Sinners is one of the most distinctive, confident mainstream films of the modern era.
Berri’s gorgeous, acidic diptych of rural greed looks flawless on Criterion’s release.
The native 4K presentation makes this the best-ever home video presentation of the film.
Perhaps inevitably, Merry-Go-Round plays like a Cliff’s Notes version of a von Stroheim film.
For all of its spiritedness, the film wants for a more unique sense of invention.
The America of the film is a jealous god requiring ritual sacrifice to achieve one’s destiny.
This release does justice to one of the finest installments in the Godzilla franchise.
There’s a sentimental heart to Mann’s films, as much as his fans might not like to hear about it.
Clouzot’s brutally tense thriller looks better than ever on Criterion’s release.
Van Sant’s 1989 sophomore feature is a road movie on opioids.
The film’s open affection for the Looney Tunes franchise has a restorative quality.
Godard’s 1987 film is a total deconstruction of the prospect of adaptation.
Amadeus is one of the greatest film portraits of an artist for capturing the essence of their work.
The film is a startling vision of two eras shaped in literal and cultural ways by Black people.
Tatiana Fuentes Sadowski’s film boldly exposes the hypocrisies of Western liberal intervention.
Huo’s second feature is attentive to the everyday rhythms of rural communities.
Mercifully, the jaggedness of the dramatic scenes doesn’t extend to the action.
Fukusaku’s film gets a solid transfer from and a small slate of informative extras.
With these films, Hollywood’s most talented video clerk blossomed into a great artist.
Mann and James Stewart’s first collaboration is a touchstone of the western genre.