The history of Winter Kills is nearly as lurid and tangled as the conspiracy it depicts.
Warner Bros. honors a touchstone of film noir with a definitive home-video transfer.
This release boasts an excellent transfer, informative bonuses, and even another one of Raoul Walsh’s features.
Kino makes the most of Huston’s disappointing late-career psychological thriller with a new 4K transfer.
The gorgeous 4k transfer rescues Huston’s cult classic from the grips of the public domain.
The Other Side of the Wind isn’t a novelty item, but a work of anguished art that’s worthy of its creator.
Ahead of its world premiere at the Venice Film Festival, Netflix has released the trailer for Welles’s unfinished last film.
Any film festival dedicated exclusively to the treasures, glories, and the occasional folly of the past is likely to be visited by ghosts.
Blood and trauma make an irresistible mix in The Asphalt Jungle, which receives a stellar Blu-ray presentation from Criterion.
Despite the poor quality of the A/V transfers, Olive Films is doing a public service by collecting John Huston’s war documentaries on home video.
This unusually optimistic, and unsatisfying, Huston film receives competent, not especially memorable treatment from Twilight Time.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
The Visitor is one of its era’s most indefinable, inconceivably progressive pieces of cinematic nonsense.
Perhaps the weakest points of the book are in some of Meeuf’s prose, particularly when discussing masculinity.
It’s generally agreed that films fall into one of three categories: The Good, The Bad, and the So-Bad-It’s-Good.
Category fraud didn't begin with the Oscars. It began when the Razzies awarded Aileen Quinn worst supporting actress of 1982.
Forgetting Chinatown will be exceedingly difficult with this stunning new Blu-ray release.
The Misfits wrangles a very good transfer from MGM but very little else.
That Bogart finds so much humor in Charlie’s goofball debasement only adds to the film’s poignancy.
Fact: You haven't truly lived until you've seen Walter Huston do the jackrabbit dance.