This release enshrines the film’s position as one of the pivotal works of the New Hollywood era.
Thelma & Louise is a legitimately unique rethinking of genre structure.
The dearth of extras make this release feel like a missed opportunity.
The series, based on Tyson’s one-man Broadway show, pulls a few punches but lands the big swings.
This release of The Piano makes for yet another stunner in Criterion’s expanding 4K UHD catalog.
Romero and Argento’s Two Evil Eyes receives its most impressive transfer to date from Blue Underground.
Criterion’s exacting presentation of Scorsese’s late-inning masterpiece is a testament to the enduring value of physical media.
It marks a specific convergence in Lee’s career, when his confidence as a filmmaker aligned with the boldness of his flourishes.
Schrader’s lively and despairing first film as director has never been more relevant.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
Kino offers a beautifully lurid transfer of a greatly underrated Jack Nicholson thriller.
The innate imperfection of canine hair gives Wes Anderson’s lovingly crafted dioramas the illusion of life.
Kino Lorber issues a slim but attractive restoration of John Irvin’s nasty and woefully underappreciated crime thriller.
Nearly everything in Taylor Hackford’s tin-eared comedy is as ersatz as the Robert De Niro character’s rage is real.
The hygienization of Rio into what at times looks like a soulless Southern California town is so scandalous it feels like a spoof of the Cities of Love series.
As ever, writer-director Paolo Sorrentino ironically cuts the legs out from under his protagonists’ wistfulness with grotesquerie.
Abel Ferrara takes his gonzo style to its most abstract dimensions and produces one of his most essential, and least heralded, films.
Criterion stalwartly continues to ensure that one of America’s finest directors is properly recognized for the master artist that he’s become.
The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins.
Evocative performances and sporadically astute direction enliven a film that’s too often overstuffed with plodding, literal-minded humanism.