Del Toro himself says it best: “Cronos is an exploded view of my brain.”
The film is a wicked embodiment of the notion of the media itself being the message.
The film evinces an intensely tangible understanding of the draw of analog culture.
Arrow’s 4K restoration from the original camera negative is positively gorgeous.
Much of Quentin Tarantino’s still underrated 1997 crime film hits you on the rebound.
The film indicates a remarkably fully formed cinematic sensibility, for both better and worse.
Lynch understood that many of the fantasies he loved were built on nightmares.
Created from the original 35mm camera negatives, the 4K transfers both look phenomenal.
Addiction here springs from self-absorption, which is the common denominator of all evil.
Ninety-plus years have done little to dilute the swaggering power of Hawks’s film.
Most movies look positively robotic and undernourished next to Seven Samurai.
Controversial issues imbue the gothic hugger-mugger of these films with intimacy and intensity.
The huge party at the film’s center is among the great parties of recent American cinema.
Happiness is a caustic, beautiful, funny, tiresome, and brilliant Molotov cocktail.
The variableness of this movie is the risk of a working method as rapid and intuitive as Hong’s.
Hong’s film understands that the reassuring bond of community that can also be a trap.
In Cloud, Kurosawa literalizes the online rage machine with physical violence.
The film is a loving yet obsessive parody of the stereotypes that stand between generations.
Prime Cut is a grimly off-kilter crime film that examines the line separating man and beast.
Demons is a monument to the horror genre’s potential for Grand Guignol beauty.