Features
It was kind of odd coming of age in the early 2010’s and seeing these ultra-fantastic teen stories, yet Palo Alto proved to be in a league all its own.
Even if another never gets made, Running Scared deserves to be considered a great one-off in the world of vulgar auteurism.
Ash Is Purest White is a masterpiece of time and alienation. Aaron Berry examines the ways time affects the characters.
Can film capture national events, the feelings of a nation, or national change? Is there space for it in the age of blockbusters?
Even if Douglas doesn’t match its predecessor, the material is strong enough that it could still wind up being the second greatest stand-up film of all time.
Good Girls Revolt is a significant and powerfully expressive series about sexual discrimination and harassment.
A baseball film almost without baseball, Moneyball is a revolutionary sports film. Lewis Punton takes a closer look at the conversations that fuel the plot.
Ang Lee has won both awards and critical acclaim for his portrayals of gay couples in Brokeback Mountain and The Wedding Banquet, yet both are flawed.
While men have come in and out of Fleabag’s life, her relationship with Claire has been the defining relationship of the series, making Fleabag the ultimate love letter to sisterhood.
Two decades later, and Wild Wild West is still a Wild Wild Mess – but nowhere near the disaster you may remember.
Michael Dougherty’s films sneakily inject themes of religion in the horror narrative. Danny Anderson takes a look at how two of his films subvert Christianity.
We tap into fond memories of summer and feel-good vibes to come up with a list of some of the best summertime films of all time.
With The Criterion Channel, no matter what size screen you watch these classics on, the pictures are never small.
While it may sound nonsensical, Andrew Emerson discusses why The Last Black Man in San Francisco shares important similarities with musicals.