The Criterion Collection
Jun 1, 2016 — With Wrong Move, Wim Wenders made “a movie about the impossibility of moviemaking, a road movie about the uselessness of travel, a literary film about the impossibility of communication.”
Essays
May 24, 2016 — In The Player, Robert Altman’s early nineties comeback film, the director brilliantly skewers Hollywood—getting all the details right, as only he could—while constructing his own kind of Hollywood Movie.
Apr 27, 2016 — Bret Easton Ellis may be best known for his novels and short stories—including Less Than Zero, The Rules of Attraction, and American Psycho, which was adapted as a film in 2000 and recently transformed into a musical that opened on...
Apr 26, 2016 — Combining Turner Classic Movies’ programming experience with Criterion’s library of films and supplemental content made all the sense in the world.
Features
Apr 4, 2016 — Ray Dolby did not match the conventional image of an eccentric inventor, nor that of a business mogul. But his name now represents a benchmark by which the recording of sound and its playback on disc and in movie theaters...
Mar 29, 2016 — Les Blank’s long-lost documentary revels in the trippy, eccentric world of and surrounding Tulsa Sound pioneer Leon Russell, transforming what might have been a standard concert movie into a genuine work of art.
Essays
Mar 17, 2016 — Decades later, Ingmar Bergman’s self-reflexive masterpiece remains a provocative enigma worthy of close investigation.
Feb 19, 2016 — The filmmaker, who began his career as a stage director and designer before shifting his focus to movies, swung by for a chat about his new film and his lifelong affinity for the macabre.
Short Takes
Nov 17, 2015 — This week marks the first occasion of the Criterion Blogathon, a massive movie lovefest organized by the film blog Criterion Blues.
Short Takes
Nov 17, 2015 — Max von Sydow has spent the past six decades cultivating one of cinema’s most illustrious careers, and now, at eighty-seven, the Swedish actor “may be on the verge of becoming a pop-culture icon,” writes Terrence Rafferty in the Atlantic.