Disney's standards for production quality are second to none, every single detail of a film finely tuned for an immersive experience... Infinity Vision certification extends that commitment to the theaters themselves, representing a shared effort between The Walt Disney Studios and the exhibition community to help audiences quickly find the very best screens in their area.
Traits I look for in a large TV include good brightness and contrast, advanced local dimming (read: good backlighting) to reduce light bleed from bright objects on dark backgrounds, accuracy to the director's intent, and impressive color saturation, especially for HDR (High Dynamic Range) content.
I won't bury the lede: the is one of the brightest projectors I've tested, and that's one of the prime concerns with replacing a TV for a projector. The Horizon S Max also includes my favorite design element from the JMGO N-series of projectors, making it easy to plug in, set up, and play. Also: How to watch the 2026 Winter Olympics: Streaming options, schedule, and times I'm also fond of the sleek and portable form factor.
Like many of his peers, including Francis Ford Coppola, Peter Bogdanovich and John Sayles, Scorsese did early-career work for producer Roger Corman. In Scorsese's case, that came in the form of his second feature as a director, 1972's Boxcar Bertha. As Roger Ebert wrote in an interview with Scorsese, the director chose to make Boxcar Bertha because he needed to direct again.
In theory, movies are more accessible than ever before. You are literally reading this on a device that likely has access to a dozen or more streaming video apps and stores, like Netflix, Disney+, Amazon Prime, Tubi, and Hulu. And yet, in reality, things are dire. Movies can be pulled instantly from a service, bad versions can be uploaded and replace what existed before, and trying to manage multiple apps is expensive and annoying. It all sucks so much.
The profile also explains why "Ambersons," while much less famous than Welles' first film "Citizen Kane," remains so tantalizing - Welles himself claimed it was a "much better picture" than "Kane," but after a disastrous preview screening, the studio cut 43 minutes from the film, added an abrupt and unconvincing happy ending, and eventually destroyed the excised footage to make space in its vaults.
Spanish filmmaker Nacho Vigalondo made his feature debut in 2007 with the independent film that provided the template for all his work to come. Timecrimes - newly released in a 4K UHD restoration by Vinegar Syndrome - is a low-budget exploration of an exceptionally bizarre time loop problem, deploying essentially no visual effects while telling an increasingly complex tale of a man trapped in a temporal paradox who keeps creating new versions of himself.
For a director so celebrated for his masterful urban crime thrillers, in which contemplations on brotherhood and fate are inextricable from violent cop-versus-crook setpieces, it's a surprise to discover that Johnnie To wasn't all that interested in making action films to begin with. "It was [producer] Tsui Hark's fault," To said of The Big Heat (1988), the first of his many films in that genre. "He told me to do it."
