Certain historical movements have washed away at something of these films’ shared ideological heft.
The Paradise Lost trilogy is a somewhat unsung masterpiece of contemporary American cinema.
Rich Moore’s Wreck-It Ralph is built on licensing.
James Bond’s 23rd canon outing is burdened with the weight of 50 years of history.
There’s no reason for Kino’s welcome release of his impressive debut to feel like anything but an overdue, completists-only offering.
In places, McDonagh’s follow-up to In Bruges evokes Charlie Kaufmann’s more methodically thought-through structuralist exercises.
If you’re a seasoned fan, or even looking to dig into the series for the first time, Bond 50 is an essential package.
Taken 2 offers a modest reversion on the established formula.
Given the raw, intricate pointedness of the film’s critiques, it’s little surprise that it slipped through the cultural cracks.
This oddball Filipino film effectively mints its own genre: the light dark comedy.
Most compelling in Barbara, Christian Petzold’s latest, is the way the filmmaker adeptly conducts his tides of Cold War paranoia.
Some deeply sinister forces are at work in The Gatekeepers.
The film feels like too perfect a portrait of quarter-life malady.
The pangs of romance, eroticism, anguish, and longing transcend any period of cinema Tabu may evoke.
This is a necessary package for any fan of the franchise.
This new Arachnophobia disc functions foremost as a reminder that, hey, the film exists.
Even more so than its 2010 predecessor, The Expendables 2 feels like a juiced-up wish-fulfillment fantasy.
In the general critical conversation surrounding the films of Paul Verhoeven, Total Recall often gets the short shrift.
The film is a redressing of Paul Verhoeven’s version, in sanitized, soulless textiles spun from the sort of endless CGI spool a $200 million budget can provide.
Not much in the way of packaging or extras. But, then, this is the kind of disc you keep laying around the living room like a coaster.