The Next Chapter is devoid of serious conflict, yet it hits with unexpected feeling.
Paramount gives De Palma’s opulent crime epic a home-video presentation that’s worthy of its sumptuous sense of visual invention.
The Godfather films have set home-video standards for decades, and that trend continues with Paramount’s astonishing 4K restorations.
Brian Pestos’s flair for go-for-broke zaniness transmutes what might otherwise have been a lump of self-indulgent clichés into gold.
Cacophony eventually takes over Wrath of Man in the tradition of many Guy Ritchie films, stranding most of the actors in the process.
This re-edit clarifies The Godfather Part III as a bombastic yet ultimately insular morality play.
The film reeks of the extremely idealistic notions of young love that plague many a YA adaptation.
These films are as elegant as they are expansive, acutely perceptive and operatic in their high emotions.
There are no real supplements on this disc, but Eastwood’s eccentric and moving film speaks quite well for itself.
The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
The Mamma Mia! sequel’s flaws are overridden by infectious moments that, to take a cue from ABBA, you couldn’t escape if you wanted to.
It’s said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman’s Book Club.
Monogamy, Passengers suggests, is tantamount to existing in a world where nothing else matters outside of the bond you and your partner share.
Patrick Doyle’s wondrously bombastic score sounds as if Franz Waxman were scoring a slasher movie.
The film devolves quickly into a pedestrian character study that basks in Gary Webb’s public shaming and victimization.
The movie has less actual nutritional value than 10 bowls of crushed Froot Loops dust.
For the most part, it’s a gas, but the light touch Raymond De Felitta gives the material is at once its saving grace and its tremendous limiter.
I did my vacationing first by way of the movie screen, making all subsequent traveling the realization of romanticized visions.
A Dark Truth is one of those unfortunate projects whose component parts are immediately at odds with one another.
Dean Wright’s For Greater Glory is the type of film that gives the screen epic a bad name.