Criterion

It’s difficult to imagine what it must have been like to see Seconds in 1966. The third entry in John Frankenheimer’s unofficial “paranoia trilogy” (the other…

There are many reasons to compare and contrast current films with historical ones. One is to attempt to explain why some films have been spotlighted…

I had a roommate in college who, every day like clockwork, ate dry toast for lunch while watching The Food Network. While he never explained…

At the risk of generalization, The Criterion Collection is probably best known for packaging two types of films: celebrated canonical works that deserve pristine treatment;…

Haskell Wexler’s Medium Cool is a film whose immediacy and docu-realism was all too fitting for an America that could, for the first time, see…

This week, Michael Bay did something that I thought was only possible if you were named Joel Schumacher: he apologized for a loud, bloated late-’90s…

Last week, David Bowie released The Next Day, his first album of entirely original music in a decade. That the seemingly retired former glam-space alien…

Michael Haneke’s much-lauded Amour, which won Best Foreign Language Film last night at the Oscars, has at its center two powerhouses of modern European art…

In contrast to other well-respected filmmakers whose revisited obsessions traverse and develop across a litany of discrete works, Steven Soderbergh has most often been described…