The Criterion Collection
Jan 6, 2003 — Ernst Lubitsch set the screwball comedy standard, treating hard-on material with dignified aplomb and a combination of suaveness, hilarity, and sexiness.
Sep 23, 2002 — The theatricality of Alfred Hitchcock’s thriller makes the point that psychoanalysis is a sister to cinema rather than a rival.
Essays
Sep 9, 2002 — With her debut feature, Lynne Ramsay confirmed herself as one of the most distinct and important voices to emerge from the United Kingdom in recent years.
Essays
Jan 21, 2002 — A fresco conceived on a majestic scale, Marcel Carné’s masterpiece sweeps its audience back to the 1820s, painting the detail of a world obsessed with both theater and crime.
Essays
Oct 15, 2001 — Preston Sturges’s beloved comedy provides insights into the way Hollywood formulas work on us.
Jun 26, 2000 — Kevin Smith writes about his third feature as a sort of penance/valentine for the woman who made him grow up.
Essays
Nov 22, 1999 — Amarcord presents a scathing satirical critique of Italian provincial life during the 1930s, the height of the fascist period (1922–43). In this era, Mussolini’s dictatorship enjoyed its greatest popular support. While Fellini’s depiction of the provincial world under fascism provides...
Essays
Jan 11, 1999 — It was quite a surprise to learn that David Lean had not read Charles Dickens’ Great Expectations before he embarked on his film version in 1945. The closeness of the adaptation, the understanding of the characters, make one swear it...
Essays
Nov 23, 1998 — Paul Morrissey’s cult classic has obvious appeal for the lover of Grand Guignol—but it equally addresses the thoughtful.
Essays
Oct 19, 1998 — Horror need not always be a long-fanged gentleman in evening clothes or a dismembered corpse or a doctor who keeps a brain in his gold fish bowl. It may be a warm sunny day, the innocence of girlhood and hints...