Criterion gives one of the most compulsively rewatchable movies of the last generation its most fully satisfying home-video edition to date.
Reiner discusses the surprising new urgency that his new film took on after the 2016 election.
Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
Rob Reiner’s film fails to do justice to both the man and the fraught times he so fundamentally influenced.
Most of the film’s characters are unconvincing, flattened out by Charlie’s self-focused lens.
Just as Michael Douglas doesn’t have it in his guts to make Oren a real son of a bitch (a grandpa Gekko), Diane Keaton’s jangled neurotic tics lack any dramatic import.
Martin Scorsese’s keyed-up, irreverent tone frequently fails to distinguish itself from the grunting arias sung by the oily paragons of commerce his film evidently intended to deflate.
Nora Ephron imbues the film with a self-awareness that remains rewarding in spite of its contradictions.
The film is an elegy for Chris, and so it became an elegy for the youthfulness and beauty of River Phoenix himself.
Lacking the commentaries and home-video footage that graced previous DVD releases, this pedestrian set hardly excites.
A film of remarkable forwardness, honesty, and humor, built, like all fairy tales, around one message, summed up late in the script.