Hud is a mournful lament for a passing of a way of life and a meditation on the ways forward.
Greenaway creates his thesis over the decaying corpses of animals, which doesn’t inspire a middle-of-the-road kind of viewer response.
It is in fact difficult to make a film whose basis is conceptual without the results coming off as simplistic or overly designed.
An Affair to Remember and a movie to treasure.
Once again, Criterion earns the reputation of releasing “film schools in a box.”
Criterion’s extras convincingly argue for Anderson as an under-recognized director of immense natural talent.
It’s finally on DVD, so now fans can stop pleading, “Please, baby, please, baby, please, baby baby baby.”
Wilde’s directorial career is ripe for rediscovery. This pure, relentless yarn is a great place to start.
A killer package for a lesser classic in the ’50s sci-fi pantheon.
Thanks to Martin Scorsese’s seal of approval, Golden Door may now he salvaged from critical and popular disinterest.
This epic-length video essay is alternately a tedious school assignment and an eye-opener.
The only thing missing here is the preview for Gibson’s next film: Dead Things I Beat with a Mace and Smear Across My Hairy Catholic Chest.
A superior two-disc set for Zodiac aficionados desperate to drown themselves in even more facts, figures, and conjecture.
Hitchcock and film lovers alike should not pass up this worthy copy of one of the director’s British-made masterworks.
If you don’t see cinema in these three short films, go take a flying jeté.
The film is like an ocean: vast and deep, for sure, but also internally turbulent, its tides ebbing and flowing, constantly lapping against its barely-there borders.
Country, heal thyself: Kurosawa’s feverish early gem is worth catching.
Grab this ultimate edition of one of the greatest of all horror films, preferably during daylight hours.
An intriguing curio that would have played better as a condensed sketch in Luis Buñuel’s Phantom of Liberty.
The tears of a clown sting twice as much when shot by Ingmar Bergman.
The film is a major, unwieldy film about breaking up.