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I'm generally not one to lay down money for a movie (or much else, for that matter) unless I've got a pretty good idea that I'm going to enjoy it. The Criterion Collection is one of those rare things that I don't feel that way about. I've found that I can buy any Criterion film and at least be satisfied with my purchase. There are exceptions, of course, but as a general rule, it holds true.
This is a list of those movies I've been particularly pleased with, after purchasing them with no real knowledge of them.
I had no idea what to expect with this one. While it is a little light on story, the vignettes presented here are heartwarming and comical and full of a nostalgic whimsy. Very light, but very entertaining. Adolescence presented very well. This has become one of my favorite films.
A surprisingly good epic film about a man who truly believed in an ideal, and who was willing to do everything he could to change the world. This drive would lead him to success in Cuba (in Part One), and absolute failure in Bolivia (in Part Two). One thing I appreciate about the film is that it doesn't try to tell us everything there is to know about Che. It takes two segments of his life, the revolutions in Cuba and Bolivia, and tells those stories. This shows Che at his highest and at his lowest. I know there's more to tell about Che. Part One ends as he and the rebels head for Havana, but there's more to tell about Cuba. I know there's another revolution he was part of, between Cuba and Bolivia, in the Congo. Those stories don't fit here, however. The subject matter for the two parts was chosen as point and counterpoint. Beautifully shot and well-paced with a focus on realism, the film effortlessly pulls you along for the entire length of both parts.
I'd seen del Toro's Pan's Labyrinth and I'd heard the word "vampire" used in conjunction with this film, but that's all I had to go on. I was delighted to find this pleasant and touching story about the lengths people will go to for immortality and youth. It's hard to believe this is del Toro's first film. While far from perfect (Pan's Labyrinth definitely surpasses it), it looks and feels like a film made by a seasoned pro.
I missed this one in the theaters when it came out, and it was never really much on my radar. I'm a fan of both Fincher and Pitt (and Blanchett, but to a lesser degree), but this one never really appealed to me. I really only got it because of the Criterion logo paired with a $9.99 pricetag. This film is on this list not because it's a spectacular movie that breaks convention or re-defines something or perfectly captures anything. It's simply a good movie. It's got a Forrest Gump feel to it, and it's kind of heartwarming and a bit of a tear-jerker. Fincher's direction is wonderful, and the actors nail it. The whole aging backwards thing is a treat to watch, but it really doesn't even contribute to the story, except in one pretty important way, which I won't spoil. Other than that, Benjamin's apparent age really doesn't affect much. Overall, the film's a bit ho-hum, but it's worth watching.
I'm not sure how, but this one is perfectly Cronenberg without really being what I'd expect from him. Apart from one short moment in a dream, There's none of Cronenberg's usual body horror. Instead, it's a riveting pair of performances by Jeremy Irons playing both Elliot and Beverly Mantle that kept me glued to the screen. Unfortunately, Geneviève Bujold's performance doesn't stand as strong, which is the one thing that holds this film back for me. I find psychological thrillers so captivating, and Cronenberg delivers an excellent one here.
Out of print and spine #1? My collector's urge mandated that I add this to my collection. Add in Orson Welles' kind words ("“If I had to save only one film in the world it would be Grand Illusion.”) and all the other high praise about this film, and I just had to have it. Overall, I don't think it's worth the hype. Don't get me wrong, Renoir crafts a fine film here, and it raises some interesting and important observations on war and patriotism and class. It just never really grabbed me the way it seems to have done with everyone else.
I expected a fun and exciting action flick, maybe with some great visuals and shots mixed in. I got that, and a lot more. The story is actually fairly complex and intriguing, with rival gangs and unknown identities of undercover cops making things difficult for Chow Yun-fat as a Dirty Harry type hero. Not a deep movie by any means, but lots of fun and entertaining on multiple levels.
Not the first Kurosawa film I've seen, but the first that's not a period piece. This film has three distinct parts. In the first, a compelling performance by Toshiro Mifune anchors a great twist on a kidnapping plot. I really enjoyed the twist of the mistaken victim. The bulk of this part takes place in a single set of Gondo's home, which could be a challenge, but Kurosawa handles it masterfully. After a tense sequence on a train, we move to the second part, which is a police procedural as the investigators analyze every little clue and hone in on the kidnapper. One the villain is identified, the third part begins, as the police work to conclusively tie the kidnapper to his other crimes due to the lax Japanese sentences for kidnappers at the time. All through it, Kurosawa weaves his magic. Every shot, every long take, is brilliantly staged with dynamic movement and well thought out compositions of the image.
I liked this one even more than Hard Boiled. The story's more compelling, and Danny Lee is just as enthralling to watch as Chow Yun-fat. I was expecting far more action scenes. I knew they'd be great sequences, but I was also pleased that there were fewer of them than expected. The story carries the movie along, not the action (amazing though the action is).
For 1964, this must have been quite the shocking film, what with prostitution and pedophilia playing such major parts of the movie. There are a couple of flaws, but they are more than made up for by Fuller's great noir dialogue and honest portrayals of hypocrisy. The one flaw that is difficult to overlook is the moment that the pedophilia is revealed. It's so quick and unclear that I was a little confused about what happened for a bit. It's quickly cleared up and made very plain, and I think it's more about catering to what audiences would accept on screen at the time than any fault of Fuller.
