Criterion celebrates a milestone with one of its most impressive packages to date.
Kino’s Blu-ray makes a strong argument for Scorsese’s oft-neglected curio as a standout entry in his oeuvre.
Pixar’s superfluous but characteristically touching epilogue for its flagship franchise gets an equally fond send-off on home video.
Forsyth’s whimsical but satirical masterpiece contains riches far deeper than its deceptively simple surface might suggest.
This excellent set makes a case for Lupino as one of the most socially conscious, psychologically observant filmmakers of her time.
Throughout, the subtle glimpses of a couple’s lingering affection for one another complicate the bitterness of their separation.
Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible.
This is a rare case of a film that’s stronger when it colors inside the lines than radically traces outside of them.
The film revives many noir touchstones, but never the throbbing unease that courses through the classics of the genre.
James Mangold’s film mostly plays to nostalgic reveries of the auto industry’s golden age.
In Josh and Benny Safdie’s film, a man's individual tragedy illuminates the emptiness of the systems that define him.
The film is a vivid depiction of how a confrontation with the unknown can so easily shatter the fragile bonds that hold us together.
In the film, the literal union of bodies is the only logical means of conveying the reestablishment of emotional bonds.
In Alma Har’el’s film, Shia LaBeouf plays an avatar of his father as an expressionistic act of self-therapy.
Rian Johnson’s film revives the comic whodunit, a la Clue, for an era of especially heightened class consciousness.
The film around Jordan plays like a lesson on justice being taught by self-aware actors.
The film falls back on a reductive rumination on the balance between maternal obligation and career aspiration.
At last, Pedro Costa appears to be more interested in how people get on with life than how they keep the company of ghosts.
Kantemir Balagov depicts pain in blunt terms, but he traces the aftershocks of coping and collapse with delicate subtlety.
It’s at its best when showing how gangsters undermine their lofty notions of nobility with displays of narcissism.