It’s a lightning strike of glamor worship, melodramatic storytelling, abnormal psychology, and irreducible, airport-paperback frisson.
Criterion’s three-disc is going to make you wonder where the deliriously imaginative Czech auteur has been all your film buff life.
Teorema is a film that’s short on incident but not at all lightweight or unserious.
All in all, hungry Roma-philes will remain engaged for the better part of a day.
It marks a specific convergence in Lee’s career, when his confidence as a filmmaker aligned with the boldness of his flourishes.
Criterion’s release stands tall as what one, specific genius of the medium was able to do with a fair-to-middling play.
Bernardo Bertolucci’s film is a living, fluid organism that spans the distances between several poles of extremity.
The Criterion Collection honors the ghostly delicacy of a new classic of American loneliness.
The too-dark lensing is an ideal match for Allen’s sequences of marital and amorous discord.
You can experience the festival from beginning to end without leaving the island of Zamalek.
We ranked the films of the Dutch director, satirist of American excess and fascist ideals, from worst to best.
The threat of feeling slighted links every small and large ripple of drama in Reichardt’s film.
The festival’s triumph was Harmonia, a culture-hopping orchestra melodrama of paradoxically modest tone.
This disc’s picture and sound presentations are aces. You’ll want the lights down low for this one.
Criterion’s heavyweight disc is a major release for the label that may pass through the market square without much fanfare.
The premise of the film is simple, but it’s a simplicity that can only attract complications.
NBC’s Hannibal ran for three seasons, but its concept called for at least twice as many.
Russell proposes that there may be no real barrier between the caustic worldview he wears and the sense of childlike wonder he sells.
What pushes the film, at long last, into the icy river, is its very design, as a monument to slick, mercenary grandeur.
The filmmaker discusses cinephilia, cinema technique, and the deceptive simplicity of Carol’s romantic pas de deux.