Olive Films easily supplants their earlier release of Letter from an Unknown Woman with a vast improvement in video quality and a slew of quality extras.
Grasshopper Film’s shimmering 2K restoration is a revelatory treatment of this great film.
When its tone slides firmly back into the murk, it’s hard not to see DC’s notion of heroism as borderline nihilistic.
This Blu-ray release enshrines an avant-garde masterwork with a pristine restoration.
A ghost story as much about the vanity inherent to international stardom as it is coming to terms with grief and death.
The Snowman is missing so much basic connective tissue as to be rendered almost completely inexplicable.
Kino Lorber’s Blu-ray beautifully illustrates the beguiling contradictions of the funniest and most polemical film of Jean-Luc Godard’s career.
A great A/V transfer and outstanding critic commentary make Kino’s disc an essential purchase for fans of Jean-Luc Godard.
Kino Lorber’s Blu-ray of Walter Hill’s 1980 western exceptionally 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.
In its final act, director Haifaa al-Mansour’s Mary Shelley falls back into standard biopic rhythms.
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.