As hypnotic as the film is, it’s distant, with a score to settle.
The film somehow feels tight, open and leisurely, and cloaked in dread all at once.
Most of the film’s scenes feel planted, as if Wenders is introducing exhibits in a case.
52 Pick-Up gets a sharp new presentation and some welcome bonus materials from Kino Lorber.
The film represents all of cinema’s possibilities in 106 minutes.
Almost 70 years after its initial release, The Night of the Hunter still resonates.
Lee Cronin serves up considerable gore with monotonous, po-faced earnestness.
Talk to Me consistently operates as a suggestive mood piece.
Already evident in Passion is Hamaguchi’s peerless sense of how people perform for others.
Sick of Myself’s tunnel vision feels like a failure of nerve.
An unimpeachable American masterpiece receives a gloriously shaggy and vital 4K upgrade.
The film revels in the force of will that a virtuosic Joan Crawford allows Mildred Pierce.
In Water suggests Picasso knocking off a sketch on a piece of paper in a matter of seconds.
Welles’s noir gets a sterling new transfer as well as a fine roster of extras both old and new.
The film is so riddled with noir clichés that one may initially take it for a genre parody.
With The Outwaters, the found-footage horror film has unexpectedly found its trippy, unmooring, ultraviolent answer to the cosmic horror of H.P. Lovecraft.
Kino has outfitted this release with a solid transfer and a fun, informative audio commentary.
The film has a free-floating, nearly intangible sense of unease that greatly serves it.
As confident as writer-director Chloe Domont is with high-finance gamesmanship, she’s sharper as a dramatist of premarital decay among millennials.
The film reemphasizes the moral weight and emotional anguish at the heart of Frankenstein.