The Criterion Collection
Essays
Nov 26, 2018 — The Magnificent Ambersons In his interviews with Peter Bogdanovich published as This Is Orson Welles, Welles speaks nostalgically of the time he spent with his father in a tranquil enclave of 1920s Illinois, comparing it to “a childhood back in...
The Daily
Oct 9, 2018 — Llinás and his troupe of four performers present a playful, open, inventive, fourteen-hour-long adventure.
May 24, 2018 — The late novelist’s work has proven to be an all but insurmountable challenge to screenwriters—but there’s hope.
The Daily
Apr 16, 2018 — From Éditions Matière comes Contrebandes Godard 1960-1968, a collection of promotional materials inspired by comics and the Situationists for the films Godard made during those years, unpublished since but now gathered and commented on by Pierre Pinchon, who teaches at...
Feb 1, 2018 — G. W. Pabst’s breathlessly paced reimagining of a mine disaster makes an urgent plea for international cooperation in the post–World War I era.
Oct 24, 2017 — In this intimate psychological thriller, Olivier Assayas interrogates contemporary society’s near-religious reliance on technology and its mediation of reality.
The Daily
Sep 21, 2017 — It’s #StephenKingDay. The author of fifty-four novels, most of them bestsellers, six works of nonfiction, including the widely revered memoir On Writing (2000), and nearly 200 short stories turns seventy today. “The ‘King of Horror’ has sold an estimated 350...
The Daily
Jul 7, 2017 — “To celebrate the 50th anniversary of Mario Bava's horror classic Kill, Baby...Kill!,” begins Dustin Chang at ScreenAnarchy, “New York's newly renovated Quad Cinema has organized a near-complete retrospective of the highly influential Italian horror maestro's filmography. But the main draw...
In Theaters
Nov 10, 2016 — The Gene Siskel Film Center screens Carol Reed’s stark psychological thriller Odd Man Out, which stars James Mason as an ex-convict who plots a robbery to fund his rebel organization.
Features
Oct 31, 2016 — In her latest column, critic Imogen Sara Smith explores landmark moments in the intersection of noir and the western, including Marlon Brando’s One-Eyed Jacks.