Thelma & Louise is a legitimately unique rethinking of genre structure.
The film is a down-in-the-muck advert for an ultimately dewy-eyed vision of the silver screen.
Bullet Train pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.
The sensibilities of Quentin Tarantino and Tony Scott come together to fashion one of the cornerstone films of the early 1990s.
Terry Gilliam’s prescient and visionary 12 Monkeys gets a sterling UHD upgrade.
The Lost City is proof that star power and chemistry can only take a film with a mediocre script so far.
The film looks better than ever, though the lack of a new 4K transfer from the negative leaves open the possibility of a superior future release.
Brad Pitt winning here will seem like the stars are lining up given what went down when he was first nominated in 1995.
Balancing humanist optimism with a profoundly downcast view of our collective destiny, the film is inextricably of its moment.
The film is Quentin Tarantino’s magnum opus, a sweeping statement on an entire generation of American popular culture.
When it rains, it pours.
Time has been kind to 12 Monkeys, a compelling and unnerving genre exercise that boasts what may be Bruce Willis’s finest performance.
The Tree of Life is the culmination of Malick’s artistry, and Criterion treats it as such with this totemic release.
Writer-director David Michôd’s film renders existential crises of American entitlement dull and tedious.
Throughout Allied, director Robert Zemeckis brings to bear his pop-epic scope in what’s otherwise a claustrophobic story.
The film captures our world as systematic yet miraculous, evolving toward more elaborate and resilient forms.
The film’s fourth-wall-breaking wags a finger at the perceived facile nature of celebrity-driven mass culture even as it ultimately condescends to audiences.
If it stumbles when it seeks our sympathy, it thrives when it’s exploiting our fascination with the surface of things, and all that’s unknowable underneath.
The film itself is a lumbering tank of a movie, chunky, loud, and clumsy, mulching down men into meat as proof of its dramatic seriousness and gloomy worldview.
The film doesn’t temper enough of Cormac McCarthy’s excesses, but Ridley Scott and his ensemble find enough meat in the scenario to make for diverting, bloody pleasure.