The film’s onslaught of misery can look like a manipulative pile-on more than a candid assessment of strife.
Arrow Video’s sharp box set perfectly preserves the late Seijun 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.
Andrei Tarkovsky’s transfixing spiritual thriller receives the most revelatory A/V upgrade of the year.
Terence 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.
Alfred Hitchcock’s first great film looks stellar on Criterion’s Blu-ray, lacking nearly all of the usual decay endemic to silent movies.
The technical sophistication of Edgar Wright’s artistry reaches new heights with this heist-cum-musical.
The sensory overload of Michael Bay’s hyperkinetic cinema is such that it eradicates any actual sense of place.
Still one of the most fun sugar rushes of the year, the film arrives on home video with a shimmering, chromatic video transfer.
A worthy escalation of its predecessor’s sleek charm, John Wick: Chapter 2 is the finest action film since Mad Max: Fury Road.
Too much is at stake, leading to formulaic plot filler and exposition that snuff out the spark of the early scenes.
Depp’s perfunctory gestures and flailing pratfalls befit a film that brings the series’s theme-park roots full circle.
David Fincher’s film maintains a consistently bleak atmosphere that elevates it above its sloppy sequel.
It finally gets a home-video release worthy of purchase, sporting excellent video, flawless audio, and a bounty of well-sourced extras.
Akerman’s magnum opus remains one of the definitive showcases of cinematic structuralism.
The only saving grace of the film’s mostly recycled horrors is how they deepen Michael Fassbender’s android David.
For all the attempts to update King Arthur to be cool and sexy, neither the character nor the film musters any spark.