Paramount gives De Palma’s opulent crime epic a home-video presentation that’s worthy of its sumptuous sense of visual invention.
Mamet’s first, best, and most influential film receives a sturdy transfer that could nevertheless use a bit more refurbishing.
Three of the respective mediums’ most emotionally gratifying collisions are now available in an exquisite gift package.
Thomas is back on Broadway in the Manhattan Theatre Club’s revival of Henrik Ibsen’s An Enemy of the People.
The agitated emotions of Chekhov’s personages become veritable landscapes in the hands of André Gregory’s assembly.
Conventional wisdom suggested that adaptations of the biggest bestsellers would make up much of this year’s shortlist.
Nearly two decades after its release, the film’s crafty auto-didacticism and fevered indecisiveness are still attention-yanking.
Criterion’s second David Mamet release might be the best DVD package of the director’s work out there.
Provocateur playwright and filmmaker Neil LaBute traffics in alternate reality.
Redbelt may or may not be Mamet’s best feature, but it is most definitely his least sycophantically written.
Redbelt is faithfully cast in the tradition of Jean-Pierre Melville’s Le Samouraï.
Redbelt is faithfully cast in the tradition of Jean-Pierre Melville’s Le Samouraï.
A robust overview of Frankenheimer’s most vital years, despite the recycled extras.
It surely isn’t lost on Mamet that the title of his 1987 debut feature, House of Games, doubles as a three-word summation of his career.
David Mamet’s macho prose pares down the world to blowjobs, power, and God.
Why is it so hard to make myself write an appreciation of Christopher Penn?
It’s become an industry workhorse not because he was any sort of Luddite, but because he thought the Steadicam encouraged lazy filmmaking.
The Untouchables is a violent, masculine, swaggering recreation of Al Capone and his bootlegging industry.
Finally, a Brian De Palma movie for guys who watch movies with their dicks and don’t want to be punished for it!
Spartan is an example of a film only a struggling screenwriter could love.