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Jun 20, 2017 At the dawn of sound cinema, French theater titan Marcel Pagnol immortalized his epic vision of his native Provence in three exquisite humanist dramas.

Jun 5, 2017 Known for playing sexy noir toughs, Ralph Meeker underwent a startling transformation as the anguished, slovenly male lead in Jack Garfein’s psychological drama.

May 19, 2017 Let’s open today’s round of interviews with one from the archives, a conversation with Michelangelo Antonioni that originally ran in Corriere della Sera in 1982 but evidently took place during the final stages of shooting Blow-Up (1966). It’s been translated...

May 19, 2017 “Kornél Mundruczó’s Jupiter’s Moon is a messily ambitious and over-extended movie with some great images,” writes the Guardian’s Peter Bradshaw: “[L]ike his previous picture White God it leaves behind the somewhat torpid realist mannerisms of his even earlier films such...

Where Were We?

The Daily

May 17, 2017 Welcome to the first entry of the Daily at the Criterion Collection. For those of you who don’t know me, since 2003 I’ve been gathering links to essential—or simply fun—reading, news stories, and items of interest into a sort of...

Apr 20, 2017 Programmer Michael Sragow and former Film Society of Lincoln Center program director Richard Peña discuss the holy grail of cinephile TV series and the legendary figures it profiled.

Apr 12, 2017 British director Jack Clayton elicited landmark performances from a host of great ladies of the cinema, including Maggie Smith, Deborah Kerr, and Anne Bancroft.

Anthony Asquith

Short Takes

Apr 10, 2017 Critic Peter Cowie pays tribute to a quintessentially English master, whose prolific career stretches back to the silent era.

Apr 5, 2017 At eighty-eight years old, Agnès Varda is still blossoming as an artist. Long known primarily as a filmmaker, a vocation she took up more than half a century ago, the French iconoclast is now in what she gleefully describes as...

Apr 2, 2017 What defines noir acting? In her latest Dark Passages column, Imogen Sara Smith examines the stylistic variety in some of the genre’s most iconic male performances, including Burt Lancaster in The Killers and Ralph Meeker in Kiss Me Deadly.

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