Leone truly came into his own with the capper to his Man with No Name trilogy, and it now looks better than ever home video.
This re-edit clarifies The Godfather Part III as a bombastic yet ultimately insular morality play.
Weill’s subtle, masterful dramedy is one of American cinema’s great character studies.
Adam West and Burt Ward are antipodal to every subsequent incarnation of Batman and Robin. The dynamic duo are blithe fuddy duddies turned billionaire scions in spandex.
It almost seems like AMPAS is trying to pull one over on us—or, at the very least, sneak one past us while we’re not looking.
It's no Seven Samurai, but The Magnificent Seven is worthy of the flag it waves.
The Misfits wrangles a very good transfer from MGM but very little else.
As in his superior original, Oliver Stone’s follow-up damns with one hand but can’t help glorifying with the other.
The secret passion of the cinephile is to find a hidden treasure.
Ghost Writer suggests a game of chess played delicately and with great precision.
For a project that aims to be so location specific, most of the segments seem largely isolated from their nominal settings.
The film draws on a little-known historical footnote as the haunted backdrop for an otherwise tepid contemporary drama.
Essential in the truest sense of the word.
The film’s world is so hermetically sealed that it seems to have been intended only for writer-director Emily Hubley’s pleasure.
If you’re going to write a love letter to yourself, Jack, this is the way to do it.
The Two Jakes allows Nicholson to reprise one of his most memorable characters as a way of seeing whether he’s still got it.
My mistake. Four coffins for all previous video versions of these films.
For its rambunctious first half, Lasse Hallström’s The Hoax is a rip-roaring yarn.
To list all the contrivances strewn throughout would require more words than are warranted by Nancy Meyers’s cinematic maple syrup.
Operatic is scarcely the word for Sergio Leone’s impassioned riffs on the western tradition.