Wise’s film is as tense, thrilling, and relevant today as it was in 1959.
Almost 70 years after its initial release, The Night of the Hunter still resonates.
A good transfer and a great audio commentary pivotally contextualize this neurotic and lastingly influential American melodrama.
No need to double-dip if you already own Criterion’s first treatment of this intensely conflicted and resonant Southern gothic masterpiece.
The Visitor is one of its era’s most indefinable, inconceivably progressive pieces of cinematic nonsense.
One could cross-categorize Cukor’s A Double Life any number of ways convincingly.
Kurt Russell straddles the line between boy and man nicely in his energetic performance at the center of Elvis.
Opening night provided the perfect double feature to highlight this year’s double-L themes with 1948’s Pitfall and that same year’s Larceny.
A patchy but worthy set for a classy star who deserved more exciting roles.
A robust overview of Frankenheimer’s most vital years, despite the recycled extras.
Look to He Ran All the Way and Tension as examples of how John Berry was trying to push a melo-noir style.
The layers of pastiche that fuel the film multiply like the titular character’s fat white rabbits.
The film remains one of the most twisted evocations of godliness gone awry.