Jean-Stéphane Sauvaire’s Asphalt City is less a film than a guttersnipe’s wallow.
Arrow gives one of De Palma’s most moving films the long-overdue masterpiece treatment.
Universal brings Licorice Pizza to home video with a beautiful Blu-ray, though the lack of a UHD option for such a gorgeous film is frustrating.
It’s the hints of danger, employed like ghost notes in a shuffling rhythm, that lend the film its sneaky depth of feeling.
Flag Day is little more than a near-two-hour montage of tear-streaked faces melodramatically shouting at each other.
Barring a UHD release, the film is unlikely to ever look better than it does on Criterion’s superlative package.
The Tree of Life is the culmination of Malick’s artistry, and Criterion treats it as such with this totemic release.
Its shameful exploitation of Africans doesn’t stop with the privileging of the love affair between two white doctors.
The Angry Birds Movie is a lot of things, but none of them true to the app’s appeal.
Stone’s most underrated movie is a dark comic fantasy of sin and futility as well as one of the craziest and most beautiful of all noirs.
The lack of visual ingenuity, reflexivity, or awareness of genre tropes diminishes the pleasures of the action’s involving kineticism.
For Stiller, apparently, James Thurber’s classic story is occasion to craft what eventually amounts to a totem to his own vanity.
A cinematic Hallmark card about the triumph of the human spirit, it finds Ben Stiller courting Oscar-season accolades through a tale that’s all schmaltz, no substance.
Gangster Squad is a perfect example of Hollywood hypocrisy.
It certainly looks like Joaquin Phoenix is about to be snubbed for his work in The Master.
This Must Be the Place believes in maturity, but only as a freely continual process of acceptance.
Criterion continues to polish their gold standard with their release of David Fincher’s most underrated and unseen masterpiece.
Can Malick’s dream-like film grammar resonate when set in the modern world?
Terrence Malick’s The Tree of Life seems certain to remain the most audacious, abstract, and ambiguous American film released this year.
The music of Gustav Mahler is appropriate for the kind of contemplation that Terrence Malick aims to evoke in The Tree of Life.