The Criterion Collection
Apr 1, 2018 — Stranger Than Paradise is coming back to theaters stranger than ever! Get a taste of what this indie landmark looks like in the form its director originally intended.
The Daily
Mar 30, 2018 — New York. “Today’s manliest movie stars—mostly buffed-up superheroes like your Chrises Hemsworth, Pratt, and Evans—are scientifically enlarged and formed by state-of-the-art training and diet regimens,” writes Vern in the Village Voice. “Guys like Steve McQueen, Lee Marvin, Charles Bronson, and...
Essays
Mar 30, 2018 — This spectacular and technically ambitious Hollywood musical is a priceless window onto American pop culture’s view of itself in the 1930s.
Mar 23, 2018 — In anticipation of his debut on the Criterion Channel, Connor Jessup spoke with us about his experiences as an emerging filmmaker and his collaboration and friendship with Thai maverick Apichatpong Weerasethakul.
The Daily
Mar 15, 2018 — New York. Film Forum’s series, entitled simply Michel Piccoli, opens tomorrow and runs through March 22. “It’s surprisingly hard to think of an American equivalent for Piccoli,” writes Mike D’Angelo in the Village Voice. “He never exudes the wised-up, electrifying...
In Theaters
Mar 15, 2018 — Agnès Varda’s Mur Murs, a diverse and dynamic portrait of public art on the streets of Los Angeles, screens tonight at Omaha’s Film Streams.
Mar 13, 2018 — Martin Scorsese brought his trademark attentiveness to the intricacies of social custom to this devastating adaptation of an Edith Wharton novel.
The Daily
Mar 12, 2018 — When the SXSW Film Festival presented the world premiere of Steven Spielberg’s Ready Player One last night, “technical difficulties KO’ed the sound for the second time in a row, bringing the dizzying, VFX-fueled video game adventure to a grinding halt...
Feb 28, 2018 — Classic Hollywood lovers have a lot to celebrate: FilmStruck has added hundreds of titles from the Warner Bros. library, including Casablanca, Citizen Kane, and Singin’ in the Rain.
Feb 27, 2018 — Director Tony Richardson refracts the bawdy spirit of the 1960s through this brilliantly distilled take on an eighteenth-century picaresque.