The Criterion Collection
Jun 24, 2014 — In 1964, Richard Lester harnessed the Beatles’ exploding superstardom for a giddy day-in-the-life pop masterpiece.
Jun 20, 2014 — Peter Weir’s sun-dappled, sexually charged nightmare about a disappearance in turn-of-the-twentieth-century Australia still unnerves due to its radical lack of resolution.
Jun 19, 2014 — PerformancesTime has added some latter-day ironies to All That Heaven Allows, and not just the revelation that its star Rock Hudson was gay. There’s also the political career of Ronald Reagan, the ex-husband of Hudson’s costar, Jane Wyman—built on the...
Jun 10, 2014 — Douglas Sirk once said: “This is the dialectic—there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art.” When All That Heaven Allows was...
Essays
May 27, 2014 — Howard Hawks was both a skillful Hollywood craftsman and a deeply personal artist, and this western of uncommon wit and grandeur is among his greatest and quirkiest films.
Features
May 1, 2014 — When Walter Wanger conceived the movie that would become Riot in Cell Block 11, he wasn’t thinking in terms of pop culture. The longtime independent film producer, with classics (and Criterion releases) such as Stagecoach and Foreign Correspondent to his...
Sneak Peeks
Apr 24, 2014 — Film scholar extraordinaire David Bordwell is among our most meticulous writers on the art of cinema, looking closely at the construction of a film to see what makes it work and how its technical approach reflects its historical moment. We...
Apr 21, 2014 — A real-life prison uprising inspired this two-fisted tale directed by Don Siegel, who would go on to make many more films about men in extreme situations.
Apr 14, 2014 — Lars von Trier brought his brand of provocation to his widest audience yet with this inquiry into faith and human goodness.
Essays
Apr 8, 2014 — In telling the story of the young outcast Antoine Doinel, François Truffaut was moving both backward and forward in time—recalling his own experience while forging a filmic language that would grow more sophisticated throughout the 1960s.