The Mask

Apr 5, 2017 — An exhibition in New York showcases the great French filmmaker’s gallery art, ranging from photographic portraits to installations that blend still and moving images.

Jul 7, 2015 — Our recollections of Robert Siodmak’s 1946 movie The Killers are apt to center on three primary elements: Ernest Hemingway’s story, so literally brought to the screen in the film’s opening scenes; Ava Gardner, carrying the full weight of that late-forties...

Oct 25, 2011 — The film is made up of a succession of small visions, observed and executed with apparent ease but thought through with such exquisite care and attention that the experience becomes overwhelming.

Jan 8, 1996 — Dodes’ka-den was made at a low point in Akira Kurosawa’s long career-perhaps the lowest that the director has ever known. In the preface of the filmmaker’s autobiography, critic and translator Audie Bock reports that Kurosawa’s commercial prospects became bleak in...

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...

Apr 24, 2015 — Atypical in style and subject, Yasujiro Ozu’s early crime dramas show a future master brilliantly experimenting with camera and editing.

Feb 4, 2014 — When François Truffaut was a twenty-three-year-old film critic, in 1955, he read an autobiographical first novel by a seventy-four-year-old writer, Henri-Pierre Roché. “The book overwhelmed me,” he later recalled, “and I wrote: If I ever succeed in making films, I...

Jun 23, 2010 — “Wittily written and spare as a coded message . . . The year’s most perilous ride . . . , we wouldn’t exchange it for a season’s commutation ticket on most of the similar vehicles running out of Hollywood.” So...

Dec 31, 2020 — One of our editors made this as a gift for the Criterion community. We hope you enjoy it!

Nov 20, 2019 — A new collection of essays connects the dots between Farber’s paintings and film criticism.