Criterion outfits Leigh’s extraordinarily moving Palme d’Or winner with a transfer that honors its granular intensity.
The festival feels very much on the rise, both as an international industry shindig and a well-funded driver for cultural tourism.
Leigh discusses the seemingly counterintuitive process of making a period film more contemporarily relevant by fully embracing the past.
There’s something missing here, a spark of zeal and immediacy to the depiction of anti-democratic atrocity.
A gorgeous, perceptively supplemented restoration of a pivotal early masterwork in Leigh’s career.
An astute summation of Mike Leigh’s glum view of humanity, but also a challenge to this disposition and his own pessimistic perspective.
This is one of Wiseman’s richest and most thought-provoking films, and easily one of his best.
Mr. Turner, as it titles suggests, is a portrait of the artist as everyman.
Criterion welcomes this early Leigh masterpiece into the fold of contemporary classics with a stunning image and outstanding audio commentary.
Naked peels back the maggot-infested curtain of Thatcher’s London to reveal an atom of hope.
I have to make a screening so this has to be a short one. Insert acknowledgement of the double entendre.
With Topsy-Turvy, Leigh jettisons his usual pinpoint focus in favor of a broad, inclusive narrative.
Rule number one for prognosticating the Best Original Screenplay category: Rule out Mike Leigh at your own peril.
Another Year is a tale of haves and have-nots—those who are touched by grace and those who are not.
Mike Leigh’s latest is a lovingly told but insufficiently nuanced story of four seasons.
The festival ended with its longest competition title, and it wasn’t even a complete film.
Despair is the dominant mood of Mike Leigh’s Another Year.
This is a film that challenges any sense of resentment in identity building, and for that alone, it deserves wide praise.
Sally Hawkins and Eddie Marsen's performances still make this DVD worth every penny, don't they?
You know the drill: No guild is better at predicting the winner of the Best Picture Oscar than the Directors Guild of America.