Peter Collinson’s The Italian Job is a freewheeling, completely unpretentious chase comedy.
G-rated movies rarely start out by suggesting multiple orgies. The ones that do are to be cherished.
Trivia, radio spots, and a few other none-too-consequential goodies round out a phenomenally extensive set of extra features. Nice job.
The humor is mostly milked from self-reflective, meta-movie badness.
Batman and the Joker only wished for this kind of psychological complexity.
Conrad Veidt’s terrifying grin masks the horror of having one’s looks be objectified at the expense of their humanity.
The Sea’s breathtaking establishing shots are enough to make each passing crisis-ridden scene more trying than the last.
This “ultimate edition” is honestly more than the film deserves.
The Phantom of the Opera is one of those classic films whose reputation trumps its actual cinematic worth.
Whichever day you choose to watch it, the shock-filled and depressing Sick will ruin it.
Kirby Dick’s film is an unquestionably straightforward and unflinching depiction of Bob Flanagan’s painful and prolonged death.
Anchor Bay’s generous extras make this release the Thanksgiving turkey.
Wes Craven’s infamous schlocker was an exercise in pop culture-crashing perversity.
The film finds Clint Eastwood reaching a peak in the fields of both film direction and acting.
Clint Eastwood’s dust bowl drama is a sensitive road picture about a mostly luckless aspiring country music singer.
Eastwood as a director has always walked the fine line between endorsing unabashed masculinity and ripping it to shreds.
While not enough of a grand statement to be taken as a career turning point, the film nonetheless signaled a change in the winds for Eastwood.
There’s something a little perverse about a director who models his own ego trip completely after someone else’s movie.
It manages an act of alchemy as it exudes the foul miasma of flop sweat at the same time as it showcases Fosse’s consummate cinematic talents.
The film is more infamous for bringing Fox financially to its knees than for being the last major musical directed by Gene Kelly.