we first see her cat-like face through a train door window.
Kicky but muddled, it’s still a valuable reminder of Ross and Williams in their too-brief moment in the sun.
A handsome film, and a real keeper for fans of Vivien Leigh’s unstable beauty.
The violence in Lonely Hearts is prettily lingered over and weightless.
A respectable second set, though Never Give a Sucker An Even Break is the only one you really need to own.
Though his roles were sometimes small, Claude Rains made a stealthy, acute contribution to many films of the 1930s and ’40s.
Judy Davis is a demanding, major artist, a virtuoso who plays neurotic symphonies on her awkward, nervous energies.
The film is a jumbled account of the short life and photogenic hard times of the first Andy Warhol superstar.
Infamous has gotten nowhere near the level of acclaim as Capote, proving that victims of hype don’t come more transparent than AMPAS.
In For Your Consideration, Catherine O’Hara masterfully delineates the stages of her character’s excitement over the awards buzz.
Having almost all of Preston Sturges’s films in one set is an irresistible prospect.
A delight for Ernst Lubitsch fans, and for anyone who thinks films from the late ’10s and early ’20s are mainly static chores.
Venus is a cleverly written but somewhat muffled paean to sensual appetite.
This is an interesting set for Cary Grant completists.
Remarkably, Stromboli doesn’t advocate the rejection of caution for passion.
What would Diane Arbus have made of Nicole Kidman in Fur?
The Fox and the Hound has been consistently underrated, if not downright forgotten.
An acceptable disc for one of Disney’s best and most unheralded animated features.