While Good Morning is noticeably on the lighter side of things as far as Ozu is concerned, it packs an expressively perceptive punch.
Jeanne Dielman has rightfully secured its place as an extraordinary achievement subjected to a justly deserved salvo of critical scrutiny.
Perhaps not as engaging as Sternberg’s best work, Anatahan is a sublime example of the director’s pictorial elegance and his corresponding penchant for poetic storytelling.
The World’s Most Beautiful Swindlers is a compelling chronicle with enough variance to make each segment distinct, yet unified by a confidence connection.
Broken Arrow is one of the most exceptional Westerns of the period, a sure sign of the genre’s evolving self-awareness and its historical conscious.
Ride the High Country is a considerate character study, one that excels with its profound execution of essential Western themes.
Blow-Up is stunning motion picture that still challenges, provokes, and fascinates more than fifty years after its release.
The primary reason to watch The Delinquents today is because it was Robert Altman’s feature film debut. But don’t get too excited; there is little to indicate his involvement.
Compulsion, from 1959, transpires to be the most thoroughly detailed and disquieting account of the Leopold and Loeb murder case.
Aria is nothing if not a great film to look at and to listen to, and its audio-visual presentation on a new 30th anniversary Blu-ray flourishes on both fronts.
Mildred is no ordinary woman. Just as Joan Crawford was no ordinary actress and Mildred Pierce is no ordinary film.
Women on the Verge of a Nervous Breakdown is rich in color, high on fiery emotions, and saturated in the hues of melodramatic tension.