This subversive, unsentimental adaptation of Raymond Chandler’s novel gets a fabulous 4K transfer from Kino Lorber.
Kino’s release should help bring new eyes to this wonderfully offbeat Canadian thriller.
Humor Me writer-director Sam Hoffman isn’t willing to disrupt his familiar and tightly structured plot.
Kino Lorber issues a slim but attractive restoration of John Irvin’s nasty and woefully underappreciated crime thriller.
The entire world of Ray Donovan feels typified by nothing more than pent-up machismo.
The film’s moral lesson is too contradictory to be taken seriously.
Ruby Sparks succeeds as a satirical fantasy about writerly self-involvement, but it’s worth celebrating as a testament to self-made greatness.
For better or worse, it stands testament to the fact that at least one segment of the counterculture had no place for women.
M*A*S*H is a good dint lower than its reputation.
The idea of bringing together Frank Langella and Elliott Gould in a movie sounds utterly delicious with possibility.
To call the Ocean’s films frivolous would be kind, implying that these arduous concoctions are somehow light on their proverbial feet.
The film is simultaneously an act of revisionism as well as a parody of then-revitalizing neo-noir.
Masters of Horror wraps up its second season the way it originally planned to close its first: with an English-language entry from Japan.
Robert Altman’s disgruntled comedy only seems a relatively straightforward buddy film.
The picture and sound quality on all of the films is clean and clear with the exception of A Perfect Couple.
The Glass Shield doesn’t claim its scenario is applicable in every test case.
Not every lesson is composed of what you want to hear.
A DVD package as smooth as the film it preserves. Buy some wine, a nice suit and a ticket to Vegas.
After the tired Mametisms of Heist and the dopey repartee of The Score, Ocean’s Eleven must count as a breath of fresh air.