Here, Gotham takes on the atmosphere of active malevolence it so often exudes in the comics.
In place of suspense, Aaron Sorkin falls back on screwball-esque dialogue.
This is a movie musical big in both heart and biting critique.
Arrow’s UHD presents Scott’s delightfully nasty action noir in all its grimy glory.
Warner Bros. gives one of the greatest noir films a gorgeous spit shine.
The film, alive to the melancholy of passing time, finds truths in the mundane aspects of life.
Grisebach’s film moves with the bow-legged gait of a lifelong horse rider.
Ray’s barbed but nonjudgmental drama comes to Criterion with a sparkling transfer.
These films are exemplars of the genre known as the cinéma du look.
Maddin runs wild channeling the spirit of the silent era across his third feature.
Criterion canonizes Mendonça Filho’s nervy, despairing, intimate film as a new classic.
Mars Attacks! is an unabashed throwback to Atomic Age sci-fi.
Gray’s zeal for the operatic was evident from the start of his career.
Dave Green’s film suggests a Coyote-Road Runner short by way of Michael Clayton.
Lionsgate brings a holy grail to home video, and that alone is worth celebrating.
In appealing to the antagonist’s humanity, Peter Park finally gets to fully demonstrate his own.
Oshima’s sophomore feature was one of the first successes of the Japanese New Wave.
Occasionally, the film reminds you that the man who made Mean Streets is behind the camera.
By the end, the film’s critiques build to a significant revision of the myth of the Trojan War.
Arrow’s set is yet another loving tribute to some of the best of Hong Kong genre cinema.
