Screw the cheerleader, save the world?
Fast Company may not be much more than a footnote in Cronenberg’s career, but this disc is a must-own for followers of his work.
They’re just cars, powerful and loud, that look cool and go fast. And in David Cronenberg’s hands, that’s almost enough.
As far as dumb but entertaining serial dramas go, you could do a lot worse than Dexter.
An audio-visual tour de force, and perhaps the purest example of Stone’s greatest strengths as a director.
There’s something almost quaint about JFK now.
Not much of a film, but Criterion makes it gleam.
It deserves credit for being one of the first films to engage American cinema in a discourse on the immigrant experience.
Even when you have no idea what’s going on in The Man Who Fell to Earth, you won’t want to look away.
Roeg’s is a singular, haunting sci-fi experience.
An already near-essential DVD release of an essential noir, updated for the high-def age.
The film provides a sweet, funny look at a young director finding his voice.
The film is devastatingly vital, just as much now as it was at the time of its making.
Wes Anderson has a great deal of empathy for his charming band of fuck-ups, but these characters are thinly drawn.
If you could cut all the music from Where God Left His Shoes, you might actually have a solid family drama.
The film is one of Wong Kar-wai’s purest evocations of love’s excitement and heartbreak.
Though this is the best edition yet of Wong’s breakthrough, the film provides Criterion with one of its most anemic recent releases.
This is the definitive release of Tim Burton’s best movie since Ed Wood.
The film remains one of the best neo-noirs of the ’90s and a fine example of classical Hollywood storytelling.
Curtis Hanson’s film is a throwback in nearly every way: in setting, in style, in performance, in storytelling..