The film sidesteps all ambiguity, revealing everything about its characters straight away.
It all feels cheap, a far cry from what S. Craig Zahler can do when overseeing both a film’s words as well as its images.
Bart Layton’s American Animals is a heist film at heart, albeit one that hews closely to the historical record.
Rüdiger Suchsland’s film is a master class in the relationship between image production and ideology writ large.
Synapse Films’s restoration of Suspiria is revelatory and head-spinning, essentially serving as a portable guided tour of a decadent horror museum.
Gus Van Sant’s film is admirably unsexy, and a testament to the comedic potential of going sober.
This fiery piece of pulp shrapnel receives a beautifully ugly transfer, along with a handful of negligible supplements.
Brawl in Cell Block 99’s economy of storytelling is as efficiently brutal as the eventual skull-crackings.
Payne’s defenders might call his often acidic touch Swiftian, though it comes off more toothlessly noncommittal.
A daring work in New Queer Cinema, featuring River Phoenix’s greatest performance, receives a subtle yet important visual facelift.