Mills’s films might be called fragmentary if not for their unifying spirit of psychological inquiry.
Thanks to a sumptuous new high-definition transfer from Kino, Happy Together is still bittersweet, but with a little more emphasis on the sweet.
Though the extras lack in the “muchness” department, this DVD boasts a phenomenal audio/video presentation.
Fulci’s zombies have a nasty habit of disappearing right when you sort of wish they’d stay a while.
A remarkable image and sound presentation dignifies this DVD release of Hallström’s latest cheesefest.
Clewes’s seedy ambition is the key, and it makes No Orchids for Miss Blandish an exceptional B noir.
The Karate Kid looks and feels as innocuous and thoughtlessly conceived as the dozens of films its influenced.
You get the sense that these are real people who happen to have wandered into a production of Hamlet.
All aboard for John Ford’s enduring Old West ride.
A muddled vision, but one anchored by fiercely convicted performances by Viggo Mortensen and Robert Duvall.
To appropriate Samuel Beckett’s observation of James Joyce, Brakhage’s films are not about something, they are that something itself.
Released before The Battle of Algiers, Kapò shows a more classical side of Pontecorvo in terms of form and structure.
An eye-opening set for anyone who knows Nagisa Oshima only through his 1970s erotic corridas.
An eyesore on the big screen, Valentine’s Day is now close to one on your TV. Go read The Sound and the Fury instead.
Eastwood’s dull Invictus receives a lackluster welcome to home video.
The world wasn’t exactly desperate for yet another film noir DVD box set, but here we are, with an inspired seven-film retrospective.
The film showcases a comedy legend at his laziest, both creatively and technically.
Descriptions of plot are likely to suggest a preachiness that isn’t at all present in the film’s rhythmic, heady form.
The tedious Legion teaches us nothing, except that Paul Bettany matches a fetching brunette.
Do it for Daria. Do it for Jane.
Spielberg’s virtuosity is every bit as luridly kinetic as it was in the best sequences from The Lost World a year before.