Warner has outfitted this classic tale of teenage angst and rebellion with a stellar transfer.
Frank Borzage’s paean to the power of love in tumultuous times gets a sparkling new transfer from Kino Lorber.
Mae West’s fervent belief in the healing powers of sex was only equaled by her epic and rather unlikely confidence in herself.
In at least seven movies, the exuberant Lombard became emblematic of the screwball comedy genre of the 1930s.
Terrence Malick’s The Tree of Life never stops moving forward.
Todd Haynes’s Mildred Pierce finally seems like the most elaborately produced critical close reading of a novel of all time.
Deneuve is a bit like Garbo, in that we as an audience have always projected our own fantasies onto her phenomenal beauty.
The way Dolan shyly but boastfully showed me the Cocteau tattoo on his arm is not something I’m likely to forget.
At first glance, Martin Scorsese seems like an odd choice to do an interview movie with Fran Lebowitz,
Like so many movies that you don’t really need to see, it functions as a kind of notion in my head.
There was a line all the way down Second Street off Second Avenue in Manhattan last night.
Writer and curator Bradford Nordeen discusses his Harrington program and why this director remains such an intriguing cult figure.
I was moved by Requiem for a Dream, but boy, has he ever made me regret that initial feeling of enthusiasm.
Tennessee Williams and Company: His Essential Screen Actors is at its best when asking sensitive questions about individual scenes and moments in Williams’s plays.
Watching Somewhere and then Tiny Furniture, it was very clear to me which daughter of privilege had made the better film.
Some of the entries are set in stone from edition to edition, and that’s fine in most cases.
The films that Walsh made at Warner Bros. from 1939 to 1949 represent a remarkably sustained run of creativity.
Georges Lampin’s adaptation of Dostoyevsky’s classic is in many ways an archetypal Tradition of Quality French movie of the time.
There’s a gravity to everything Ingrid Bergman says in this movie, and she has a grandeur that seems to come naturally, a statuesque hauteur.
A long-overdue disc of a longtime audience favorite, with an absolutely tip-top image restoration.