The Criterion Collection
Dec 5, 2012 — In René Clément’s sparkling but menacing anti-noir, the Mediterranean setting is as seductive as Alain Delon’s baby blues.
Nov 5, 2012 — The following originally appeared as the afterword to the 2003 New American Library edition of the novel Rosemary’s Baby. Having observed that the most suspenseful part of a horror story is before, not after, the horror appears, I was struck...
Sep 4, 2012 — Umberto D. is perhaps the most astringent film ever made about a poor old man and his dog. Critics today tend to like the astringent parts: the long, deliberately undramatic sequences full of mundane activity (such as a housemaid’s morning...
Aug 30, 2012 — In the 1960s, Mailer, already a literary legend, was inspired by the avant-garde film movement to take a stab at his own, anti-Warholian underground cinema.
Aug 28, 2012 — A frenetic portrait of New York as well as a love story, Paul Fejos’s film captures the odd sensation of being alone in the big city, even when in a crowd.
Jun 13, 2012 — Tasteful British cinema got a refreshing dose of amorality with Danny Boyle’s stylish and violent tale of greed and paranoia.
Jun 12, 2012 — Hal Ashby’s delicately off-kilter May-December romance stars two of the unlikeliest countercultural icons of the seventies.
Apr 24, 2012 — An unverifiable, if heartfelt, assertion: For the quarter century between 1945 and 1970 (or from Rome Open City to Fellini Satyricon), the world’s greatest popular cinema was produced in Italy—a realm of glamorous superstars, sensational comedians, and great genre flicks....
Apr 24, 2012 — Among the most widely seen photographs of Hollis Frampton is one of him as a young man, a self-portrait taken in 1959, if we are to trust the narration he composed to accompany its inclusion in his 1971 film (nostalgia)....
Apr 17, 2012 — When it was first released in 1977, ¡Alambrista! depicted something previously unseen in American fiction films—the lives of undocumented Mexican immigrants from their point of view. Though writer-director-cinematographer Robert M. Young was not Latino and didn’t speak Spanish, his film convincingly...