The Criterion Collection
May 11, 2009 — “It’s taken more than fifty years, but the world has finally caught up with [the] dark and cynical vision” of Billy Wilder’s chillingly black satire of the fourth estate, Ace in the Hole, A. O. Scott declares in a clever...
Essays
Nov 23, 2008 — Wes Anderson made a film without a trace of cynicism, one that obviously grew out of his affection for his characters in particular and for people in general.
Oct 30, 2008 — In town for the New York Film Festival screenings of his much-admired A Christmas Tale, French director Arnaud Desplechin talked to Dennis Lim about his always allusive filmmaking style and his particular influences in making this dysfunctional-family holiday film, including...
Essays
Jul 21, 2008 — A dreamy alternative to the standard notion of horror, Carl Theodor Dreyer’s phantasmal film reimagined the figure of the vampire.
Production Notes
Apr 1, 2008 — As a generation of artists passes, the deaths often seem to come eerily close together, amplifying their individual achievements. In the past couple of weeks, we’ve lost The Naked City screenwriter Malvin Wald, then the incomparable Richard Widmark, and now...
Jan 22, 2007 — Spencer Gordon Bennet’s eclectic science fiction–adventure movie bundles a serious patriotic message within its retelling of the Odysseus myth.
Jul 11, 2005 — The trickily variant sensibilities of the three daydreams and their long duration are what mark Unfaithfully Yours as a stray modernist object.
Dec 6, 2004 — In his first freestanding biblical epic, Cecil B. DeMille recognized and revered a profound quality in the American soul—its ability to leap over every contradiction through an invincible sense of its own righteousness.
Essays
Sep 13, 2004 — The following piece by Sony Pictures Classics cofounder and copresident Michael Barker, who picked up Slacker for Orion Classics in 1991, originally appeared in the program for the 2001 Austin Film Society event Slacker: A Ten-Year Reunion. What I’ve found...
Essays
Jan 29, 2001 — Masahiro Shinoda’s historical drama uses traditional elements of Japanese theater to explore the tension between ethics and eroticism.