Fellini’s extravagant final film is a charming reminder of a lost giant and a lost style of moviemaking.
The sight of Rossellini’s war trilogy remastered in HD will be cause alone for some to double dip.
Fellini’s hallucinatory Roma gets a pristine 2k transfer and a few meaty bonus features from Criterion.
Silverman discusses her current production and her relatively new foray into the world of musicals.
Criterion’s 4K restoration reveals the film to be the most simultaneously rapturous and claustrophobic film Federico Fellini ever made.
Fellini’s unsparing odyssey of corrosive wealth and anxious commonality is given a reliably peerless A/V transfer from Criterion.
Roberto Rossellini’s film owes part of its emotional power to its mixture of politico-religious symbolism and quotidian humor.
There’s a great line in Jules and Jim about fictions that “revel in vice to preach virtue.”
Like many, I did my vacationing first by way of the movie screen, making all subsequent traveling the realization of romanticized visions.
In terms of demographics, Dario Argento is clearly intended as a text for both newcomers and knowledgeable fans alike.
What emerges most saliently from Mintzer’s interviews is Gray’s commitment to the idea of problem solution in creating his style.
The Comedy is continuously in danger of feeling either too cute or too abrasive.
It lovingly pays tribute to the way memory fades away and imagination takes over, a process that grows more intoxicating with age.
A couple of New Yorkers (yeah, Jewish guys) have been hearing about a particular restaurant for years, the best place for lunch in town, bar none.
Electric, essential cinema framed with love and scholarly reverence.