Franklin’s masterful neo-noir receives a gorgeous A/V transfer from Criterion.
The Gray Man is a noisy, flashy spectacle that piles clichés atop ludicrous plotting and sprinkles it all with half-funny quips.
There’s no doubt that this will remain, for many years to come, the definitive home-video release of the film.
One of 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.
The film 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.
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.
Of greatest damage to its coherence is its wholehearted belief that its subjects are offering firsthand reports worth hearing.
One long trial of moral duty, and one that excuses repugnant behavior and psychological warfare in lieu of a repetitive, condescending sermon on honoring thy father.
It often suggests an alternate world that exists parallel, or perhaps perpendicular, to the dimensions of the film on which it’s based.
The Peter Landesman film’s overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for something.
Billy Bob Thornton’s ensemble Southern family dramedy fails to subvert its cutesy formula often enough.
If 2004’s Catwoman expressed anything, it was the empowerment Halle Berry felt after winning her historic Oscar three years prior.
Writer-director Barry Battles’s film revels in hicks-ploitation sleaze.