Arbelos offers a landmark restoration of a raw, self-devouring work of auto-critical cinema that was decades ahead of its time.
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.
You’d be hard-pressed to find a more exhausting cinematic archetype than the self-destructive rock star.
Criterion’s release is exactly what their Eclipse line should be doing and should be at the top of every cinephile’s wish list this holiday season.
In cinema as in life, the devotion inspired by cults can—like the Jonestown thirst for Kool-Aid—border on lunacy.
It’s a western that, at the moment of truth, too closely remakes when what was truly necessary was reinvention.