Bong historic international breakthrough receives a superlative Blu-ray package from Criterion.
Song Fang’s latest moves glacially along in a largely unchanging emotional register, always keeping us at a distance.
As much money as Disney has thrown at the production, it still looks like it was always bound for streaming services.
Sony has outfitted Almodóvar’s newest memory play with a transfer that fully preserves the film’s painstaking gorgeousness.
This Blu-ray should help boost the film to its rightful place among the upper tier of von Trier’s body of work.
Criterion’s release captures the icy-hot intensity and meticulous beauty of Pawlikowski’s shamelessly grandiose romance.
The album is impeccably produced but finds Kanye barely shifting his musical approach.
The hegemony of history is rigid, but Lou Ye is still able to disrupt it in the form of its representation.
With his latest, Kiyoshi Kurosawa celebrates the conquering of fear as our greatest hope against the world’s horrors.
The film’s masterstroke is that its fugitive antiheroes are framed by an environment that reflects their criminal lives back at them.
The film succeeds as a stingingly personal missive aimed squarely at Brazil’s right-wing resurgence.
Many of the selections at this year’s festival were genre films, or, at least, exhibited notable genre-adjacent elements.
Bong Joon-ho’s excoriation of a dehumanizing social culture is mounted with dazzling formal invention.
The film is Quentin Tarantino’s magnum opus, a sweeping statement on an entire generation of American popular culture.
Robert Eggers loosens the noose of veracity just enough to allow for so much absurdism to peek through.
Terrence Malick’s film means to seek out souls caught in the tide of history, but which move against its current.
Pedro Almodóvar’s latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.
Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.
Bertrand Bonello’s quixotic, slow-burn genre film is political largely in the abstract.
In the film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.