The film is a memorably wonky take on the spectacles we make of crime and punishment.
Like any number of Exorcist wannabes, David Midell’s film is a special kind of hell.
Cruising had to answer for a lot of unfair expectations.
Though efficiently directed, the film is too concerned with keeping its main character likeable.
Arrow gives one of De Palma’s most moving films the long-overdue masterpiece treatment.
Half a century later, Sidney Lumet’s Serpico has lost none of its urgency and relevance.
Michael Mann’s moody crime classic gets a definitive release in the UHD format.
The Godfather films have set home-video standards for decades, and that trend continues with Paramount’s astonishing 4K restorations.
Ridley Scott’s tale of greed and revenge practically begs for melodramatic excess.
This re-edit clarifies The Godfather Part III as a bombastic yet ultimately insular morality play.
Criterion’s exacting presentation of Scorsese’s late-inning masterpiece is a testament to the enduring value of physical media.
The series is so ploddingly manufactured from familiar parts that it feels like it was spat out by an algorithm.
Brad Pitt winning here will seem like the stars are lining up given what went down when he was first nominated in 1995.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
Time may have been surprisingly kind to Cruising, but that’s at least in part because it’s also been slow to be kind to the LGBT community.
Today, Netflix has given us our first look at the film, which stars Robert De Niro, Al Pacino, and Joe Pesci.
These films are as elegant as they are expansive, acutely perceptive and operatic in their high emotions.
The film is Quentin Tarantino’s magnum opus, a sweeping statement on an entire generation of American popular culture.
When it rains, it pours.
This talented, hard-working thespian’s feeling for tumult is matched by his feeling for concision.