A transcendent bump in presentation materializes in the soundscapes but not quite the imagery.
Wong Kar-wai’s controversial restoration makes the jump to full 4K with a sumptuous transfer.
On screen, Shang-Chi is rotely defined by the same “gifted kid” impostor syndrome as so many other self-doubting MCU heroes before him.
The beauty of the presentation makes this a must-own release, even if the relatively by-the-numbers extras don’t fully rise to the occasion.
The film, more likely to invite comparisons to the writings of Marcel Proust than the previous Ip Man films, is a gorgeous folly that never entirely emerges from its creator’s head.
The Grandmaster is an expectedly exquisite work which reveals its author’s fingerprints in every frame, motion, and emotion.
Films about the not-so-great outdoors pervade this year’s festival.
Don’t Go Breaking My Heart isn’t simply a house of mirrors reflecting the soullessness of our internet age.
Thanks to a sumptuous new high-definition transfer from Kino, Happy Together is still bittersweet, but with a little more emphasis on the sweet.
Though both parts of Woo’s original film mostly serve to amplify his central pre-occupations, Red Cliff 2 goes a little farther in complicating them.
The second golden age that the film inhabits is perhaps only apparent in retrospect.
Love is something you see, sense, feel, and the film is one of Wong’s purest evocations of its excitement and heartbreak.
Ashes of Time doesn’t starve for hyperkinetic genre calisthenics.
Lee will never be Wong, and that’s okay.
Ang Lee busts a nut with Lust, Caution.
Wong Kar-wai means to depress Mr. Chow, but he bums out his audience in the process.
This trilogy of films proves that that the exchange of pop-cultural parts works in multiple directions.
Liquids become the motif d’abus of the film: water, blood, vomit, sweat, oil, urine, humidity, and paint.
In Hard Boiled, John Woo makes an art form out of creating deceptive surfaces.
Hero is elliptical, primal, radically disjointed, and female-empowering.