The New Year That Never Came

Dec 19, 2019 — Lists (of course), but also philosophical surveys, biographies, and coffee table books are featured in this month’s round.

Nov 28, 2018 — Made on a shoestring budget, Edgar G. Ulmer’s 1945 Detour is a landmark of film noir, a hardboiled thriller that represents the genre at its seediest and most fatalistic. But despite amassing critical acclaim and a significant cult following over the decades,...

Oct 1, 2017 — “Sean Baker follows his 2015 breakout feature Tangerine with another high-energy movie about people whose imaginations are undaunted by living on the margins,” begins Amy Taubin, introducing her interview with the director for Film Comment. “In The Florida Project, six-year-old...

Sep 11, 2017 — This first of two, possibly three, parts was slammed hard on Twitter the moment it premiered in competition in Venice, but, surveying the first wave of reviews, we find that it’s not going to be so easily dismissed outright. Let’s...

Jul 24, 2017 — “It seems, at first, like an impossible caper,” begins Jordan Hoffman, writing for the Guardian. “Can Steven Soderbergh bring something new to the heist genre after his outstanding Oceans trilogy? The answer, as always, is to have faith in the...

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...

Jun 12, 2014 — The filmmaker’s latest offering at the film festival reaffirms the author’s faith in him.

Mar 9, 2012 — The cinematographer tells us how he and Louis Malle went about shooting Vanya on 42nd Street in a decrepit Manhattan theater.

Nov 12, 2007 — What is left of Berlin Alexanderplatz, this endless canon of the sublime and the trivial, is thus a perpetuum mobile of the human dance of love and death.

Jul 20, 2021 — Dismissed as gossip-column fodder in its time, Jacques Deray’s cooly enigmatic villa thriller is an exploration of masculine vanity and feminine disillusion.