The Criterion Collection
The Daily
May 20, 2017 — “If he hadn’t already laid claim to the title of king of the cringe-inducing confrontation and nabob of the nervous laugh with the withering Force Majeure, Ruben Östlund truly anoints himself with The Square, an excoriating razor-burn of a movie...
The Daily
Apr 1, 2018 — Empire has been rolling out interviews from its “Spielberg Takeover” issue, the one with five different covers, including a podcast (102’01”) that’s naturally not part of the print version, in which contributors talk with Steven Spielberg himself and with Simon...
The Daily
Jul 24, 2017 — “It seems, at first, like an impossible caper,” begins Jordan Hoffman, writing for the Guardian. “Can Steven Soderbergh bring something new to the heist genre after his outstanding Oceans trilogy? The answer, as always, is to have faith in the...
The Daily
Jun 23, 2017 — Reporting on last year’s edition of Il Cinema Ritrovato for Film Comment, Dan Sullivan called the festival “a rare beast indeed: a one-week, primarily repertory film festival, mind-bogglingly dense with new restorations, legendary prints, discoveries and rediscoveries, canonical works presented...
The Daily
Dec 18, 2025 — At year’s end, we’re reading about the partnership and breakup of Alfred Hitchcock and composer Bernard Herrmann—and much more.
The Daily
Aug 16, 2024 — With her partner, John Cassavetes, Rowlands made some of the most vital and alive films in all of American cinema.
Jul 21, 2017 — A landmark of mainstream queer cinema, Donna Deitch’s 1986 feature debut returns to theaters in a new restoration.
The Daily
Jun 1, 2017 — “The greatest filmmakers, like the greatest novelists and poets, are trying to create a sense of communion with the viewer,” writes Martin Scorsese in the new issue of the TLS. “They’re not trying to seduce them or overtake them, but,...
The Daily
Dec 16, 2021 — Whether their lists run to ten or fifty films, critics argue their cases for the films they’ve put on top.
Nov 22, 2022 — Deeply influenced by the classics of silent-era comedy, this vision of a postapocalyptic future celebrates cinema as a universal language that offers us a sense of common ground.