The Criterion Collection
Mar 6, 2019 — Performances As Howard Hawks was preparing to make His Girl Friday, his 1940 version of the classic Ben Hecht and Charles MacArthur play The Front Page, he was determined not to repeat what he felt had been a problem with his earlier comedy Bringing Up...
Essays
Feb 12, 2019 — In a stark, forbidding prison, a nun ascends a staircase, framed by vertical bars, and walks down a corridor, unlocking cell doors. Women start coming out; two of them quarrel. Smoking on her bunk, one inmate sighs when told she...
The Daily
Feb 6, 2019 — Ten forward-looking features and a few intriguing revivals will screen from today through Sunday in New York.
The Daily
Jan 7, 2019 — Critics are fine with the actors who’ve won Golden Globes this year—as for the films they appear in, not so much.
Dec 28, 2018 — Ulysses S. Jenkins’s Two-Zone Transfer By this time in December, the usual onslaught of critics’ polls and nomination lists has given movie lovers a feeling of consensus about what was unmissable over the past twelve months. We were curious about...
Dec 11, 2018 — Note: The terms black and white were part of the way racial categories were referred to in South Africa under apartheid. Other terms, like nonwhite and non-European, were also used to mark racial segregation. In the following essay, the term...
Nov 13, 2018 — Turning to theater for inspiration, Kenji Mizoguchi transformed a popular eighteenth-century play into a spiritually charged meditation on forbidden love and societal oppression.
On the Channel
Sep 7, 2018 — For the Criterion Channel original series Art-House America, now playing on FilmStruck, we recently visited the Texas Theatre in Dallas, a venue that became infamous as the site where Lee Harvey Oswald was arrested and now hosts a variety of imaginative...
Jul 10, 2018 — The martial-arts film was never the same after King Hu got his hands on it, reinventing the genre with subtle editing and dazzling choreography.
Essays
Jun 24, 2018 — During a period when studios gave him carte blanche, Josef von Sternberg created a sublime cinematic language that shrugged off one orthodoxy after another.