The Criterion Collection
Jun 11, 2018 — Building on a rich lineage of gothic fairy tales and noirish melodramas, this lavishly stylized curio has an ominous beauty all its own.
The Daily
Apr 27, 2018 — A survey of the films in this year’s Cannes competition lineup and predictions of what will take home the top prize.
Jul 19, 2010 — “Why do you want to dance?” “Why do you want to live?” A question followed by another question stands at the beating heart of The Red Shoes. It’s an entirely rhetorical exchange, but it underscores the power and the mystery...
May 20, 2025 — Set in the dying days of the 1960s, Bruce Robinson’s semi-autobiographical tale of two unemployed actors is a triumph of screenwriting and a brilliant showcase for then-unknown stars Richard E. Grant and Paul McGann.
Jul 23, 2021 — Deep Dives In later years, Buster Keaton referred to his signing of a contract with MGM as “the worst mistake of my career.” In 1928 it was purely a business decision. The last few films he had made for his own...
Essays
Nov 25, 2020 — “Yes, life is a dream, but sometimes that dream is a fatal abyss.” Wanda in The White Sheik (1952) I have a vivid memory from the first film-studies class I enrolled in, a class on Italian neorealism, where the weekly...
The Daily
Dec 7, 2017 — “After mining the American soul (Boogie Nights, There Will Be Blood, The Master) as brilliantly as any working director has in the last fifty years,” begins Robert Abele at TheWrap, “Paul Thomas Anderson moves to 1950’s England for Phantom Thread,...
Mar 25, 2014 — Silent comedy superstar Harold Lloyd played big dreamers; few were more determined to succeed than the college football player Harold Lamb.
Oct 24, 2013 — In John Cassavetes’s personal cinema, the director was always trying to break away from the formulas of Hollywood narrative, in order to uncover some fugitive truth about the way people behave. At the same time, he took seriously his responsibilities...
Oct 22, 2007 — Through the alcohol-induced convulsive movements of Firmin, a fallen diplomat, John Huston puts what is perhaps his own fear of decline, of departure without making peace with one’s loved ones, on the screen.