Jaume Collet-Serra’s deft touches elevate what otherwise feels like another formulaic contemporary Disney blockbuster.
The UHD presentation of The Bird with the Crystal Plumage is quite possibly the label’s best 4K release to date.
Joe Bell proves that the phrase “they don’t make ‘em like this anymore” is value neutral.
Not even Alvin Ailey’s peers can articulate the innovations and soulfulness of his choreography half as well as his work itself.
These features are revealing snapshots of an artist of uncommon ambition and vision from the outset of his career.
The film is a thinly veiled excuse for Warner Bros. to parade, and possibly renew, all of its various copyrights.
Throughout Sicilia!, Straub-Huillet consistently and vividly blur the boundaries between the personal and political.
Now it’s easier than ever to appreciate both the sunny pleasures of Cameron Crowe’s ode to his youth and its self-doubting underbelly.
Black Widow isn’t terribly hard to follow, but in execution the film moves so haphazardly as to be bewildering.
At its best, F9 delivers the most spatially coherent, dynamic car scenes in the series to date.
This low-key tour de force finally has a video release worthy of its greatness.
The film embodies the idiosyncratic, tongue-in-cheek sensibilities of Ron and Russell Mael’s long-running cult American pop band.
Godzilla vs. Kong receives a robust ultra-high-def release from Warner Bros. Home Entertainment.
Paramount Home Entertainment’s UHD discs add to an already impressive 4K roster for Spielberg’s filmography.
Kwan’s metatextual melodrama is one of the finest films from Hong Kong’s ’90s golden age of cinema.
Arrow Video’s 4K Ultra HD release of Corbucci’s landmark spaghetti western is the label’s best release of the year so far.
Throughout her directorial debut, Suzanne Lindon paints a concise and truthful portrait of her protagonist’s feelings of estrangement.
Barring a UHD release, the film is unlikely to ever look better than it does on Criterion’s superlative package.
The film, lacking in conflict and danger, is guided by the poignant belief that there’s no end to the world.
The documentary’s aesthetics strikingly channel the euphoric feelings induced by Ethopia’s top cash crop.