This Blu-ray makes a fine case for the film being a highpoint in the careers of David Cronenberg, Stephen King, and Christopher Walken.
Shaka King’s film, anchored by two sterling lead performances, complicates the expected narrative of martyrdom.
Lionsgate’s lavish presentation of the film’s various cuts represents the latest high-water mark for a catalog studio release.
Director Joshua Marston’s Come Sunday exists in a vacuum of blandly expositional generality.
Stephen Daldry, working from Richard Curtis’s exploitative script, opts for a full-on Slumdog Millionaire imitation.
Selma paradoxically presents nonviolent civil rights protest as something akin to a military campaign.
What will make it essential for future generations isn’t mere flashpoint topicality, but the way it aligns an old struggle with a current one.
It places its characters in a reflexive historical continuum that dooms them to be mere demonstrative types from start to finish.
In its visionary dream and flashback sequences, Ignacio Ferreras’s film becomes a comment on the rapidly diminished state of traditional animation.
Da flirts with Shakespearean themes, King Lear and Hamlet being the main points of reference.
Badlands is perhaps most different from the rest of Terrence Malick’s oeuvre in its straightforward narrative continuity.
Malick’s beloved first film gets a somewhat light, though reverent, treatment from Criterion.
The second season of Anger Management is mostly a depressing slog, lacking even the calculated urgency that characterized the first season.
Paramount offers a bold, beautiful A/V transfer Spielberg’s magnificently paced film.
Death by China is a marvel at finding ways to sabotage its own credibility.
So often is it rehashing moments already handled expertly by Raimi’s films that Amazing Spider-Man never takes flight.
The film is a predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
Not only does The Double’s outdated theme feel out of leftfield, it’s unexplained and without reason.
There’s little in The Way that doesn’t succumb to platitudinous conceptions of spirituality.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.