The film gets a gorgeous new UHD presentation that you can really sink your teeth into.
The film’s ominous atmosphere derives less from the mystery of a disappearance and more from the scary business of getting older.
This is a beautiful refurbishing of one of Jarmusch’s more uneven films, which is still a must-see for a handful of beautiful performances.
The way Destination Wedding uses misanthropy to augment screwball tropes ends up being its undoing.
Martin Scorsese captures the exquisite agony and pleasure of passion that’s forced to remain theoretical.
This disc correctly insists that the film is an astonishing achievement that belongs in the canon of classic American cinema.
The series lends nuance to characters reeling from the deaths of friends and the fear of their own mortality.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
Stranger Things is competently crafted, but exists as little more than the pointless sum of its spare parts.
Aesthetically, the film cunningly suggests life that exists solely within an academic experiment, closed off from chaos that isn’t manufactured.
The material plays out like a particularly busy episode of Sons of Anarchy.
Michael Shannon has no interior to play with, since the film seems intent on ridding Richie of any emotion other than love for his family, and also no catharsis to build toward.
Frankenstein merely reconfirms the impression that Tim Burton is now coasting on the ghoulish scary-funny style that’s become his trademark.
The Dilemma gets the indifferent DVD treatment it deserves. Skip it.
Black Swan is maddening, uneven, often bonkers, but it’s also often strangely beautiful.
The Dilemma more or less reviews itself by plot description.
Part of the reason I’m drunk on Black Sawn while still struggling to identify its taste has something to do with the film’s hallucination-filled narrative.
Black Swan is Showgirls stripped bare of its camp affections, Suspiria with a pretense to realism, Repulsion for our J-horror-addled times.
Its dopey, privileged-set fantasy winds up as obvious as crawling through Keanu Reeves’s open window.
I’ll be interested to see how strongly the public reacts to this reimagining.