
Want more posts like these, straight to your inbox?
-

“[The Last Jedi] was the first time I’d seen a Star Wars film that had clearly been made by someone who loved the series as much as, and had thought about it as obsessively as, me.”
-

The Best Films Of 2018: My Ballot
The OFCS is collecting its nominations today. Here’s how I voted:
-

Blu-ray Review: Peer Into Cinema’s Great Missing Link With Criterion’s THE MAGNIFICENT AMBERSONS
It’s a season of Welles with THE OTHER SIDE OF THE WIND on Netflix and THE MAGNIFICENT AMBERSONS joining the Criterion Collection.
-

RAYMOND CHOW (1927-2018)
With his Golden Harvest production company, Raymond Chow turned the kung fu movie into an international phenomenon and gave us such megastars as Tsui Hark, Jackie Chan, and (of course) Bruce Lee. Today the Deathwatch team looks at ENTER THE…
-

Blu-ray Review: Criterion’s THE PRINCESS BRIDE Whiffs On New Features, But You’re Going To Buy It Anyway
If you’ve ever owned this film on disc before, you probably have some of this material. But you love this film, so shush.
-

RIP and Excelsior, Stan Lee
You will spend the rest of your life bumping into things that are in the world because of Stan Lee.
-

BURT REYNOLDS (1936-2018)
What about Burt? Arguably the biggest moviestar of the 1970s, Burt Reynolds’ career had its ups and downs in the ’80s, ’90s and beyond, but we’re going straight to the good stuff for this episode with a look at Deliverance…
-

ARETHA FRANKLIN (1942-2018)
The Queen of Soul passed away last month and we are here to talk about it. Who are we? D-E-A-T-H-W-A-T-C-H. Sing a song about it.
-

Blu-ray Review: Criterion’s ANDREI RUBLEV Is A Stacked Disc
“Live between divine forgiveness and your own torment.” I had a fantastic time going through Criterion’s new blu-ray of Tarkovsky’s ANDREI RUBLEV, which somehow manages to be both dreary and enlightening at the same time.
-

Blu-ray Review: An All-Time Great Party Scene Graces Criterion’s COLD WATER Blu-ray
“The plot isn’t much and neither are the characterizations, and it’s not until the second act that the film really kicks into gear, by abandoning plot and characterization altogether and jacking straight into adolescent phantasmagoria.”