The Criterion Collection
May 27, 2017 — “When French writer Delphine le Vigan published her book Based on a True Story in 2015, some critics dubbed it ‘a Hitchcockian novel,’” begins Jonathan Romney, writing for Screen. “It’s not surprising, then, that Roman Polanski’s adaptation is very Hitchcockian...
May 27, 2017 — “Some filmmakers rust during periods of inactivity,” begins Guy Lodge in Variety. “Lynne Ramsay arches and tenses, lying in wait like an attack dog. And attack she does, though not in all the expected ways, in her astonishing fourth feature...
May 25, 2017 — “The botched bank robbery is a well-worn genre staple, but has ever a heist gone quite so wrong to quite such electric, propulsive effect as in Josh and Benny Safdie’s Good Time?” asks Jessica Kiang at the Playlist. “Bouncing wildly...
May 24, 2017 — “Sofia Coppola delivers a very enjoyable southern melodrama, the tale of a handsome, badly wounded Union soldier in enemy terrain during the American civil war who throws himself on the mercy of a ladies’ seminary—of all the outrageous things.” The...
May 22, 2017 — Yorgos Lanthimos’s The Killing of a Sacred Deer “makes the absurd, amazing The Lobster seem like a warm and cuddly experience by comparison,” declares Jessica Kiang at the Playlist. “A film of clean hands, cold heart, and near-Satanic horror, it...
May 22, 2017 — “At the risk of accidentally donating three words to the poster, How to Talk to Girls at Parties looks like it was phenomenally good fun to make,” grants the Telegraph’s Tim Robey. “An alien-sex-comedy-punk-musical-doodle set in 1977 Croydon, it packs...
The Daily
May 19, 2017 — Let’s open today’s round of interviews with one from the archives, a conversation with Michelangelo Antonioni that originally ran in Corriere della Sera in 1982 but evidently took place during the final stages of shooting Blow-Up (1966). It’s been translated...
The Daily
May 18, 2017 — “Todd Haynes’s films, intellectually rigorous and often profoundly moving, are fractured stories in which alienated, beautiful characters try to find love (or a certain likeness) in the delicate folds of real life,” begins David Ehrlich at IndieWire. “All of this...
May 18, 2017 — Loveless is “two hours of gorgeously gloomy existential despair courtesy of the well-regarded Russian filmmaker Andrey Zvyagintsev,” writes Justin Chang in the Los Angeles Times. “Often touted as an heir to Tarkovsky, Russian cinema’s other famously austere Andrey, Zvyagintsev previously...
Apr 20, 2017 — Programmer Michael Sragow and former Film Society of Lincoln Center program director Richard Peña discuss the holy grail of cinephile TV series and the legendary figures it profiled.