Dead Man, one of Jim Jarmusch’s best and most divisive films, has been outfitted with a beautiful and imaginative Criterion package.
Clark Franklin’s One False Move brings a shotgun to a knife fight, and the results aren’t pretty.
Bad Santa 2 shows that the most hopeless situations can be remedied and just about anyone is capable of redemption.
Goliath often manages to surprise with the revelation of a deeper subtext.
Its feminist perspective checkmates the misogyny and machismo that too often mar films set in combat zones.
In the end, it only serves to validate George Clooney’s devotion to showmanship as Hollywood’s current reigning poster boy for blue-state morality.
Director David Hackl often shoots his bear in fashions that accent its lumbering, powerful grace, even during its death rattle.
If ever there was a movie equivalent of dad bod, Entourage is it.
Oliver Stone’s most underrated movie is a dark comic fantasy of sin and futility as well as one of the craziest and most beautiful of all noirs.
If it’s meant as a pulpy genre exercise, Matt Shakman’s competence in various modes works to strip it of any sense of coherent vision.