This is one Criterion’s most stacked one-disc Blu-ray releases of the year.
Michael Cimino’s confused neo-noir Desperate Hours receives a solid but barebones Blu-ray from MVD.
Criterion outfits Cronenberg’s utterly one-of-kind erotic techno-fable with a mint transfer and a few pertinent archival extras.
Atom Egoyan’s hypocritical prestige-movie skittishness is more offensive than ordinary sensationalism.
It defers to a familiar, nondescript urgency to work through its particular depiction of a troubled but no less honorable civil institution.
The film’s visual construction is spare, drawing power from its locations and quietly matted miniatures, though ultimately it succumbs to powering a series of cheap thrills.
The film’s tonal inconsistencies speak less to the struggles of its titular subject than to its own grasp-exceeding ambitions.
The AMC drama feels leaner and meaner, quickly recuperating from its needlessly extended and convoluted former storyline.
The film comes to play like a sly sales pitch for 3D TV sales, directed squarely at coach-potato potheads.
It’s enjoyable junk with a lick of human interest and the good sense to not take itself too seriously in the end.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
An unusually beautiful horror film that understands that adolescence isn’t one fixed state of past tense.
The film breathes with the intimacy of slow and purposefully written correspondence between two friends and confidants.
Director Terrence Malick recommends that The Thin Red Line be played loud.
A beautiful, fitfully successful film with another compelling Casey Affleck performance.
Let Me In is a great cover of Let the Right One In, though it raises the question: Does Matt Reeves have a style of his own?
Casey Affleck executes an uncondescending, chilling turn as the methodical, coal-hearted Lou Ford.
Eric Mendelsohn’s first film since 1999’s Judy Berlin suggests Little Children as helmed by a nature documentarian.
Martin Scorsese’s film walks a fine line between institutional thriller and what-is-reality inquest.
If you’ve ever watched Unsolved Mysteries, you’re already well acquainted with the pleasures of The Fourth Kind.