Fox’s Blu-ray of Allen’s swooniest neurotic romance has plenty of slate-gray panache for the film’s legions of ardent devotees.
There’s an old joke, generally attributed to software engineers, in which one excuses a program’s bugs by spinning them as features.
A good hand, played well.
The film looks strangely outdated, and certain production decisions scream budgetary compromise.
A mixed bag for a career masterpiece, this Blu-ray gets some things wrong in terms of authoring.
If you think you know the documentary-essay-sketchbook genre, Gorin proves that there’s always a little more country to undiscover.
The primetime debut of one of Criterion’s indies-in-residence, Soderbergh’s Oscar-winning drug war epic gets a terrific HD upgrade.
It rises above its earthly architecture, in each moment conveying what’s within, and what’s outside.
This is a decent transfer of a lovingly detail-oriented period melodrama, from one of its finest contemporary practitioners.
A little context would have helped, but it’s a very honorable transfer of another quiet, seismic tremor from a Korean master.
Better remembered than seen, Beauty and the Beast has been treated unkindly not just by the years that have passed since it was released to enormous acclaim in 1991.
Strange as it may sound, the absence of melodrama is the film’s greatest strength.
Tissue-thin as these things go, Kino’s wafer of a Blu-ray production earns its keep with a fine transfer of a Borzage barnburner.
This is a film of unimpeachable craft, even occasional lyricism, that somehow turns an amazing horse into a boring one.
Chaplin is never less sublime than when he reaches for ridiculous, grandiose highs in romance, coincidence, and naked emotion.
This is “the Al Pacino Dunkin’ Donuts commercial in Jack and Jill” as an actual movie.
Tsui Hark’s surreal wuxia gets problematic transfer, but lives to tell the tale.
While Brad Bird’s direction is not nearly as fleet as his CV in animation would lead one to hope, it’s not without its pleasures either.
The production and presentation of Minnelli’s first masterpiece gets everything right that really counts.