The Criterion Collection
May 31, 2017 — New Taiwan Cinema master Edward Yang’s sophomore feature explores the conflict between tradition and modernity reflected in a relationship on the rocks.
The Daily
May 20, 2017 — “If he hadn’t already laid claim to the title of king of the cringe-inducing confrontation and nabob of the nervous laugh with the withering Force Majeure, Ruben Östlund truly anoints himself with The Square, an excoriating razor-burn of a movie...
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...
Mar 1, 2017 — In his most seductive experiment with cinematic time, Richard Linklater wrestles with the joys and challenges of long-term intimacy.
Feb 23, 2017 — Pedro Almodóvar’s Oscar-nominated breakthrough revels in the complexities of the female psyche.
Feb 13, 2017 — One Scene Romantic love is poignant because it is an infinite feeling that exists in a finite frame. And Richard Linklater’s Before Trilogy is the most romantic and profound of love stories because it imbues love with the weight of...
In Theaters
Jan 11, 2017 — Repertory PicksIn advance of the continuation of David Lynch’s cult series Twin Peaks, premiering on television this May, the Texas Theatre, in Dallas, presents a screening of his debut feature, Eraserhead. Made on a shoestring budget, this midnight-movie favorite takes...
On the Channel
Dec 12, 2016 — Patriotic masterminds choreograph capers from secret headquarters while dashing secret agents execute their plans by the light of flashing blades and gunfire. Jeopardy escalates second to second until our heroes and heroines escape by the skin of their teeth. Spy...
Nov 15, 2016 — Akira Kurosawa lays bare his deepest fears in this visually astonishing interpretation of folklore, myth, and the director’s own dreams and memories.
Oct 5, 2016 — Rock critic Robert Christgau examines the evocative use of three early Leonard Cohen songs in Robert Altman’s brilliant revisionist western.