Glenn Kenny writes film reviews for the New York Times and RogerEbert.com, and has contributed to the Criterion Collection website. He is the author of Made Men: The Story of “Goodfellas” (Hanover Square Press, 2020).

Jun 7, 2015 — Critic Glenn Kenny reveals the connection between two classics: Nicolas Roeg’s film Don’t Look Now and Robert Wyatt’s album Rock Bottom.

Feb 25, 2019 — Songbook Pace Lou Reed, nobody’s life is saved by rock and roll in Cold Water. This in spite of  its young characters’ relentless pursuit of it, in both musical and metaphysical forms. Made in 1994, set in 1972, Olivier Assayas’s...

Dec 3, 2014 — “We were just in London, clubbing, all those things people did in the ’60s in the middle of London,” British actor Francesca Annis recalls, in an interview on the new Criterion release of Macbeth, of “crossing paths” with director Roman...

Oct 21, 2014 — As breakup songs go, “Dreaming My Dreams with You,” written by country stalwart Allen Reynolds, is a tear-jerking doozy. It first appeared on the 1975 Waylon Jennings album Dreaming My Dreams. And while it’s been covered pretty frequently, by singers...

Jul 17, 2014 — When I was in high school in the late ’70s, one of my closest pals was a semiprofessional magician. A top-flight pianist as well, Charles was making some tidy sums as an entertainer in restaurants and clubs around North Jersey...

May 1, 2014 — When Walter Wanger conceived the movie that would become Riot in Cell Block 11, he wasn’t thinking in terms of pop culture. The longtime independent film producer, with classics (and Criterion releases) such as Stagecoach and Foreign Correspondent to his...

Aug 25, 2026 — James Gray’s extraordinary debut feature is a painstakingly distilled tale of crime and family dysfunction, captured with a merciless gaze and a sharp attention to idiosyncratic detail.

Jul 25, 2023 — The protagonists in Budd Boetticher’s five classic Columbia westerns are paired with opponents who, venal though they may be, almost always have their reasons.

Jul 13, 2022 — Martin Scorsese’s long-gestating boxing opus—one of the last films on which he enjoyed unequivocal studio support—emerged from a Hollywood in transition.