The Criterion Collection
Jul 14, 2012 — Simply stated, Wes Anderson is the most original presence in American film comedy since Preston Sturges. He is as boundlessly confident as Sturges was in his heyday, and he has a similarly keen ear for gaudy dialogue; a gift for...
The Daily
Feb 21, 2024 — Huppert takes the lead in Hong Sangsoo’s A Traveler’s Needs and André Téchiné’s My New Friends.
Apr 30, 2009 — The concept of “obscenity” is tested when we dare to look at something that we desire to see but have forbidden ourselves to look at. When we feel that everything has been revealed, “obscenity” disappears and there is a certain...
Essays
May 28, 2024 — In Karyn Kusama’s award-winning feature debut, Michelle Rodriguez delivers a smoldering performance as a young woman who finds in boxing a container for her grief, loss, and rage.
Jun 20, 2023 — Two young San Francisco residents navigate the potential for romance and their opposing views on race in Barry Jenkins’s moving debut feature.
Essays
Sep 26, 2011 — Toward the end of Olivier Assayas's Carlos, a young French diplomat's wife goes to answer the door of their flat in Beirut and is greeted by a huge bunch of flowers—which immediately disappears to reveal a gun that shoots her...
The Daily
Sep 29, 2017 — During this month’s Toronto International Film Festival, we began seeing reviews and interviews that would eventually make their way into the new issue of Cinema Scope: Adam Nayman’s conversation with Denis Côté about A Skin So Soft, for example, and...
The Daily
Jan 12, 2026 — Let’s catch up with some of the most notable best-of-2025 listing and polling.
May 6, 2021 — Fame, as the Chilean writer Roberto Bolaño once observed, is reductive. “Everything that ended in fame and everything that issued from fame was inevitably diminished,” he wrote in 2666, an epic novel published after his death.What Bolaño identified as the...
May 19, 2017 — “Kornél Mundruczó’s Jupiter’s Moon is a messily ambitious and over-extended movie with some great images,” writes the Guardian’s Peter Bradshaw: “[L]ike his previous picture White God it leaves behind the somewhat torpid realist mannerisms of his even earlier films such...