This grimly self-serious tale of violent destiny is consistently drowned out by Vicente Amorim’s overreaching visual style.
Resistance is possible, director Nia DaCosta’s Candyman suggests, but it isn’t always pretty.
Criterion’s dazzlingly immersive presentation of La Piscine offers the next best thing to a vacation on the French Riviera.
When Hudson is singing her heart out, not so much approximating Aretha’s voice as channeling her soul, the effect is transportive.
David Lowery’s film exerts a haunting pull, but it’s only superficially more daring and enigmatic than its source material.
In the moments when Old works, it’s because M. Night Shyamalan embraces the inherent weirdness of his material.
Pixar’s most intimate and laidback effort since Ratatouille feels like a throwback to one of Mark Twain’s rollicking picaresque sagas.
The film apes the style that James Wan established with the original Conjuring without establishing any real identity of its own.
While there’s never a moment of overt violence in Azor, a river of blood courses beneath every impeccably composed frame.
Fern Silva approaches an idyllic yet troubled archipelago with a cosmically open-minded humanism.
The film’s rendering of the interplay of memory, identity, and grief is disappointingly vague.
Amalia Ulman’s film is a bittersweet comedy of human behavior observed with a relaxed yet intently focused eye.
Each film that Wong has made is, to a great extent, a response to and revision of the one that came before it.
The disc’s quality extras ultimately outweigh its less-than-perfect visual presentation.
Kino’s release highlights the harsh beauty and bitter bombast of Konchalovsky’s outsized action drama.
Dominic Cooke’s film is content to regurgitate some of the more tired artistic tropes about the Cold War.
Vinegar Syndrome’s new 4K restoration presents Satan’s Blood in all its fleshy, blood-soaked glory.
After a while, it’s hard not to feel like Radu Jude is simply shooting fish in a barrel.
Keith Thomas’s film hums with uncanny dread, milking the close juxtaposition of living and dead for all its worth.
The film gets at the profound truth that our relationship with another person is, at its core, a collection of shared memories.