The Criterion Collection
On the Channel
Jul 17, 2026 — Channel Calendars This month on the Criterion Channel, crank up the volume on our playlist of (actually good) rock biopics that go beyond cliché to explore the elusive place where inspiration sparks and musical legends are born. Our Southern Gothic...
On the Channel
May 14, 2026 — Channel Calendars This month on the Criterion Channel, set out on an epic journey with our Odysseys collection, or revisit the foundational Bond classics that introduced the silver screen’s most iconic superspy. A spotlight on Courtney Love’s acting career reveals...
On the Channel
May 14, 2025 — This month, dive into some of cinema’s most memorable swimming pools, dine across Europe with Steve Coogan and Rob Brydon, and watch out for that suave sociopath Tom Ripley.
The Daily
Oct 16, 2024 — This year’s special anniversary edition will open with Malcolm Washington’s August Wilson adaptation, The Piano Lesson.
The Daily
Aug 15, 2024 — Late August, early September—this is the perfect spot on the calendar for the Rozier retrospectives in New York and Los Angeles.
Aug 13, 2024 — In films that elude categorization, the Ukrainian director developed a boldly experimental aesthetic that evokes her mercurial inner dialogue and the leaps and stutters of her imagination.
Features
Mar 25, 2024 — What makes a “bad” movie anyway? By surveying the bombs, disasters, and secret masterpieces (dis)honored at the Golden Raspberry Awards, we can learn much about American cinema’s prevailing standards of taste.
Jan 31, 2024 — Shifting recklessly between realism and surrealism, this drug-fueled odyssey from director Danny Boyle is a propulsive satire of depleted masculinity in urban Scotland.
Nov 7, 2023 — By the end of the 1970s, everything had changed for Jackie Chan. He had cowritten, directed, and starred in The Fearless Hyena, which became the top-grossing Hong Kong film of 1979. His next project, The Young Master, would top that...
Dec 6, 2022 — Known for their austerity and shocking moments of violence, the Austrian director’s first three films cultivate a kind of humanism in their dogged refusal to coddle the viewer.