Made in Heaven

Jun 7, 2023 — Here’s a quick guide to filmmaker profiles and critics’ recommendations.

Nov 23, 2021 — Written and directed by the Safdie brothers, Josh and Benny, as a vehicle for two icons, funnyman Adam Sandler and basketball great Kevin Garnett, Uncut Gems (2019) is breathtakingly profane, alarming, and comic. Most simply described, the movie is one...

Sep 2, 2021 — Translated into English for the first time, this afterword to Hirokazu Kore-eda’s novelization of his film explores the director’s attraction to fiction writing and how the art form differs from narrative cinema.

Mar 29, 2021 — Channel Calendars Next month, the Criterion Channel ups the ante with a collection of some of the greatest films ever made about the pulse-racing highs and gutter-dwelling lows of gambling. We’re also dealing out the Marx Brothers’ anarchic comedies, sublime...

Jul 30, 2020 — Channel Calendars Stuck at home this summer? Don’t let that get you down—our Bad Vacations series makes the case for staying in and watching movies, cataloguing an array of holiday horrors ranging from existential ennui to full-throttle terror. That’s just...

Jul 22, 2020 — Here’s the latest on how Venice, Toronto, Locarno, and other festivals are radically rethinking this year’s editions.

Jun 29, 2020 — Channel Calendars This July, the Criterion Channel celebrates unconventional artists who march to the beat of their own drum, with spotlights on indie iconoclast Miranda July, cutting-edge composer Ryuichi Sakamoto, downtown poet Sara Driver, lyrical documentarians Bill and Turner Ross, and formally...

Jan 31, 2020 — This week: Scorsese’s actresses, Paul Schrader’s plans, Lynne Sachs on Godard, Ritwik Ghatak’s rising reputation, and Bong Joon-ho everywhere.

Jun 11, 2019 — The problem with Fred Astaire and Ginger Rogers movies, everyone agrees, is that there is never enough dancing. You have to wait through often silly plots and hit-or-miss comedy for the musical numbers that are the whole point. But the dances...

Oct 16, 2018 — Seen as a light-hearted farce upon its release, this star-studded comedy by Hal Ashby stands as one of Hollywood’s most prescient portraits of post-Watergate politics.