Arrow gives one of De Palma’s most moving films the long-overdue masterpiece treatment.
The Limey is one of many American films released in 1999 that seemed to be saying goodbye to the rebel spirit that allowed indies and mainstream movies to comingle as they had in the ’70s.
One of Soderbergh’s best films, a classic of the American crime film genre, is afforded a beautifully visceral transfer.
Criterion has outfitted Anderson’s magical and career-redefining whatsit with a shimmering and gorgeously immersive transfer.
The film receives a fine transfer and a nearly nonexistent supplements package.
The film limps to predetermined truths that hypocritically advocate the maintenance of placid family values.
Keanu is declawed by design, but it’s hard not to wonder what the cat could’ve dragged in.
Evocative performances and sporadically astute direction enliven a film that’s too often overstuffed with plodding, literal-minded humanism.
Reclaim’s highly mechanized plot ensures that the film is over before it even ends.
Aside from being another rote addition to the revenge-film canon, John Stockwell’s In The Blood is also a supreme waste of Gina Carano’s talent.
As a film about social issues, and simply being yourself, it’s commendably progressive, going so far as serving as a kind of coming-out story.
Disappointing supplements notwithstanding, this release of the under-seen The Last Stand does well by a film that’s proud to be small.
Kim Jee-woon makes savvy use of Schwarzenegger as both a newly world-weary figure and, more frequently, the ever-reluctant hero.
The specter of George Lucas looms large over Journey 2: The Mysteries Island.
The primetime debut of one of Criterion’s indies-in-residence, Soderbergh’s Oscar-winning drug war epic gets a terrific HD upgrade.
How to Make It in America dramatizes a particular cultural moment with uncommon style and a little grace as well.
Over-stylized and narratively undercooked, The Caller treats its Twilight Zone-style conceit for dim thrills.
Winer’s remake of Arthur is given a suitable but by no means impressive transfer by Warner Home Video.
The new version of Arthur will be inevitably saddled by the ghost of its predecessor.
The show effectively homes in on that hope-filled effervescence historically associated with the idealized American dream.