In Kids Return, the warmth of Kitano’s brand of brotherhood glows on the palate long after the acidity of his cynicism has subsided.
On it’s 25th anniversary, Orson Welles’ oeuvre The Stranger towers over the thrillers with which it’s so often been unfairly bundled over the years.
The new Criterion release allows the viewer to appreciate everything Kobayashi’s towering masterwork has to offer at an even greater level.
Fans make the entertainment industry go round. Or do they? Ian LeWinter inquires on the disconnect between studios and movie-goers.
The Fast & Furious movies are camp in a way we feel in our bones but have been trained by decades of narrow-minded definitions to deny.
As part of their May lineup for 2021, the Criterion Collection has prepared a new edition of Flowers of Shanghai for release, let’s take a look.
[sponsored] Producing a great movie requires finesse; here are the preproduction, casting, and editing steps you have to take to ensure a smooth production.
Owen Butler takes a look at the new Criterion Collection release of Amy Heckerling’s 1982 classic Fast Times at Ridgemont High.
The underfunding of Minari is hardly a controversy, but outside of a few Twitter threads, nobody is discussing it.
As a film about fathers and their sons, The Return is about the difficulty certain men have expressing love for one another.
With Another Round scoring an Academy Award, Sean Fallon with Film Inquiry reflects on some other great drinking movies.
The makeup and hairstyling Oscar is refreshingly simple, concerned with how well artists can transform actors physically to suit their roles.
Sound design, despite being one of the most important elements of filmmaking, is one of the most misunderstood. We break down the difference.
Film Inquiry interviews writer and director Lou Simon about finally getting her film Agoraphobia released after a “David vs Goliath” lawsuit.
Criterion’s upcoming edition of Memories of Murder comes highly recommended to both fans of the film and new viewers alike.