Is the film a satire of consumerism or an example of it? It’s both and the better for it.
The film’s aesthetic walks a tight rope between the rarefied and the everyday.
Wenders’s autumnal, Ozuian drama receives a gorgeous UHD release from Criterion.
It’s impossible to deny that Fargeat’s film holds you even at its most frenzied.
Criterion somehow improves upon what already felt like a definitive presentation of the film.
The self-loathing here is front and center, and Schrader looks it straight in the eye.
Narc is one of the gnarliest and most powerful crime films of early-aughts American cinema.
The greatest concert film of all time looks and sounds better than ever on A24’s release.
The film is rich in compositions that seem to cut to the essence of the characters’ yearnings.
Flynn’s film is a lean, mean revenge thriller that could have only been made in the 1970s.
Criterion breathes new life into one of the most rapturously poetic of all American movies.
One of the film’s great strengths is how confidently it lets details speak for themselves.
The film takes the world’s addiction to self-actualization to one of its darkest implications.
A wealth of contrasting stimulation gives the film a singular and intimate atmosphere.
These three films collectively suggest a miniature narrative of Browning’s evolution as a filmmaker.
Roeg’s Don’t Look Now is driven by a crushing sense of emotional desolation.
Arrow gives one of De Palma’s most moving films the long-overdue masterpiece treatment.
For Hong, In Our Day is a gesture toward recognizing the beautiful, awful, and uncanny.
Throughout the film, Frederick Wiseman offers a suggestion of how the world could work.
Unsurprisingly, Welles doesn’t efface his artistic personality for The Trial.