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.
Is the film a satire of consumerism or an example of it? It’s both and the better for it.
The film’s aesthetic walks a tight rope between the rarefied and the everyday.
Wenders’s autumnal, Ozuian drama receives a gorgeous UHD release from Criterion.
It’s impossible to deny that Fargeat’s film holds you even at its most frenzied.
Criterion somehow improves upon what already felt like a definitive presentation of the film.
The self-loathing here is front and center, and Schrader looks it straight in the eye.
Narc is one of the gnarliest and most powerful crime films of early-aughts American cinema.
The greatest concert film of all time looks and sounds better than ever on A24’s release.
The film is rich in compositions that seem to cut to the essence of the characters’ yearnings.
Flynn’s film is a lean, mean revenge thriller that could have only been made in the 1970s.
Criterion breathes new life into one of the most rapturously poetic of all American movies.
One of the film’s great strengths is how confidently it lets details speak for themselves.