The beautiful transfer helps make the argument that the film is more than just a curio in neorealist history.
Severin’s presentation of Blood for Dracula is a release that you can really sink your teeth into.
Luzzu retains the structure of a neorealist film, as well as its themes of class and desperation.
The 1967 omnibus film The Witches still manages to cast a spell at times, owing to the contributions of its talented cast and crew.
The film is an endlessly complex, universal testament to the ills of valuing commerce over compassion.
This not-quite-stellar release proves that the Criterion Collection, like the heroes of Ophüls’s masterpiece, isn’t quite infallible.
The email paper trail this year’s live-action short category has left in its wake has litigation written all over it, but our expert panel [sic] managed to agree on at least a few things.
Lisa and the Devil is easily the oddest duck in Bava’s filmography, sumptuously photographed and exceedingly surreal.
Umberto D. wants to break your heart. Criterion’s spit-polished Blu-ray upgrade makes that prospect all the more beguiling.
Jean-Pierre and Luc Dardenne are modern cinema’s poets laureate of working-class marginalization and spiritual crises.
A keystone in a historic cinematic movement, but this release does not persuade that it equals the best of its era or its genre.
The picture signaled a welcome return to the settings and themes of Rossellini’s neorealist origins after years of baffling experiments.
Overrated when first released and underrated since, Rossellini’s trenchant tale of redemption is ripe for rediscovery.
A majestic package fit for the film that would make Pauline Kael and Andrew Sarris swoon in unison.
Evanescence is an integral part of cinema, and no other director captured it as lyrically and yet as savagely as Max Ophüls.
The Children Are Watching Us is a marvel of complex visual and emotional scope.
De Sica looked at the ruin of post-war Italy more lucidly, and with more tears in his eyes, than any of his contemporaries.
The film was a signature failure that sums up David O. Selznick’s is entire career: a showman with big panache and no heart.
To those willing to endure A Farewell To Arms: Don’t be a hero!