A free way to build your virtual collection, make lists, and share them. It’s your new home on Criterion.com.
Learn More »
Feeling very nostalgic/explorative about films. Looking back, and forward, at what I'd pick if asked. As POB, what are my top 10?
P.S. I picked way more than 10. Sue me.
The epitome of cool, stylish, razor-sharp filmmaking. Outstanding as a crime story, a performance, and an aesthetically flawless art form all in one.
Film as moral vessel in its finest form. Sidney Lumet is one of America's greatest, and most under-appreciated, directors.
Splendid heist story combined with charming characters and an ace plot and execution. A little hidden gem.
What can be said about this film but awe and shameless debauched enjoyment? Just a joy to watch, a thrill to consume, a mystery and a treat.
As a student fascinated not just with film-noir but with the femme fatale and the ever-changing 'definition' of what that/she really is, this film was immediately entrancing. It was almost overwhelming how many moments I tried to pin down as I viewed them, to remember them later and hopefully try and create noir art that could hold a candle to the legendary status Vidor's film set in motion.
The score, the paper-thin but absolutely compelling acting, the light-touch directing, a plot that seems to play with you in the loveliest way, and that simple shot of the kitten. In my view an underrepresented entry in the mood of the New Wave. Quintessential viewing for lovers of French film ideas. Had a delightful effect on me the first time I saw it.
One of the best-written speeches, or film-moments in general, in film history.
Where it all began for me, I'd say. This film turned me on to not only the Criterion Collection, but the versatility and chance for discovery that existed in the histories of French and European crime cinema. Alain Delon alone draws you in, and Jean-Maria Volonté just grows more captivating with each viewing. Not to mention that incredible heist - masterful. Melville deserves more praise.
A quintessential night-and-paranoia film from a true master.
A film that made me second guess existence; probably one of the first and only. My high-school film paper on it stipulated that the film itself is alive, a theory I revisited the other day and found I think I still agree with now. It's a singular work, and one that really must simply be viewed without prejudice, so I'll stop talking about it.
The seeds of much more epic productions are in full view, and even when Nolan sometimes appears to me as a blockbuster-only, possibly over-complicated filmmaker, I just have to revisit this film and remind myself he is as brilliant at massive technical feats as he is near-budgetless handheld storytelling. Not an easy feat.
It has been years since I last watched it, but every time I do the scene work just gets better and better. Woo is a master. Chow Yun-fat is a legend.
Gloriously made. Observation and confession and art all in one, with a perfect balance of shame and pleasure in its existence. One of the greatest films about film ever made.
A beautiful film.
Actually a terrifying film; unlike any horror. It terrifies from its sheer undeniable reality - what other film has shot scenes where the real-life personal murders happened? This one certainly haunts you more than you ever expect.