Ekwa Msangi’s feature-length debut receives a gorgeous transfer and a handful of illuminating extras courtesy of the Criterion Collection.
Wayne Wang’s playfully enigmatic debut receives a handsome package that contextualizes its place in ’80s American indie cinema.
Dean Fleischer-Camp’s Marcel the Shell with Shoes On convincingly proves that bigger sometimes is better.
The original Brian and Charles short focused entirely on its titular characters, and it’s clear that was for the best.
Arie and Chuko Esiri’s feature debut is a poetic evocation of the struggles big and small faced by people escaping toward brighter tomorrows.
That’s one small step for Criterion, one giant leap to 4K.
Criterion has outfitted Mira Nair’s sophomore feature with an exquisite new transfer and a superb slate of extras.
Emergency is uneven, but it’s grounded by dynamic performances and a vivid portrayal of the minutiae of friendship.
The Funeral is an at once wistful and whimsical depiction of the emotions unleashed by our private and public confrontations with death.
Distractingly indebted to No Country for Old Men, the film’s wild tonal swings mostly leave it feeling impossibly disjointed.
The Takedown’s supposedly inclusionary, pro-immigrant messaging is constantly undermined by puerile and dated humor.
Rock Hudson’s Home Movies presents the allusions to the ’50s matinee idol’s secret as a double-edged sword.
Kino’s 4K release is now the definitive home video edition of Jewison’s best picture winner.
Martin Campbell’s film never shakes off its familiarity, and as such seems destined to, well, be lost to public memory.
Kino’s exquisite 4K transfer is easily the best that Eastern Promises has looked on home video to date.
The Bad Guys is a heist film that steals all of its moves.
The film’s depiction of life impacted by urban transformation conjures a palpable aura of entrapment and helplessness.
The beautiful transfer helps make the argument that the film is more than just a curio in neorealist history.
The film is a show of Old Testament judgment that sees all people as sinners and thus deserving of all the punishment they receive.
Rarely have Michael Bay’s frenzied stylistic tics been so effectively intertwined with the substance of one of his films.