Human rights activist David Kato’s dynamic experience haunts much of Call Me Kuchu.
Ordinary Miracles becomes a cinematic exhibition space for the Photo League’s large collection of work.
As in a classic Hawksian western, friendship and professionalism are tightly knotted in Bernardo Ruiz’s frontera documentary Reportero.
Steve Collins crafts a kind of anti-romance from a trio of emotional catatonics failing to connect with one another.
Documentarian and subject, past and present blur together like bleeding watercolors in Raymond De Felitta’s gripping memoir.
The film is wholly dependent on the charisma and chemistry of its voice talents to carry us through the 88-minute running time.
Subtlety dies hard in the films of Kevin Macdonald.
It’s clear from the start that Think Like a Man would love to be a scathing riff on the genre of film perfected by Tyler Perry.
The film is a sometimes impenetrable film entirely constructed around flashes of a child’s distrusting memory.
Even if Safe House turns especially silly in its final attempt at social justice, the film achieves something rare for a Hollywood action film: depth of purpose.
Undefeated makes a substantial emotional impact whenever this incredible coach and his powerful words dominate a particular scene.
Visually glassy and smooth, Perfect Sense values the dynamic mood of each scene without being overly stylized.
Rosi’s infamous and beguiling depiction of man versus nature finally arrives on home video under the Criterion crest.
Can film as a medium communicate the unthinkable and unknowable consequences of mass tragedy?
Through a mix of contrasting tones and aesthetic flourishes, Toll Booth becomes a sporadically stunning examination of past trauma.
Angels Crest makes sure we know how clearly all of its heartache and suffering has been so fatefully ordained.
The explosive qualities and historical importance of the film are only amplified by Criterion’s stellar Blu-ray.
Traversing the frayed cinema of Antonioni can be a confounding and immersive experience.
If Robert Altman had made a cop drama, it might have looked and sounded like Rampart.
Béla Tarr might be a man of few words, but those words pack quite a punch.