A Way Out

Aug 18, 2011 — The British comedian, actor, writer, and director Richard Ayoade is best known for his starring role on the UK television series The IT Crowd and his successful directorial debut Submarine, which was released in the U.S. in 2011. In selecting...

Dec 16, 2008 — More than a year ago, Peter and I were in the midst of discussions about how we wanted to launch the Criterion cinematheque. Over time, those discussions expanded to include every department at Criterion. We wanted to have a single...

Aug 18, 2008 — One of the most awarded films in Japanese history, Keisuke Kinoshita’s nostalgia piece unfolds a celebration of family values and scenic beauty.

Jul 16, 2008 — The locations for many of Ingmar Bergman’s most dramatically spare films have existed for so long in moviegoers’ minds as stark black-and-white dream states that to walk through them in living, vibrant color is truly transformative. Imagine the harsh, pebbled...

Feb 11, 2008 — Though today he is most fondly remembered for his later romantic comedies, typifying Hollywood filmmaking in its heyday, it should be known that Ernst Lubitsch was also a pioneer of the modern movie musical.

Nov 13, 2006 — There’s a store called Stew Leonard’s near where I live. When you walk in, you can see the customer service rules hanging above the entrance. It’s simple—there are only two: Rule one: The customer is always right; Rule two: When...

Jun 19, 2006 — Decades after its backyard birth, Jack Woods’s DIY horror movie has forged a model of inspiration for succeeding generations of effects artists and low-budget filmmakers.

Sep 13, 2004 — This oblique strategy can be seen as a self-referential characterization of Slacker itself: it appears to have no struc­ture, to be chaotic (a matter of random encounters), when, in fact, it has a very subtle, extremely well-crafted structure that makes...

Mar 12, 2001 — This first-rate action thriller by Michael Bay is a triumph of style, tone, and energy.

Apr 6, 1993 — Robert Altman’s darkly witty, gleefully close-to-bone satire of Hollywood is also a return to the infinitely sly and supple virtuosity that marked his great work of the ‘70s.