Terry Gilliam’s early feature, made for kids from a kid’s perspective, has all his usual obsessions and plenty of entertaining performance, but critically lacks focus.
Liliana Cavani’s film about the sadomasochistic relationship between a well-to-do woman in 1950s Vienna and a former Nazi who tortured her during the war is poised uncomfortably between art and exploitation.
Plagued by a mysterious allergy to everything, a woman seeks a cure in Todd Haynes’ 1995 masterpiece.
Criterion collects nearly 10 hours of Blank’s docs about food, music, and life in this set, showcasing films Werner Herzog say teach more about America than 500 books.
The shock has worn off Michelangelo Antonioni’s 1960 breakthrough, but that hasn’t made it any less powerful.
Before shifting focus to Mad magazine, EC Comics had phenomenal success with lurid horror and suspense comics. In the early 1970s, those stories were translated into two stylish, perverse anthologies.
Bernardo Bertolucci’s landmark film about the making of an Italian fascist (Jean-Louis Trintignant) has a gorgeous, Expressionist grandeur, courtesy of cinematographer Vittorio Storaro.
Frank Capra’s 1934 film captured a spirit of abandon that defined the romantic-comedy genre, and set a model for all the ones that followed.
In 1965, Roger Corman gave director Monte Hellman and actor Jack Nicholson $150,000 to shoot back-to-back Westerns in the Utah desert. They returned with two spare, elliptical films that helped redefine the genre.
A sharp new Blu-ray brings out the long-lost detail in 1920’s German Expressionist touchstone The Cabinet Of Dr. Caligari, in ways that make a nearly century-old film feel modern again.
Director Shirley Clarke shocked the squares with her 1962 underground hit The Connection. A pair of reissued Clarke documentaries took a similarly frank approach to profiling radical artists.
Released in 1978, Billy Wilder’s penultimate film finds him half-invested in a Hollywood mystery, but it comments distinctively on the state of his career and proves a fascinating companion to his Sunset Blvd.
“Weird Al” Yankovic’s shambling parody of way-down-the-dial television is a loosely connected series of hit-or-miss sketches with the agreeably goofy appeal of his music.
The six comedies and plethora of bonus features on this new Criterion box set reveal how Jacques Tati told the story of French progress after World War II.
A lifelong interest in magic and illusion, along with a career full of thwarted ambition and disappointment, inform Orson Welles’ daring, clever, thematically rich act of cinematic trickery.
Back in 1990, Morgan Creek and 20th Century Fox butchered Clive Barker’s follow-up to Hellraiser, releasing a version that neither general audiences nor Barker fans like. His director’s cut is a horror cultist’s delight.
An obscure Italian horror film offers a surprising amount of psychological depth alongside the requisite blood and nudity.
Rightly considered one of the scariest non-horror films ever made, George Sluizer’s abduction thriller cuts chillingly between the perspectives of a husband searching for his missing wife and the man who kidnapped her.
Writer-director-star Charles Lane came out of nowhere to produce one of the cleverest indie films of the 1980s, a black-and-white, silent homage to The Kid, but with a contemporary vibe.