The Oscar-nominated film from Paul Thomas Anderson is a revealing subversion of Day-Lewis' stable of expert characters.
Alexander Payne's 1999 cult black comedy about high school politics is ripe for a revisit, and Criterion is up to the task.
This masterpiece is inescapably, gloriously a "women's movie" about the choices women have or don't have, and how they navigate the world through sheer cussedness.
Hollywood has little use for its pre-history and D. W. Griffith never had Hal Roach's business sense.
For Welles, the director is "the man who presides over accidents but doesn't make them" and never were there more accidents over which to preside for Welles than in Othello.
McGuigan's latest is an example of how through cinema and art we create and share a communicative dialogue that is cathartic, yet also through the shared experience creates a fuller understanding of universal themes that connect us all.
Often screwball comedies feature sharp contrasts between social classes, with not-so-subtle commentaries on the idle rich, and that's here in triplicate.
Not a single frame of Anderson's latest drama fails to mesmerize with romance, suspense, and interpersonal politics coalescing into something wholly unforgettable.
What makes Call Be By Your Name stand out from the films it will be compared to (Brokeback Mountain, Moonlight) is Guadagnino's play on juxtapositions, which go much deeper than merely an angsty teen with an introspective soul.