Stony Plain Records rounds up lost tapes from Canadian country/folk legends Ian and Sylvia Tyson performing as Great Speckled Bird in 1969. It was a very good discovery, indeed.
The Wind (2018) is a quietly impressive film, an example of genre cinema that shows thoughtfulness and an interest in ideas.
While Anthony Asquith's Shooting Stars and Underground look excellent on Kino Lorber's digital restoration, Arthur Robison's The Informer, looks most spectacular, thanks to working from the original negative and a tinted nitrate print.
Samuel Fuller's Forty Guns serves as a remarkable film that fuses the Western with film noir and provides ample space, at least during its first half, for Barbara Stanwyck to provide a commanding performance that hints at what a Western female heroine might look like.
Not their first foray into bringing the short story form to cinema, the Coen Brothers' The Ballad of Buster Scruggs affirms, sadly, that in this regard, cinema is the lesser storytelling form.
The inability to communicate truthfully and accurately runs like a red thread through the course of Robert M. Young's western, The Ballad of Gregorio Cortez.
In the Coen Brothers' The Ballad of Buster Scruggs, there's something altogether new about having revisionist western ideas filtered through their rich sense of character, black comedy, and their penetrating awareness of humanity's fatal imperfections.
Jacques Audiard's revisionist Western shines thanks to moral quandaries and John C. Reilly's performance.
It's not enough to describe Dead Man as simply an anti-western; it's an iconoclastic deconstruction of late 19th Century American values and mores, many of which remain unabated more than a century later.
Lisa Hanawalt's work is proof that even a genre as seemingly played-out as the western can reveal a rich landscape if the right hands are holding the reins.
Throughout his career, Fairbanks scrubbed his scripts of racist elements. The Half-Breed is a rare example when racism is foregrounded as a theme.
Loo Hui Phang emphasizes the nature of image-making from the first panel: an upside landscape as viewed through the inverting lens of the protagonist's camera.
Sibling directors Elan and Jonathan Bogarin deliver vastly different stories about the power of the past.
In this tale of the formation of Texas, a roof over one's head is antithetical to freedom.
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