Michael Mann’s moody crime classic gets a definitive release in the UHD format.
Writer-director Max Walker-Silverman’s film plays like a tamped-down version of Chloé Zhao’s Nomadland.
Soul gets a reference-quality presentation, but the supplements package (and packaging) lacks in, well, soulfulness.
In a troubling reversal from Pixar films past, it’s kids who will have to do the most heavy lifting to keep up here.
Scott Cooper’s film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
The inclusion of each cut of The New World marks this as the definitive home-video edition of Malick’s greatest film.
It’s not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
Throughout, Seth MacFarlane’s whiny point-scoring feels like an explicit appeal for audience sympathy.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
The Last of the Mohicans is a primal epic of survival and the overpowering urge to reproduce.
What follows is a numbered, point-by-point subjective breakdown of The New World’s two versions.
Other people direct movies. Terrence Malick builds cathedrals.
The protagonists of Mann’s universe have a sense of direction and an unyielding devotion to their chosen profession.
The Iliad of modern crime movies is given absolute platinum service by Warner Home Video.
In the end, there’s nothing hiding beneath all the brio.