The film is a celebration of people’s desire for everything that’s beautiful and fleeting in life.
Even when the film becomes something like a thriller, it never loses sight of its political themes.
Christophe Honoré’s film tackles grief in a subtle, intriguingly indirect manner.
The Three Colors trilogy looks more vibrant and mesmerizing than ever.
The studied ambiguity of the film doesn’t keep it from often achieving the suspense of an accomplished erotic thriller.
The film ultimately trades its main character’s account of her own suffering for her therapist’s pathologizing assessment.
Warner Bros.’s 4K upgrade brings theatrical-level clarity to Edwards’s bold reboot of Toho’s Godzilla franchise.
The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.
Criterion gives one of last year’s most deeply felt and beautifully shot films a rich transfer and a respectable set of extras.
High Life is a vision of the future as bleak and feverish as director Claire Denis’s 2013 thriller Bastards.
Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.
Claire Denis finds the inexorable beauty (and sadness) in that most corrosive and fugacious of feelings.
Even its sensitive and gorgeous choreographies can’t fully offer respite from the hollow narrative.
The exquisite Blu-ray transfer makes an argument for the film’s remarkable production design and audio/visual construction.
Claire Denis’s Let the Sunshine In is an exquisite romantic comedy whose laughs are sad and whose sadness is funny.
Bruno Dumont’s formalism is charged with a spark of simultaneously controlled and spontaneous mystery.
Its headiness exists beyond its more pseudo-philosophical dialogue about the differences between fantasy and reality.
This is a desperately needed home-video upgrade that at last presents Leos Carax’s film in its correct aspect ratio.
Clouds of Sils Maria is pat and self-conscious, though it’s certainly a remarkably acted formal object.
Cruelty here can feel cheap, perhaps a result of Dumont not knowing how to effectively command comedy yet.