The Criterion Collection
Jul 15, 2014 — Ihave an unusually easy way of remembering when I first became fascinated by Robert Bresson’s films. Pickpocket (1959) was the first one I saw, at the old Orson Welles theater in Cambridge, Massachusetts, in my late teens; it was also...
Feb 17, 2014 — Flailing fathers, anxious mothers, and their moody offspring—these characters may have tails, but they’re Wes Anderson people through and through.
Dec 16, 2013 — A melodramatic investigation of family and class, Kim Ki-young’s film exorcises some demons of 1960s South Korean society.
Short Takes
Nov 6, 2013 — Samuel Fuller and Vincent Price would seem to make an incongruous pair. The director’s gritty, unaffected sensibility might seem antithetical to the actor’s lofty, melodramatic approach to performance. But Price is delightful as the protagonist in Fuller’s second film, The...
Oct 15, 2013 — Georges Franju’s masterpiece is the most chilling expression in cinema of our ancient preoccupation with the nature of identity.
Apr 17, 2013 — Four of the great Japanese director’s lesser-known, early films show the coming into being of a political artist.
Nov 13, 2012 — With this frenetic cinematic fresco, Pasolini began his Trilogy of Life and its forays into a world as yet unspoiled by capitalism.
Jun 21, 2011 — Chains: Bound for Glory Film history is replete with artists embraced by critics but misunderstood by the public. For Italian filmmaker Raffaello Matarazzo, it was the opposite. After working for almost two decades as a midlevel studio director of pictures...
Essays
Sep 21, 2010 — This is an expanded version of a piece that appeared in the original 2004 Criterion DVD release of Charade. Stanley Donen’s Charade occupies a special place among sixties thrillers. In an era of spy films resplendent with macho-driven eroticism (the...
Essays
Mar 23, 2010 — If we adapt the language of horse breeders to the genealogy of films, we might write Yojimbo, by Shane out of Scarface.But while this odd coupling does suggest the most obvious hereditary traits of Akira Kurosawa’s black comedy, it fails...