No doubt the best a Ten-Thirteen series has ever looked, this season comes to us on six dual-layer discs in 1.78:1 anamorphic widescreen.
A disappointment in more ways than one, it’s easy to forget just how beautifully Roger Deakins shot The Village.
All genetically predisposed cinephiles must own Code 46.
Do you have dreams of owning The Manchurian Candidate?
Imaginary Heroes is a queer-eyed valentine to Sigourney Weaver.
3…2…1…blast off with the Woman in the Moon.
Woman in the Moon is the great Fritz Lang’s somewhat labored final silent.
Steven Soderbergh’s Ocean’s Twelve is a starfucking circle-jerk orgy that doesn’t even have the common decency to get you off.
A terrible transfer of an essential film.
As if Kevin Spacey weren’t enough of a pandering purveyor of cheap sentiment, along comes Beyond the Sea.
This is a thought-provoking and infuriating 35mm condensation-cum-summation of Godard’s multi-part video series Histoire(s) du Cinema.
Mirroring the anything-goes nature of the film it accompanies, the disc’s commentary turns on a dime between the serious and the humorous.
The very title of Michael Tolkin’s film evokes slippery visions of both spirit and sex.
The road to Philadelphia was paved with good intentions.
For Jonathan Demme, a filmmaker whose raison d’être is the celebration of diversity, Philadelphia is an unfortunate misstep.
If the rumblings are true and Saraband is indeed Ingmar Bergman’s final work, then he has left on a summative high.
More than anything, Sideways furthers the impression that Alexander Payne is a great structuralist filmmaker.
Any initial sense of intimacy or empathy is quickly subsumed by and abandoned for a cool intellectual distance.
Éric Rohmer’s dialogues are in peak form, always building in their back-and-forth volleys to spine-tingling epiphanies.
Jean-Luc Godard takes his audience on a journey from heaven to hell, from image to imagination