The Italian Job is a raucous, riotously funny exemplar of Cool Britannia at its coolest.
De Palma’s exquisitely directed slasher gets its finest home video release to date.
Criterion’s Blu-ray release of Neil Jordan’s Mona Lisa offers a superb upgrade on the A/V front and a few new extras to boot.
Come Away can’t seem to decide whether it’s fantasy or allegory and whether its characters are fan fiction or flesh and blood.
Kino’s release of Furie’s seminal spy film boasts a strong A/V presentation and an abundance of fascinating extras.
Every time that Tenet stops to speak, it only emphasizes a hollowness within.
Arthur Conan Doyle’s legendary characters feel as if they’ve been air-dropped into a universe where they don’t belong.
The potential comic absurdities of the premise are squandered as soon as the film settles into a tepid coming-of-age tale.
Mike Hodges’s oddball noir Pulp gets a terrific Blu-ray upgrade and a handful of essential new supplements from Arrow Video.
No one in Zach Braff’s Going in Style seems to really know what the hell they’re doing or why.
The sheer amount of people and incident indifferently presented throughout suggests only an obligation to quota-filling.
This political thriller from director John Frankenheimer’s spotty late period is a much richer film than its reputation implies.
As ever, writer-director Paolo Sorrentino ironically cuts the legs out from under his protagonists’ wistfulness with grotesquerie.
Vin Diesel’s lifelessness flies in the face of the film’s more original and ultimately transitory surface pleasures.
Its insolence about sexual identity and mental illness would feel dated were the film not De Palma’s finest comedy, albeit in genre drag.
The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins.
It’s structured in safe terms, plays for very low stakes, and appeals to no one so much as white, male teenagers with chips on their shoulders.
Christopher Nolan’s goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
Russell’s bracing film gets a solid, if unspectacular, transfer (and little in the way of extras) from Kino Lorber.
In the wake of the ostentatious atmospherics summoned by the likes of Shutter Island and American Horror Story: Asylum, the film feels unnecessarily restrained.