The Criterion Collection
Mar 17, 2020 — Released in, or rather let loose upon, the first year of the new millennium, Spike Lee’s febrile and ferocious media satire Bamboozled—the fifteenth feature-length “joint” of a prolific career—found its writer-director in an unflinching mode and an unforgiving mood. According...
Mar 10, 2020 — In the fall of 1966, an unusual proposal reached the desk of Melbourne I. Feltman, vice president of Consolidated Book Publishers in Chicago. In a letter dated October 24, sent from the Maysles Films office in Midtown Manhattan, David Maysles...
The Daily
Feb 24, 2020 — The German director reunites with Transit’s Paula Beer and Franz Rogowski for his Berlinale competition entry.
Essays
Feb 11, 2020 — The universal success of Alfonso Cuarón’s Roma is undoubtedly due to a skill that the director has demonstrated over the course of several decades and many enduring pieces of work. But it is also a sign of our times. What...
The Daily
Feb 11, 2020 — How might four history-making Oscars impact movies from here on out?
Jan 31, 2020 — The abortion drama slated for the Berlinale’s competition is being met with strong reviews at Sundance.
Features
Jan 24, 2020 — All six feet two of Burt Lancaster is spread out next to Deborah Kerr as they kiss each other on the beach in From Here to Eternity (1953). This is one of the most famous movie love scenes, parodied and copied many...
Essays
Dec 12, 2019 — Almost from the moment it arrived on screens in early 2006, Kelly Reichardt’s Old Joy was celebrated as a new milestone for American cinema, even an expression of independent filmmaking’s delayed arrival at maturity. In relating its deceptively simple tale...
On the Channel
Oct 9, 2019 — The Internet’s hardcore feline obsession may seem harmless, but is there something darker at play behind the millions of memes and GIFs it generates, or the eager crowds who gather to meet online animal celebrities like Grumpy Cat (R.I.P.)? In...
Sep 17, 2019 — Fusing the melodrama of Douglas Sirk and the ballyhoo of William Castle, John Waters’ sixth feature, Polyester (1981), was a departure from the scrofulous 16 mm mode of production he had made his cult name plying to midnight-movie crowds in...