Arbelos offers a landmark restoration of a raw, self-devouring work of auto-critical cinema that was decades ahead of its time.
Peter Fonda’s beautiful, unjustly overlooked western has been outfitted with a gorgeous transfer and an eclectic collection of supplements.
Writer-director Shana Feste’s film alternates between cutesy comedy and undercooked emotional drama.
The primary model for Jared Moshe’s The Ballad of Lefty Brown is a particular strand of postwar western.
This legendary tale of a motorcycle odyssey gone wrong remains timeless for its diagnosing of the early stages of a social ennui that has now fully bloomed.
This lackluster presentation of Roger Corman’s alternately groovy and goofy LSD drama seems to take a cue from the hallucinogenic drug experience.
Director John McNaughton, once an agile orchestrator of seemingly incompatible tones, has retained his talent for teasing insinuation.
Its thinly veiled message of social conservatism and religious affirmations as the pathway to an ideal life is delivered with all the predigested sentimentality of a Hallmark card.
Dirty Mary Crazy Larry boasts its fair share of quotable dialogue ranging between wistful philosophizing, off-the-cuff calumny, and cornball caricature.
Ron Maxwell’s film, from beginning to end, exudes all the excitement of a textbook history lesson.