Cow

Jan 21, 2008 — As late as 1970, Alf Sjöberg’s boldly experimental 1951 adaptation of August Strindberg’s play was declared as inaugurating “a new cinematic language.”

Oct 16, 2007 — Ididn’t create the Criterion office’s word-of-the-day bulletin board, but I’m the latest logophile to carry the torch, er, dry-erase marker and update the white board in the kitchen. Occasionally someone will ask me what a certain word means (psocid was...

Jul 30, 2007 — Five years ago I produced my first DVD of a film by Ingmar Bergman. The film was Wild Strawberries, and I remember the thrill of working on a film that I knew was beloved by so many. Since then I...

Jun 11, 2007 — Over the past month or so, it seems as though glancing references to Criterion are popping up everywhere. This morning, I saw Bob Stein, one of the original founders of Criterion, in New York magazine, being interviewed for his fashion...

May 21, 2007 — Carol Reed’s masterpiece dives deep into the life and mind of screenwriter Graham Greene, one of Britain’s greatest postwar novelist.

May 21, 2007 — In January 1948, British film producer Sir Alexander Korda, head of British-Lion and London Film Productions, commissioned novelist Graham Greene to write and research “an original postwar continental story to be based on either or both of the following territories:...

Feb 19, 2007 — A powerful document of anti-Nazi propaganda, Powell and Pressburger’s war drama consolidated their partnership and showed a way forward for British cinema.

Jan 22, 2007 — Forget the Beatles vs. Elvis: for me the world is divided into Karloff people and Lugosi people, and I’m in the Karloff clique. Bela Lugosi’s oversize mannerisms and thickly accented drawl have always seemed camp to me, while Boris Karloff’s...

Oct 23, 2006 — The New Zealand director’s debut feature is a bridge between her tentative, probing film school works and her subsequent female character studies.

Oct 27, 2003 — Attuned to the ineffable weirdness and crushing mundanity of workplace paranoia, Steven Soderbergh’s film finds anger and sorrow in the way we brutalize our means of communication