Kino’s Blu-ray preserves the hypnotic, oneiric beauty that undercuts the film’s chaotic violence.
Joe Wright’s Darkest Hour reinforces only the most simplistic and patriotic vision of Winston Churchill.
Thelma’s transition into a paranormal thriller doesn’t complicate its initially potent character study.
A parody of a parody, the film is so soulless that it makes its predecessor seem like a classic in retrospect.
It perfectly communicates the surreal hell of what the original production of The Room must have been like.
The Shape of Water’s setting yields an inherent coldness that Guillermo del Toro must work to overcome.
The film is the finest balance yet of Martin McDonagh’s bleak sense of humor and offbeat moral sincerity.
Whatever political commentary Wim Wenders sought to make here is lost beneath confounding characterizations.
Aaron Sorkin deep dives into self-parody from the opening moments of his directorial debut, Molly’s Game.
Dee Rees’s film scrutinizes how World War II laid bare the unsustainable hypocrisy in America’s bigoted divisions.
The only thing that offsets its self-negating revisionism are the scenes involving Gillian Anderson vicereine.
The film’s onslaught of misery can look like a manipulative pile-on more than a candid assessment of strife.
Arrow’s sharp box set perfectly preserves the late Suzuki’s most challenging works.
The speed with which characters lay out the story’s dire stakes prevents King’s rich mythology from taking root.
David Leitch’s Atomic Blonde frequently loses sight of its own action to glibly pay homage to other works.
The metronomic precision of director Christopher Nolan’s cinema is foregrounded in Dunkirk.
Tarkovsky’s transfixing spiritual thriller receives the most revelatory A/V upgrade of the year.
Davies’s witty, formally audacious biopic is the latest showcase for his uniquely impressionistic cinematic style.
This poignant, elegiac horror film remains one of the high-water marks of cinema’s forays into the sociological and emotional impact of the internet.
Hitchcock’s first great film looks stellar on Criterion’s Blu-ray, lacking nearly all of the usual decay endemic to silent movies.