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John Espinoza: “Order this from Criterion site”
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Brazen and bleak, Kiss Me Deadly is a film noir masterwork as well as an essential piece of cold war paranoia, and it features as nervy an ending as has ever been seen in American cinema.
One of the greatest films about film ever made, Federico Fellini’s 8½ (Otto e mezzo) turns one man’s artistic crisis into a grand epic of the cinema.
The 1992 presidential election was a triumph not only for Bill Clinton but also for the new breed of strategists who guided him to the White House—and changed the face of politics in the process.
In Shallow Grave, three self-involved Edinburgh roommates take in a brooding boarder, and when he dies of an overdose, leaving a suitcase full of money, the trio embark on a series of very bad decisions, with extraordinarily grim consequences for all.
This multilayered, noirish descent into one man’s personal hell is also a surreal, metacinematic journey that, two years after the phenomenon Se7en, further demonstrated that director David Fincher was one of Hollywood’s true contemporary visionaries.
Have you ever wanted to be someone else? Or, more specifically, have you ever wanted to crawl through a portal hidden in an anonymous office building and thereby enter the cerebral cortex of John Malkovich for fifteen minutes, before being spat out on the side of the New Jersey Turnpike?