The series takes itself a touch too seriously to succeed as a farce but draws its characters too broadly to achieve any real pathos.
Sofia Coppola’s hypnotic and elegiac debut feature gets a sterling UHD upgrade from the Criterion Collection.
Coppola’s luscious and formidable debut feature gets a deserved star treatment from the Criterion Collection.
Serial Mom looks about as pristine as the image Beverly Sutphin projects onto her little slice of suburbia.
Despite an inconsistent video transfer, Russell’s lascivious neo-noir gets a fine Blu-ray from Arrow Video.
This sequel makes the most of Harry and Lloyd’s broadly neutered existence.
It may be a cartoon, but the film’s deep engagement with municipal history is very much real.
Instead of understanding the femme fatale as a genre staple, Grossman wants to dispense of the characterization altogether.
It’s an anodyne tale of family-centered acceptance that’s neither comical when it wants to be nor touching when it strives for pathos.
The most obvious Reagan-era reference here is Ken Russell’s 1984 sex thriller Crimes of Passion.
The pacing is great and there are many interesting shots and uses of the camera, but nothing too showy.
Hell is Marley & Me.
Annie’s “Tomorrow” never sounded so optimistic.
Serial Mom is the strongest film of the post-midnight-movie chapter of John Waters’s career.
In its first frame, Romancing the Stone announces that it is a “Michael Douglas Production.” That’s for sure.
His name is Jack T. Colton. What’s the “T” stand for? “Trustworthy”
What’s disheartening about Monster House isn’t just that it turns out to be a spasmodic, cacophonous roller coaster ride.
Robert Zemeckis’s live-action/cartoon feature is both enduring and endearing.
There’s enough on this double-disc set to make the edition a keeper.
The film is as much a relevant view of adolescence and male/female relations as it is an act of remembrance.