Night Gallery’s final season gets a stunning 2K restoration and a cornucopia of bonus materials.
The Maniac Cop sequels are fascinating for their competing sensibilities.
The film displays little ability to utilize Ashby’s violent actions for means other than high-concept fodder and out-of-place bloodshed.
For all its pomp and fabulosity, Mirror Mirror is actually Tarsem Singh’s most minimalistic effort.
A wonderful, must-own transfer by the Criterion Collection of one of last year’s best films.
The film is notable for its aggressive miserablism, but also for its stellar photography, which this great transfer dutifully reveres.
As with Palindromes, the film revolves around a casting gimmick, with its predecessor’s roles now embodied by all new performers.
Are the Coens jokers who tread on despair, or tragedians with a penchant for death’s-head humor?
Had it focused solely on mid-level card-shark scams and the old-school pros who ply their deceptive craft, the film might have been a low-key charmer.
The film was seemingly developed at the David Mamet Institute for Twist-Laden Salesmen Dramas.
Zak Tucker’s Poster Boy is no film, it’s a soapbox.
Oy vey. The film gives Jews an insufferable holiday family comedy to call their own.