What are dual-format editions?
Dual-format editions include both Blu-ray and DVD versions of a film in a single package. All supplements are available across both formats.
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An island off the New England coast, summer of 1965. Two twelve-year-olds, Sam and Suzy, fall in love, make a secret pact, and run away together into the wilderness.
In director Wes Anderson’s The Darjeeling Limited, three estranged American brothers reunite for a meticulously planned, soul-searching train voyage across India one year after the death of their father.
An astounding array of talent came together for the big-screen adaptation of John Fowles’s novel The French Lieutenant’s Woman, a postmodern masterpiece that had been considered unfilmable.
This Technicolor spectacular, directed by Zoltán Korda, is considered the finest of the many adaptations of A. E. W. Mason’s classic 1902 adventure novel about the British empire’s exploits in Africa, and a crowning achievement of Alexander Korda’s legendary production company, London Films.
A fairy tale grounded in poignant reality, the magnificent, Manhattan-set The Fisher King, by Terry Gilliam, features Jeff Bridges and Robin Williams in two of their most brilliant roles.
Before Psycho, Peeping Tom, and Repulsion, there was Diabolique, a heart-grabbing benchmark in horror filmmaking, featuring outstanding performances by Simone Signoret, Véra Clouzot, and Paul Meurisse.
This affectionate farce from François Truffaut about the joys and strife of moviemaking is one of his most beloved films.
When a suburban teacher and father (James Mason) is prescribed cortisone for a painful, possibly fatal affliction, he grows dangerously addicted to the experimental drug. This Eisenhower-era throat-grabber, shot in expressive CinemaScope, is an excoriating take on the nuclear family.
Winner of both the Academy Award for best foreign-language film and the Cannes Film Festival’s Palme d’Or, Marcel Camus’ Black Orpheus (Orfeu negro) brings the ancient Greek myth of Orpheus and Eurydice to the twentieth-century madness of Carnival in Rio de Janeiro.
An ever-shifting battle of the sexes set on a Buenos Aires casino’s glittering floor and in its shadowy back rooms, Gilda is among the most sensual of all Hollywood noirs.
Speedy is an out-of-control love letter to New York that will have you grinning from ear to ear.
Made up of intimate, revelatory footage of the singular author and poet filmed over the course of five years, Howard Brookner’s 1983 documentary about William S. Burroughs was for decades mainly the stuff of legend.
The visionary chroniclers of eccentric Americana Joel and Ethan Coen present one of their greatest creations in Llewyn Davis, a singer barely eking out a living on the peripheries of the flourishing Greenwich Village folk scene of the early sixties.
Taking place largely over the course of one tense night, Carol Reed’s psychological noir, set in an unnamed Belfast, stars James Mason as a revolutionary ex-con leading a robbery that goes horribly wrong.
With his trademark mixture of empathy and scrutiny, Errol Morris has changed the face of documentary filmmaking in the United States, and his career began with two remarkable tales of American eccentricity.
A work of meticulous journalism and gripping drama, it recounts the disturbing tale of Randall Dale Adams, a drifter who was charged with the murder of a Dallas police officer and sent to death row, despite evidence that he did not commit the crime.
With its relentless pace, expressive cinematography by the great Russell Metty, and punchy, clever script by Charles Lederer and Ben Hecht, this is an overlooked treasure from the heyday of 1940s film noir.
A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural.
This multilayered comedy from Sydney Pollack follows the elaborate deception of a down-on-his-luck New York actor who poses as a woman to get a soap opera gig.
With a background in music hall and mime performance, Tati steadily built an ever-more-ambitious movie career that ultimately raised sight-gag comedy to the level of high art.
yourmrjones: “"I think the guy in the hat did something terrible..." is one of the great lines of modern cinema. Thanks Criterion!”
A trademark Cronenberg combination of the visceral and the cerebral, this phenomenally gruesome and provocative film about the expanses and limits of the human mind was the Canadian director’s breakout hit in the United States.
Dennis Price is sublime as an embittered young commoner determined to avenge his mother’s unjust disinheritance by ascending to her family’s dukedom in one of Ealing Studios’ greatest triumphs, and one of the most wickedly black comedies ever made.
A startling and courageous film, Peter Davis’s landmark 1974 documentary Hearts and Minds unflinchingly confronted the United States’ involvement in Vietnam at the height of the controversy that surrounded it.
A Hard Day’s Night, in which the bandmates play cheeky comic versions of themselves, captured the astonishing moment when they officially became the singular, irreverent idols of their generation and changed music forever.
yourmrjones: “The Scottish play is now Japanese! But has the curse been removed- or is it turning Japanese too?!?!”
