The film is an unnerving portrait of labyrinthine bureaucracy and existential despair.
Last Year at Marienbad is a haunting study of memory, persuasion, and obsession.
Bad Company proves unwaveringly distrustful of adults and authority figures.
Prime Cut is a grimly off-kilter crime film that examines the line separating man and beast.
Lenzi’s Nightmare Beach is a gonzo slice of late-’80s Italian horror.
Demons is a monument to the horror genre’s potential for Grand Guignol beauty.
Brooks’s film epitomizes his singular voice in the varied comedy landscape of the 1970s.
Karlson’s doom-laden noir looks as gorgeous as the film is nasty on Kino’s Blu-ray.
Warner’s disc looks magnificent in native 4K with Dolby Vision enhancement.
A classic of the L.A. Rebellion gets a gorgeous transfer and several indispensable extras.
For Mendonça Filho, to reflect reality isn’t enough, as cinema has to find its own truth.
The films assembled in Arrow’s box set testify to Mastorakis’s skills as a pop-cultural bricoleur.
A24 offers a flawless A/V presentation of Glazer’s masterwork.
Godard’s sci-fi curio makes the leap to UHD with a revelatory 4K presentation.
In & Out struts onto 4K UHD with a superb transfer and a positively gay array of extras.
Radiance’s release shines a spotlight on the overlooked Japanese director.
This collection shines a spotlight on moodily gothic Spanish filmmaking of the 1970s.
This 4K digital restoration of the original director’s cut looks outstanding.
The film portrays the depths of poverty in rural Mexico and the reasons for its perpetuation.
To a considerable extent, Ritchie appropriates Henry Cavill’s effortless sleekness as his own.
Is the film a satire of consumerism or an example of it? It’s both and the better for it.