Dusty Somers

Criterion upgrades their early release of Anderson’s sophomore feature.

An exploration of modern love, Antonioni’s late-period film is a worthy effort if not as obviously masterful as some of his earlier work.

Kaneto Shindo’s film is a psychologically wrenching ghost story.

Impeccable composition, glorious art direction and a charming, fantasy-tinged tale make Aki Kaurismäki’s latest a must-see.

An unflinching story of loneliness, set almost entirely in a small Mexico City apartment.

While not one of the Coen Brothers’ best, O Brother looks incredible on Blu-ray.

The father of Swedish cinema directs a film that obsessed Ingmar Bergman, and might do the same to you.

Often unsung, Claude Chabrol’s debut films reveal his early mastery of the craft.

Despite its borrowed elements from Psycho, Dressed to Kill isn’t a mere Hitchcock rip-off.

Jean Cocteau’s version of the Orpheus myth is a stunningly beautiful film.

Koreyoshi Kurahara’s name may not ring many bells in the West, but it ought to.

Pier Paolo Pasolini and Giovannino Guareschi square off.

The Dude shouldn’t have to abide in this lackluster, DNR-heavy high-def transfer.

Intelligent and visceral, Gillo Pontecorvo’s gritty and unflinching film is one for the ages.

The theatrical cut is well worth revisiting, but this re-packaging of material is hardly anything to get excited about.

Charming, if rote, Wedding Daze is better than it looks.

Jean-Pierre Melville directs and Jean-Paul Belmondo stars in a film that’s somewhat atypical for both.

A film that feels truer than most about the teenage experience, Myth is hindered somewhat by its self-conscious cast.

Cut from the same cloth as similar documentaries before it, Make Believe is still a fairly charming film.

Park Row comes to DVD for the first time ever.

Adua and Her Friends reveals why director Antonio Pietrangeli should be more well known in the United States.

The last film of Marilyn Monroe and Clark Gable is more than a mere career footnote.

The Horse Soldiers is an acceptable genre film, but mostly undistinguished among John Ford’s body of work.

Billy Wilder’s 1959 film is an American classic — and it’s not even his best film!

John Frankenheimer’s thriller is anything but subtle, but remains a classic nonetheless.

This previously unreleased rarity features gorgeous cinematography from Vilmos Zsigmond.