The film diagnoses the spreading rot of the United States without losing its sexy, empathetic cool.
A solidly attractive transfer from Twilight Time of a key film in the American New Wave of the late 1960s and ‘70s.
Dispensing with all notions that Days of Thunder is a critical work of any sort reveals its hollow and misogynistic underpinnings.
The film has an engagingly profane, scruffy looseness, a hallmark of Hal Ashby and Robert Towne’s careers, that undermines the conventions of the narrative.
Essential viewing, if not only for its edutainment factor, but for the dynamism and felt resonance of its maker’s bounding enthusiasms.
8 Million Ways to Die turned out to be the final film of one of the most endearing filmmakers from the New Hollywood era.
The exhaustive, labyrinthine narrative is built up like a fortress around this film’s bitter heart.
Paramount meant what they said when they were giving Chinatown the “collector’s edition” treatment. It looks and sounds pristine, with not the slightest shimmering in Jake Gittes’s cream-colored suits.
Unlike most action films, Mission: Impossible’s distinct appeal operates not so much on suspense but on improbability.
Nicholas Jarecki’s The Outsider doesn’t have the edge of a race-conscious James Toback film.