This telling of fictional suffragette Lilia Brooke could use more politics, less romance.
For viewers into the techniques of mise-en-scène, Kino Lorber's 4k digital restoration of Hitchcock's first Technicolor film, Under Capricorn, is one dazzlement after another.
With Víctor Erice's El Sur, we must console ourselves with a work whose haunting near-perfection becomes the source of its perfection.
At times mawkish and problematic, White Houses is a romance that presents an interesting queer historical fiction.
The Miseducation of Cameron Post explores a teenager's struggles at a gay conversion therapy camp, and Tully a suburban wife's depression after having a third child. Both aim at empathy.
Under Oswald's expressionism is somebody scarred by his brush with Nazis, someone mistrustful of authority figures, and someone who likes to bring the razzle-dazzle to audiences.
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.