A handsome, unsatisfying DVD of a handsome, unsatisfying epic.
The film does Truman Capote justice and makes a sharp case for the power and destructiveness of liberated feelings.
The story of Marie Dressler’s career is one of the most anomalous and curious of show business tales.
Reds is finally just an appealingly conventional epic movie-star romance with radical trimmings.
Intensity exacted a high price, and Kim Stanley seems to have paid it willingly, even gloatingly.
A disappointing disc for a shallow but well-loved film.
It’s hard not to feel that the prospect of sex between two people has seldom looked so joyless.
The shock of State of the Union is its technical sloppiness.
This Capra film is typical in its muddleheadedness and atypical in its poor execution.
Serene and subtle in its delicate effects, Frank Borzage’s Till We Meet Again is clearly the work of a fully matured artist.
The film is an uneasy mixture of classical music, sickly Technicolor, and irredeemably vulgar set decoration.
A surprise success that won Frank Borzage his second directing Oscar, Bad Girl hasn’t worn as well as some of his other romances.
The film is a stupefying mixture of dreadful dialogue, wooden acting, outdated attitudes, and dark cinematography.
The underrated Don’t Come Knocking is possibly Wenders’s best film since Paris, Texas.
All in all, the film makes a rather lovely and satisfyingly romantic swan song for its star.
MGM megastars Clark Gable and Joan Crawford headline Strange Cargo, a humid prison break movie that turns into a bald-faced religious allegory.
The film benefits from eerily rich Technicolor and careful handling of the increasingly matronly Jeanette MacDonald by director Frank Borzage.
Nothing distinguishes The Spanish Main from a dozen other pirate films of this ilk.
Frank Borzage is always getting away from society and its customs, from marriage and houses, taxes and details.
The result is a nearly perfect hybrid film, lusciously careful and Lubitsch-like with passionate Borzage feelings underneath.