Criterion’s superb presentation lends this modest little film some well-deserved prestige.
Kogonada’s elegant and moving narrative debut has been outfitted with a lovely transfer that will hopefully expose the film to new audiences.
Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
The seeming miracle of Columbus is its mixture of formal precision with a philosophical grasp of human mystery.
Mascots’s rapid-fire gags result in a hit-or-miss pattern, ranging from the wickedly inspired to the overly broad.
It potently clarifies how our lives are spent distracted from matters of the closest personal significance.
Woody Allen and Joaquin Phoenix’s collaboration on Irrational Man’s antihero is the closest the film gets to a saving grace.
Of greatest damage to its coherence is its wholehearted belief that its subjects are offering firsthand reports worth hearing.
It’s a testament to Bruce Greenwood’s acting that Adan never becomes entirely as insufferable as the words that come out of his mouth.
Give Best in Show the Blu-ray ribbon for improved A/V quality. Otherwise, Warner Home Video supplies exactly the same package as previously.
Posey is a singular, essential comedienne, unafraid to act a fool while also acting her ass off.
Triple H clearly understands that he shouldn’t force his line readings or try too hard for a traditional performance.
The film succeeds only at suggesting the incompatibility of returning-home dramedy and surrealistic flights of fancy.
You’d think that a horror story concerned with the unreliability of sight might at least try to generate scares via the use of visual trickery.
Zoe Cassavetes’s film is most successful in its throwaway moments.