The series builds something different on the sturdy foundation established by the film.
To Live and Die in L.A. exhibits a remarkable degree of kineticism.
The film is marked by wild flashes of invention, all born of painstaking craft and devotion.
Matt Reeves’s compelling back-to-basics take on DC Comics’s most iconic character gets an excellent 4K release.
Bullet-riddled and crackling with quotable dialogue, the film gets a handsome new 2K transfer and a handful of insightful extras.
The Batman is a commemoration of the Batman mythology and its stylistic and tonal shifts across its 80-year history.
Thanks to its smart, sophisticated direction and sharp performances, Apple TV+’s Severance mercifully doesn’t feel like work.
The series feels ordinary, so of a piece with other politically engaged prestige television.
It marks a specific convergence in Lee’s career, when his confidence as a filmmaker aligned with the boldness of his flourishes.
With this extraordinary transfer, Criterion honors the profound hothouse intensity of Spike Lee’s greatest film.
The film’s open-ended narrative tends to be undermined by the simplicity of its thematic signifiers.
As in Gillian Robespierre’s prior collaboration with Jenny Slate, the film’s studied amiability becomes obnoxious.
The sensory overload of Michael Bay’s hyperkinetic cinema is such that it eradicates any actual sense of place.
To Live and Die in L.A. gets a vibrant 4K transfer and a slate of solid new extras.
The Panamanian-born Roberto Duran’s story has all the makings of a fascinating film, but Hands of Stone isn’t it.
The ingrained self-hatred of its characters reflect outward toward those who remind them of themselves.
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.
It’s a carefully measured and satisfying, albeit occasionally tone-deaf, suite of fleeting, dispersed impressions.
It doesn’t take long to realize that Ridley Scott’s adaptation is only aiming for certain forms of credibility, and callously eschewing others.
Chief among the film’s beauties is the simplicity of the setting itself.