Desperate Living is Waters’s most furious political statement.
The Delta feels almost surreal in its lack of sexual generalization.
De Palma’s acidic satire of mass commodification from 1970 is his first triumph.
This year’s best picture race is a legitimate death match between two equally appealing options.
With Playtime, Tati made one of the most fully inhabitable films ever.
The battles are just heating up.
The recycled extras may leave fans of the film feeling as if they’re stuck in detention.
Barry Lyndon gets a new, suitably jaw-dropping 4K digital restoration.
At least in the hearts of its underserved audience, the film flourishes to this day.
Few American films touch the rarified air that Killer of Sheep breathes.
If it’s been hard out there for a pimp in recent decades, that wasn’t always the case.
Criterion’s release of the film is a fitting tribute to a titanic career.
Clouzot’s brutally tense thriller looks better than ever on Criterion’s release.
Can you blame us for indulging in “humanities major, sociology minor” thought exercises?
We keep coming back here to the same presupposition: that this is Demi Moore’s race to lose.
It’s hard not to see Dune: Part Two’s sandworm mayhem as being in its own lane here.
The narrative drive of Conclave’s script proves a model for concision and momentum.
Here we admit that conventional wisdom feels like a smarter bet.
Today we ask, “Will Wicked follow in Barbie’s footsteps and get near-scotched at the Oscars?”
Luck may play more of a factor here than ever seemed possible just a couple of weeks ago.