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.
Throughout the film, Frederick Wiseman offers a suggestion of how the world could work.
For Hong, In Our Day is a gesture toward recognizing the beautiful, awful, and uncanny.
Unsurprisingly, Welles doesn’t efface his artistic personality for The Trial.
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.