Transformation, whether of theme or person, lies at the heart of Joseph H. Lewis’s cinematic identity.
The film is an outrageous, hilarious, and amazingly unpretentious trip through a funhouse of sexual identities.
Criterion’s impeccable 4K restoration ensures that this is the definitive home-video experience of Billy Wilder’s classic comedy.
The film is a fine example of Wilder’s mid-career eccentricity and cosmopolitan curiosity.
Ine of the festival’s genuine, if lower-key highlights, which lent focus to its literary origins as well as to its filmmakers, was Intruder in the Dust.
Arrow’s most impressive single-feature release to date bolsters an exceptional A/V transfer with a glut of substantive extras.
Men at Work is patient zero for the plague of Charlie Sheen movies that infected the 1990s.
As one scholar says in the accompanying documentary, “You could spend a lifetime studying 1939.”
Olive Films makes no sacrifices in presenting Billy Wilder’s misunderstood flop itself in all its uneasy afternoon clarity.
The offhand jabs at the dissolution of orthodox craftsmanship in 1970s cinema are overwhelmed by a deeper core of autocritique played out in the film’s downward trajectory.
Ace in the Hole is Billy Wilder’s definitive expression of his master theme of vice as the most reliable and trustworthy gauge of reality.
Seitz coaxes perception-altering sentiments out of Anderson by pointedly playing right into his persona of the wounded naïf intellectual.
Creating this fantasy Sight & Sound ballot felt as much like excavation as photography.
I’m a compulsive. It’s no surprise that my list is full of movies about compulsion.
Without a doubt, this 2011 edition was the film festival experience of the year for me.