Wise’s film is as tense, thrilling, and relevant today as it was in 1959.
The film sees Boetticher operating on a more epic scale but still with his distinctively ruthless efficiency.
Day of the Outlaw is one of the finest, lesser-sung westerns of Hollywood’s golden age.
This stellar presentation of a beautifully nasty Samuel Fuller gem also boasts a rich, efficient supplements package.
Barebones, yes, but a sturdy home-video transfer of Ophüls’s savage, fascinating, and previously obscure film is major.
The body of Ray’s best work reveals a laudable consistency of viewpoint, thematic cohesion, and aesthetic distinctiveness.
The film is an extreme test of one’s patience, a sluggish modernist power point presentation on the glorious influence of Jesus’s greatest hits.
House of Bamboo has some of the most stunning examples of widescreen photography in the history of cinema.
Ugly American noir hero seeks single Japanese female companion for subtly homoerotic love triangle.
John Sturges transforms the expansive emptiness of his frame into an omnipresent character.
Title be damned, Sturges's classic isn't a bad way to spend a day.