As it proceeds, the appeal of its nostalgia wears thin and you may notice that there isn’t much beyond the window dressing.
The series suggests the failure of U.S. intelligence in the years before 9/11 was one of imagination.
In Godless, female empowerment resembles the adoption of a rigid construction of masculinity.
Noah Baumbach’s breakthrough still looks like his sharpest, most personally inflected work.
Universal’s electric Blu-ray treatment for Steve Jobs could go mouse to mouse with any Hollywood studio disc from the past year.
Danny Boyle’s film can’t help but land in the same hagiographizing place as nearly every single other Great Man biopic churned out by the studio powers that be.
The film goes in for the idea of texture, tics, and human behavior, but there’s no conviction, and no real push for eccentricity.
Allen’s most charming feature gets a fine, if unremarkable, Blu-ray from Twilight Time.
This sequel makes the most of Harry and Lloyd’s broadly neutered existence.
Glancing over this year’s Emmy nominations is to marvel again at just how much the television landscape has changed in 20 years.
It hasn’t been retooled exactly, but there’s a finessing of characters and a shifting of priorities, with most of the changes being for the better.
The season provides a decent fix for your Aaron Sorkin cravings and (hopefully) signals greater things yet to come.
Looper injects the sci-fi actioneer with a much-needed jolt of moral consciousness.
Looper at once understands the visual power of violence and is deeply critical of it.
This new Arachnophobia disc functions foremost as a reminder that, hey, the film exists.
Aaron Sorkin’s back with another dreamy bit of wish fulfillment.
The film about a million miles away from Oscar material, but Warner’s high-definition transfer is praiseworthy in and of itself.
Demme’s film provides a rhythm to which we can revolutionize our private lives.
The Howl DVD is a strong, affectionate transfer of a well-crafted film that never quite comes together.
Like the counterculture icon that penned the poem that serves as the title to Rob Epstein and Jeffrey Friedman’s film, Howl is one odd bird.