Though the series is still bracingly audacious, season two too often opts for full-throated fan service.
Chucky walks a fascinating tonal tightrope as a funny, absurd series that engenders sympathy as well as shock.
Arrow’s lavish UHD release makes a strong case for a reappraisal of David Lynch’s film maudit.
The miniseries exists somewhere beyond the boundaries of normal taste, in a realm where sheer muchness is its own reward.
If the movie has the ring of a high school or college reunion, that’s because that’s pretty much what it’s like.
The film was a first sortie for William Peter Blatty’s all-out attack on unbelief in the summer of 1990.
Rewind This!, a nostalgia trip through the heyday of VHS, fondly examines the importance of fandom in the 1980s and beyond.
It’s not the past’s ugliness that terrifies us in Cimino’s film, but its far more intimidating immensity.
With Criterion’s Blu-ray release of Heaven’s Gate, late New Hollywood’s most famous hot mess gets a little bit hotter.
A terrific, finely-tuned presentation of a landmark American movie, complete with flaming nipples, minus cackling audience members.
In the way it unimaginatively regurgitates familiar genre elements in service of preachy piousness, Scott Charles Stewart’s cinema is the equivalent of Christian rock.
Nothing screams hackneyed repurposing like using a Nietzschean citation as preface to very non-Nietzschean drivel.
The film remains a stunning collective of method acting and 1970s social critique.
The film lunges into the fragmented abyss of a murderous lost soul attempting to craft his own personalized religious awakening.
A hodgepodge of Steinbeckian clichés, Touching Home isn’t a film that exists for our benefit.
Nicolas Cage’s performance is some kind of tour de force.
The film plays most intriguingly as a curious meeting between simpatico but ultimately incompatible artists.
It shares with the Abel Ferrara film a bottomless compassion for its crazies.
Treading well-worn ground to diminishingly creepy returns is a bone-deep problem for Zombie’s latest.
He’s arguably the most important character in Big Love, even if we never directly see Him, even if we never are sure how He feels about the Henricksons.