Mostly remembered for its plot twist, Jordan’s film is marked by a deep sense of empathy.
Though it is occasionally slow going, Stephanie Beacham’s operatic shrieking makes good on the title’s promise.
Asylum is a fun, old-fashioned taste of post-mod, pre-1980s macabre in British cinema.
The Beast Must Die is a curiosity for fans of low-rent British horror flicks in the 1970s.
Hitchcock’s experiment goes beyond look-ma-no-cuts stunt and into a suffocating moral inquiry.
Family Plot may be Hitchcock’s official swan song, but the nasty, nasty Frenzy is the real last hurrah.
The film is a scalding entry in Fukasaku’s gallery of raw yakuza bulletfests.
In the tradition of South Park’s Al Gore, let us forever describe future films of this breed as “so Syriana.”
The original Valley of the Dolls was a Bentley. Meyer and Ebert’s Beyond is a Rolls.
Paramount presents the film in a wonderful 1.85:1 anamorphic transfer on the first of this set’s two discs.
Pink elephants are on parade in Dumbo, Walt Disney’s most sanguine film by an ear.
A landmark of the silent film era, Sir Arne’s Treasure is the spiritual cousin of Greed and Sunrise.
More evidence proving that the Swedish film industry had been chiseling away civilized man’s chastity belt long before I Am Curious (Yellow).
A thorough DVD package for this rare early Garbo film.
You’ve gotta give Paramount credit for resisting the urge to call it the “No Wire Hangers Ever! Edition.”
Do you know that feline AIDS is the number one killer of domestic cats?
The film’s color wheel is a little oversaturated, thus negating the grit Tommy Lee Jones was surely after.
From Aquamarine to Hoot to Stick It, 2006 is turning out to be a banner year for the tweener-geared film.
Despair comes too easy to Devarim, but it should be seen by anyone interested in Gitai’s still-underrepresented oeuvre.
Gitai’s questioning rigor, unexpectedly seasoned with some wry humor, makes his ode to uneasy multiracial union worth at least a rental.
The pretty-ugly-pretty-ugly-pretty-ugly holographic slipcase cover is a laugh riot-it doesn’t evoke gender dysphoria, only a questionable marketing campaign.