Villeneuve’s film is a milestone of precision craftsmanship on a gargantuan scale.
Andor has all the scruffy charm and boundless raw potential of its eponymous main character.
Denis Villeneuve’s gets a 4K release that, with its crystal-clear images and boisterous soundtrack, makes the most of the UHD format.
Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
Maria Sødahl considers the extreme emotions provoked by a medical emergency with an impressive force of clarity.
This is less a miniseries as five-hour movie than episodic television, with new narrative wrinkles introduced each week.
By the end, Cervantes’s heroes are at last free to move beyond representative confinement and finally speak freely as equals.
These films suggest the cinema as another place where we can simulate and reflect on life within and surrounded by natural landscapes.
The Mamma Mia! sequel’s flaws are overridden by infectious moments that, to take a cue from ABBA, you couldn’t escape if you wanted to.
Tony Zierra interviews Leon Vitali at length, and he’s a commanding camera object with an obvious wellspring of longing and pain.
Even the depiction of how they waver during Wimbledon final fails to tie into the larger portrait of their rivalry.
The film has been executed with a sense of formally stylish and thematically symmetric panache.
It works as both a modern morality play for our globalized world and as an indictment of Europe’s ethical bankruptcy.
The filmmakers cut the film to emphasize the story’s familiar plot points, rather than highlight any instances of personal visual artistry.
Branagh fully understands the societal critique underlying the tale, and brings it out into the open.
It culminates in a weepy climax that verifies its status as a proud hunk of propaganda from America’s massive self-help industry.
It might be summer, but your living room will rarely feel as icy cold when playing Criterion’s excellent 4K transfer.
Von Trier’s greatest film, by a wide margin, is revealed by Criterion to be even more beautiful than you may have already known.
The sex in Nymphomaniac is inhuman, mechanical, boring, and predictably viewed through the (male) scrim of someone who characterizes women solely as withholders.
Whereas female sexuality was borderline vampiric in Antichrist, this time we’re in more ambiguous, contextually richer terrain.