I watched this one on recommendation from my wife, knowing only that it was directed by Jim Jarmusch (who I wasn't very familiar with), featured Roberto Benigni (who I also wasn't too familiar with, though I knew him a little better than Jarmusch), and had music by Tom Waits (who I love). The film is like five short films united by the concept of a cab ride. I couldn't stop laughing at Benigni's Rome story, but after watching again, I'd have to say my favorite segment is the New York one (despite Rosie Perez and her voice).
The story of the Titanic is one which should be remembered, and this film truly is a fine remembrance. Although a little dated in regards to information that has been learned or confirmed since this was made (such as the ship breaking in two, or further reasoning behind the Californian's inaction), this is a top-notch telling of a story that we all think we know. The BBC documentary about the iceberg that's included in this release is also quite revelatory.
Despite Mr. de Winter's whirlwind courting of the unnamed main character by being rather indifferent toward her (in fact, this attitude continues through most of the film), I really enjoyed the story of this "replacement" wife trying to fit into a situation that she doesn't fully understand and isn't fully welcome. From what I gather, this adaptation of the novel had to clean up a few plot points to satisfy the ratings board, but I was still along for the ride from the very beginning, and many of the twists took me by surprise. Those that didn't still managed to be just a little different from what I was expecting.
I'm listing this as the full trilogy instead of individual titles because it really feels more like a mini-series than three separate films. While I was a little disappointed that more of Musashi's philosophy (as written in The Book of Five Rings) wasn't featured, I did enjoy the films. While not quite historically accurate, Inagaki's story and cast of characters provides a feeling of continuity essential for an epic work like this that probably wasn't present in Musashi's actual life. My only note to Criterion is: why, oh why did you use the Western naming convention of personal name followed by family name, instead of Japan's tradition of family name first? (Musashi Miyamoto, as he's called in the Criterion translation, should truly be Miyamoto Musashi.) This seems like one of those details that I usually trust Criterion to deliver faithfully.
This is one that I picked up only because it was Criterion, and the description on the back made it sound like it might be interesting. I was completely blown away! Somehow I glossed over the fact that this was a solo performance by Philip Baker Hall when reading the description, and after watching the film it took a moment for that fact to sink in. No characters other than the angry, sad, bitter Richard Nixon are needed, and in fact, would have detracted from this film. Hall holds this film together with an intense performance that is truly gripping, and director Robert Altman is wise enough to step back and simply capture the ever-changing landscape of this single-actor, single-set tornado. The one touch that Altman adds is the use of the security screens and cameras, which adds a subtle undertone of paranoia and self-importance.
I can't say this one was too much of a surprise. Anyone who claims to be into film at all simply must have heard of Kurosawa's epic masterpiece. This one's here because, despite all that, I had never seen this film until I purchased the original Criterion DVD (2 discs, as I remember... replaced by the 3 disc set, and now by the Blu-Ray edition). I love watching movies where someone's putting together a team, and that's what the first half of this movie is. And then the action starts, which is just as entertaining. If you haven't already, give in and check this one out.
Anyone who has heard of The Seventh Seal, but has not seen it, probably has a few preconceived notions about it. I know I did. Death playing chess with a knight. Death leading a bunch of people dancing over a hill. Oppressive musical score. Oppressive mood. Highly symbolic images. Very little plot in the traditional sense. An art film. Not just an art film, but an artsy-fartsy film. I knew that this is considered a highly influential and important film, and the theme of death intrigued me, but I put off seeing this for many years. I just didn't think I would enjoy it. I thought I'd be bored. How wrong I was! While still dealing with heavy concepts (like the meaning of life and death), Bergman brings lightness and comedy and fun and a story that draws you in. Yes, the heavier stuff is still there, and truly is the heart of the film, but it's handled wonderfully by Bergman. I wish I would've watched this one years ago.
While the presentation of psychoanalysis is a little naïve (not to mention, shoved down your throat) in this film, ultimately it all pays off. This is a film that really grew on me. As I started watching, I really wasn't enjoying it much. The oversimplification of psychoanalysis really bugged me, though I understand what a new concept it was at the time the film was made. By the halfway point or so, I was hooked, and eager to see how it would end.
It's a slow build, but I mean that in the best way. Dustin Hoffman turns in a great performance of a man slowly pushed to the edge. He's a bit of a dick to his wife, though, and I'm not sure if that's a sign of the times or a flaw in the writing. At times our protagonist is very unlikable. I have no idea why his wife married him. That aside, the film does a good job in capturing the feel of being an outsider, and the slow rise of tension is just magnificent. But how many windows does that house have?
I was inspired to pick this one up because of the Terry Jones introduction. This is a black comedy gem. The first part is full of witty dialogue delivered at a breakneck pace. The second part perfectly portrays the three different fantasies of revenge, guilt, and sacrifice, never failing to get a laugh regardless of how dark it gets. The final part is pure slapstick genius that brilliantly plays off of earlier events.