This 4K transfer improves on Warner’s 2008 home video release in every way.
Inland Empire retains its low-res, subterranean power on Criterion’s Blu-ray release.
Shout! Factory outfits David Lynch’s worst film with a competent yet weirdly retro Blu-ray that squanders the possibilities of the medium.
Lynch’s misunderstood film receives a transformative restoration that brings its tarnished beauty to life.
John Carroll Lynch’s Lucky is an impeccably acted yet sentimental film that’s bashful about said sentimentality.
Harry Dean Stanton was the great supporting actor of American cinema.
As of the latest episode of Twin Peaks: The Return suggests, the darkness seems to be winning.
Many of the events in the latest episode of Twin Peaks seem to depend on the toss of a coin.
This rough, lurid, pointedly un-preachy work of macho outlaw cinema, one of the best of the many John Dillinger movies, deserves to be better known.
It looks and sounds incredible on the new Blu-ray, though more adventurous viewers may yearn for some thornier supplements.
Easily the best home-video release to date of this sci-fi spectacle, with a near-perfect audio track and enough extras to satisfy any diehard.
Kino impressively beautifies a cult western that’s somehow equally hindered and empowered by its self-conscious eccentricity.
They’re great films, period, and Criterion appropriately honors their elusive, pared, and despairingly and misleadingly plain-spoken brilliance.
For the past eight years, the Killers have partnered with (RED) for a Christmas single.
It feels like an introductory chapter to a more substantive, sprawling study of the actor.
The film exploited the possibilities of shaking the audience up with carefully planted, obtrusive noise in a sea of uneasy silence.
Disappointing supplements notwithstanding, this release of the under-seen The Last Stand does well by a film that’s proud to be small.
Criterion effectively (and correctly) resuscitates a cult object as a certifiable classic.
As Dorothy Zbornak demanded, “Maestro, how about something with a little octane?”
Kim Jee-woon makes savvy use of Schwarzenegger as both a newly world-weary figure and, more frequently, the ever-reluctant hero.