The writer-director-star achieved new levels of grace, in both physical comedy and dramatic poignancy, with this silent tale of a lovable vagrant falling for a young blind woman who sells flowers on the street (a magical Virginia Cherrill) and mistakes him for a millionaire.
The acclaimed, best-selling novel by John le Carré, about a Cold War spy on one final dangerous mission in East Germany, is transmuted by director Martin Ritt into a film every bit as precise and ruthless as the book.
The most cherished work from French master Max Ophuls, The Earrings of Madame de . . . is a profoundly emotional, cinematographically adventurous tale of deceptive opulence and tragic romance.
yourmrjones: “A great Del Toro Gateway film.”
yourmrjones: “Come for the seventies kitsch, stay for the great Fantastic Four analogies.”
Four years after Breathless, Jean-Luc Godard reimagined the gangster film even more radically with Band of Outsiders. In it, two restless young men (Sami Frey and Claude Brasseur) enlist the object of both of their fancies (Anna Karina) to help them commit a robbery—in her own home.
Charlie Chaplin plays shockingly against type in his most controversial film, a brilliant and bleak black comedy about money, marriage, and murder.
Suffused with dread and paranoia, this Fritz Lang adaptation of a novel by Graham Greene is a plunge into the eerie shadows of a world turned upside down by war.
Marlon Brando gives the performance of his career as the tough prizefighter-turned-longshoreman Terry Malloy in this masterpiece of urban poetry.
yourmrjones: “No Doris Day singing "Que Sera, Sera"? Where do I sign?”
yourmrjones: “Have the original 2-disc dvd. Will upgrade.”
This ripe, colorful adaptation of Patricia Highsmith’s vicious novel The Talented Mr. Ripley, directed by the versatile René Clément, stars Delon as Tom Ripley, a duplicitous American charmer in Rome.
Before he became a sensation with the twisty revenge story Memento, Christopher Nolan fashioned this low-budget, 16 mm black-and-white neonoir with comparable precision and cunning.
Astonishingly photographed, and featuring unforgettable, cascading scores by Philip Glass, these are immersive sensory experiences that meditate on the havoc humankind’s obsession with technological advancement has wreaked on our world.
In the dystopian masterpiece Brazil, Jonathan Pryce plays a daydreaming everyman who finds himself caught in the soul-crushing gears of a nightmarish bureaucracy.
yourmrjones: “Love. This. The film that Terrence McNally forgot to make.”
yourmrjones: “Funniest movie Ruth Gordon ever made.”
yourmrjones: “Better than Night On Earth, this is his first use of multiple stories set during the same period of time.”
yourmrjones: “I've never seen any of these. Thanks Criterion.”
yourmrjones: “Would love for this to be available as a collection of Blu Rays.”
On a beautiful June weekend in 1967, at the height of the Summer of Love, the first and only Monterey International Pop Festival roared forward, capturing a decade’s spirit and ushering in a new era of rock and roll.
The Who’s classic rock opera Quadrophenia was the basis for this invigorating coming-of-age movie and depiction of the defiant, drug-fueled mod subculture of early 1960s London.
One of the great American independent films of the 1990s, the surprise hit Metropolitan, by writer-director Whit Stillman, is a sparkling comedic chronicle of a young man’s romantic misadventures while trying to fit in to New York City’s debutante society.
The Last Days of Disco, from director Whit Stillman, is a cleverly comic look at the early 1980s Manhattan party scene from the vantage point of the late nineties.
Modern Times, Charlie Chaplin’s last outing as the Little Tramp, puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine (Paulette Goddard).
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.
In Hitchcock’s romantic, suspenseful, elegant film, a young woman believes her every dream has come true when her whirlwind romance with the dashing Maxim de Winter culminates in marriage. But she soon realizes that Rebecca, her husband’s late first wife, haunts the de Winter mansion, Manderley.
This gripping envelope-pusher, the most popular film by Hollywood provocateur Otto Preminger, was groundbreaking for the frankness of its discussion of sex—but more than anything else, it is a striking depiction of the power of words.
In David Lean’s visually enchanting Summertime, Katharine Hepburn plays a lonely American spinster whose dream of romance finally becomes a bittersweet reality when she meets a handsome—but married—Italian man while vacationing in Venice.
In the 1940s, the wit of playwright Noël Coward and the craft of filmmaker David Lean melded harmoniously in one of cinema’s greatest writer-director collaborations.