The Criterion Collection
Jan 11, 2017 — A revelatory restoration of Lewis Milestone’s underappreciated newsroom comedy accentuates the film’s punchy rhythms and breakneck banter.
Jan 9, 2017 — A feast of whip-smart banter, Howard Hawks’s protofeminist take on newsroom politics is the most grown-up of all remarriage comedies.
Jan 2, 2017 — With the debut of Me and You and Everyone We Know on the Criterion Channel, the acclaimed multi-hyphenate discusses her evolving creative process and her love of Jane Campion.
On the Channel
Dec 28, 2016 — One of the enduring pleasures of the movies is the thrill of succumbing to the medium’s capacity to toy with our senses. While advances in technology continue to introduce ever more complicated tricks to the trade, the innovations of cinema’s...
Dec 26, 2016 — PerformancesTraveling through the subterranean portals of Videodrome like an introverted wraith, Deborah Harry carries herself with the wry, burned-out, but still titillated instincts of a voyager buying a one-way ticket for the outer limits. A vivid, smallish part can either...
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 13, 2016 — Yesterday, we kicked off our Criterion Channel series Spy Games by sharing Graham Greene's review of Jacques Feyder’s Knight Without Armour, a highlight in the lineup. Today, we’re focusing on another title in the series, Sabotage, which marked “the first...
Dec 13, 2016 — John Huston’s meticulously calibrated crime film combines nail-biting suspense with a mood of Chekhovian regret.