By the end, Cervantes’s heroes are at last free to move beyond representative confinement and finally speak freely as equals.
Criterion’s release breathes new life into a self-appraising late period work that’s a lavish and lugubrious meditation on art and death.
Criterion gives one of the most compulsively rewatchable movies of the last generation its most fully satisfying home-video edition to date.
Time has been kind to 12 Monkeys, a compelling and unnerving genre exercise that boasts what may be Bruce Willis’s finest performance.
It may not be a neglected masterpiece, but this Blu-ray package certainly makes a case for it as a fascinating work by a visionary filmmaker.
Actors Benicio Del Toro and Josh Brolin, producer Molly Smith, and director Stefano Sollima discuss the film’s function as a spinoff of Sicario.
Alex Cox’s punk western has been dug up from the dregs of oblivion by Kino Lorber and handsomely given a long-overdue director’s cut Blu-ray treatment.
The Tree of Life is the culmination of Terrence Malick’s artistry, and the Criterion Collection treats it as such with this totemic release.
With Burning, Lee Chang-dong extraordinarily obliterates the bifurcation between life and representation.
A seminal film that augurs our era of social media and self-branding, Susan Seidelman’s debut is a wonderful new entry in the Criterion canon.
This definitive package will be essential for both fans of the film and scholars interested in the transition of Old Hollywood to New.
The Meg resonates for the way its computer-generated beast makes way for the Statham-acious spotlight.
Unlike the red balloon that Pooh follows through much of the running time, Marc Forster’s film lacks lightness.
The film envisions Denzel Washington’s Robert McCall as a hero in absolute concord with the world of his own fiction.
The Virgin Suicides, Sofia Coppola’s luscious and formidable debut feature, gets a deserved star treatment from the Criterion Collection.
Underlying many scenes is a strain of eeriness, as if the film were offering up a post-human spin on Pretty in Pink.
The plot takes leaps that feel as reckless as they are refreshing in such a doleful film of terminal prognoses.
Madelyn Deutch’s songs, ironically, obfuscate the allure and richness of her character and performance.