Kino offers a sturdy transfer of Ashby’s overlooked and still quite volatile feature film debut.
This set is a beautiful, painstakingly contextualized restoration of a genre- and medium-bending masterpiece.
The miniseries derives its politics less from platitude than from an uncompromising sense of emotional irony.
A dizzying hall-of-mirrors stunt, a horror remake as autobiographical X-ray, and a fantasy that serves as a cleansing creative exorcism.
The film is a patient exploration of the enlaced connections between professional and emotional sectors.
This blaxploitation landmark ought to be rescued from its martyr status and appreciated anew as a totem of the unclassifiable in American cinema.