Dec 6, 2019 Among the many enduring virtues of The Story of Temple Drake—a pre-Code William Faulkner adaptation whose sensational depiction of a hopelessly fallen world, rife with sexual violence and other forms of malice, scandalized audiences upon its release in 1933—is its...

Sep 18, 2019 Adam Sandler plays a jeweler addicted to risk in the brothers’ new exhilarating—and exhausting—new film.

Sep 3, 2019 In the early sixties, John Schlesinger made a name for himself as part of the British New Wave, as the energetic, gritty realism of his first few features—A Kind of Loving, Billy Liar, and Darling (for which Julie Christie won...

Jun 3, 2019 Wisdom from the Pope of Trash, the making of Raging Bull and The Wild Bunch, and studies of Tarkovsky and the Berlin School all figure in this month’s round.

Apr 30, 2019 With its fresh vision, and yes, box office success, Boyz n the Hood (1991) made Singleton a force to be reckoned with for nearly three decades.

Apr 5, 2019 Two-Lane Blacktop A longtime Criterion contributor, Kent Jones has written for us on everything from the glories of studio filmmaking to the most daring and cerebral of art-house auteurs. But regardless of the subject he’s set his sights on, he’s...

Dec 17, 2018 Secrets from the past are always surfacing in melodramas, altering or illuminating the landscape of the present. So it seems fitting that director John M. Stahl, one of Hollywood’s great masters of melodrama, had a past that is only now...

Dec 4, 2018 Jon Dieringer is the founder of Screen Slate, a volunteer-run website and daily newsletter providing listings and commentary on repertory, independent, microcinema, and gallery screenings and exhibitions in New York City. He is also a media art archivist at Electronic...

Oct 15, 2018 John Grant is an Iceland-based musician who has sold out Royal Albert Hall and performed at Glastonbury, Latitude Festival, and elsewhere. Following the demise of his first band, the Czars, Grant left music entirely for over five years, only to...

Aug 23, 2018 The director of Computer Chess and Support the Girls finds in John Cassavetes a surrealist whose weirdest set pieces could make David Lynch blush.

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