This week’s Video Dispatches covers the new home video releases of Buster Keaton’s films, The Reptile (1966), Claire Denis’ High Life and 2018 film Transit.
Pavarotti is at times hard to watch, but ever so entertaining and explosive exploring one of the most captivating and astonishing artists of the 20th century.
Despite some design flaws, Astronaut sticks its landing enjoyably enough thanks to the command of Dreyfuss and a novel angle of attack.
While it’s set up with a poignant perspectives, Cubby fails to provide an introspective look into loss and growth.
In Bear Witness, episode 10 of season 3 of The Handmaid’s Tale, June’s back, she’s determined, and now, there’s a real chance at change.
Big Little Lies, like thousands of great TV shows and movies before it, has fallen victim to sequel fatigue.
Ruth Caudeli’s Second Star on the Right winningly captures our varying levels of maturation and individualism, with beauty and style.
Lacking a statement about the artist-muse relationship, Nick Broomfield’s Marianne & Leonard: Words of Love fails to live up to the promise of its title.
While it’s not the best made documentary of the year, The Great Hack is the most important documentary you’ll watch all year.
Inspired by the viral New York Magazine article, Hustlers follows a crew of savvy former strip club employees who band together to turn the tables on their Wall Street clients.
Good Girls Revolt is a significant and powerfully expressive series about sexual discrimination and harassment.
Andrew Stover spoke with director Mark Schwab about his LGBT thriller Crisis Hotline, his experiences behind the piece, his artistic drive and who inspires him.
A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life.
A baseball film almost without baseball, Moneyball is a revolutionary sports film. Lewis Punton takes a closer look at the conversations that fuel the plot.
Better off Dead uses the tropes and political incorrectness of many 1980s teen comedies but its absurdity is able to undermine these regressive areas.