The Criterion Collection
Feb 3, 2017 — Over on the Criterion Channel, for Super Bowl weekend, we’re showing the first football movie ever made, Harold Lloyd’s crackerjack comedy The Freshman (1925), and the first rugby-football movie ever made, Lindsay Anderson’s heart-pounding drama This Sporting Life (1963). And...
Features
Jan 15, 2017 — To make the performance of a tedious, exacting, time-consuming task riveting to watch, it is only necessary for the activity to be illegal.
Jan 9, 2017 — Since its inception more than a half-century ago, the National Society of Film Critics has maintained its reputation for championing idiosyncratic and independent voices during the commercially driven awards season, with past best picture awards going to films like Michelangelo...
Dec 21, 2016 — Garrett Brown in our kitchen reenacting a Steadicam-shot scene from Blow Out In 1975, the cameraman Garrett Brown revolutionized filmmaking technology with the Steadicam, an invention that brought together the agility and immediacy of a handheld camera with the smoothness and...
Dec 20, 2016 — With only three features under her belt, German director Maren Ade has become one of contemporary cinema’s keenest observers of human behavior.
Essays
Dec 14, 2016 — Pseudodocumentary collides with pure fantasy in Federico Fellini’s intricately layered portrait of his adopted home.
On the Channel
Dec 12, 2016 — Patriotic masterminds choreograph capers from secret headquarters while dashing secret agents execute their plans by the light of flashing blades and gunfire. Jeopardy escalates second to second until our heroes and heroines escape by the skin of their teeth. Spy...
Dec 6, 2016 — This elegiac meditation on impermanence showcases Laurie Anderson’s playfully experimental approach to sound and image.
On the Channel
Dec 6, 2016 — Photo by Janet Pierson In the late eighties and early nineties, American independent film was coming into its own both artistically and commercially, and John Pierson was at the center of the movement. Once described by the New York Times...
Nov 25, 2016 — In his deeply personal third feature, Noah Baumbach charts a family’s dissolution against the backdrop of 1980s literary Brooklyn.