If only we lived in a world where production values counted for everything, Boardwalk Empire would be some kind of masterpiece.
This Blu-ray release illustrates how Lubitsch aided the resistance, as only he could: with dignity, always dignity.
This Blu-ray gives Darius Khondji’s genius with all types of light a bit of a short shrift, but it’s not a severe enough knock to give this disc a pass.
The film exploited the possibilities of shaking the audience up with carefully planted, obtrusive noise in a sea of uneasy silence.
This is a hard-ass noir softened by its quasi-mystical poaching and repurposing on The Naked City’s turf.
We spoke with Lonergan about the formal and structural qualities that make Margaret an uncommon cinematic experience.
Kino’s Blu-ray gives the movie back no small amount of the dignity that had escaped Griffith during his final years at the Knickerbocker Hotel.
Die Nibelungen ranks among the greatest and strangest of all silents.
Nothing But a Man earns its political heft, paradoxically, by dedicating itself to specifics of the characters’ day-to-day lives.
A brick of a set clearly trying to out-super-duper all previous models. A little overkill? Why resist?
Pakula’s directorial debut takes a done-to-death story template and revitalizes it with intelligence, maturity, and tenderness.
Enhanced picture, enhanced sound, enhanced film: The Avengers feels like it’s truly in its element on the small screen.
Odds are strong that his knack for reinvention will require from you a high degree of flexibility and openness.
The essayistic remembrances provide the filmmakers with a brilliant exit strategy when the noir business has nowhere to go but in circles.
Not Fade Away subsumes the viewer in the tidal pool of David Chase’s memories.
In the tradition of the self-memorial, whether by Fellini or Cocteau, familiar faces appear and reappear, as flashback and fantasy become one.
Dull but never dreary, Lines of Wellington was one of the projects in Raúl Ruiz’s pipeline before he passed away last year.
As it should happen with The Devil, Probably, Bresson’s penultimate masterpiece is also his dizziest curveball.
Yesim Ustaoglu’s film, her fifth feature in a career that stretches back to the mid 1980s, isn’t really about either purgatory or abortion.
At this point in the franchise, Paul W.S. Anderson is content to alight the saga on a perpetual rewind loop.