Woo’s most riotous American film receives a solid upgrade to UHD.
Travolta’s scenes are islands of tranquility in a jittery sea of rote crime-movie pyrotechnics.
You can see just how much benefit the 4K format has to offer grainy, New Hollywood-era films.
Quentin Tarantino’s generation-defining classic receives a sterling, detail-rich 4K transfer.
Paradise City Review: John Travolta Comes to Play in Chuck Russell’s Inept Schlockfest
If only everyone else had followed Travolta’s lead, then the film might have lived up to its title.
This release boasts a stunning 4K transfer that boosts Blow Out’s even more stunning images.
For a film about such a singular profession, it offers surprisingly little insight into linemen’s day-to-day labor.
The film conveys a sense of pastiche unpredictably giving way to a raw and primordially intimate emotional realm.
De Palma’s technique reaches a new volatility here.
Ti West’s methodical austerity yields in this film the most powerful passages of his career.
The actors chew the lurid, shopworn material up to bits, savoring it like a Royale with cheese.
A sluggish fusion of a disease-of-the-week tearjerker with a comedic family crime romp that abounds in Boston-crime-movie details.
Going Clear penetrates the nature of faith to confront anxious questions.
Lawrence Wright’s presence in Going Clear is a persistent reminder of what the film could have been.
Make no mistake, for all the deferred killing, this is still a bloody affair, one which takes a grotesque glee in arrows being shot through faces and impromptu torture sessions.
Swordfish is multifariously condescending, but it’s so inherently clueless that there’s no use in getting offended.
Stone returns to the grit, grime, and blood of his glory days with this breakneck SoCal-set thriller.
While his classic hyperbolic visual style is back in force, Oliver Stone can’t bother to muster any of his usual righteous anger.
Adjmi keeps his audience on its toes by constantly demonstrating how hysterical laughter can signal trauma.
It’s probably not a good sign that the poster for Oliver Stone’s Savages makes a perfect column subject for Easter Sunday.