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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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.
In one of the best performances of his legendary career, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle.
This comic masterpiece by Preston Sturges is among the finest Hollywood satires and a high-water mark in the career of one of the industry’s most revered funnymen.
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.
Terry Zwigoff’s landmark 1995 film is an intimate documentary portrait of the underground artist Robert Crumb, whose unique drawing style and sexually and racially provocative subject matter have made him a household name in popular American art.
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.
This explosive work about the conflict between the spirit and the flesh is the epitome of the sensuous style of Michael Powell and Emeric Pressburger.
The Red Shoes, the singular fantasia from Michael Powell and Emeric Pressburger, is cinema’s quintessential backstage drama, as well as one of the most glorious Technicolor feasts ever concocted for the screen.
The Small Back Room details the travails of troubled research scientist and military bomb-disposal expert Sammy Rice, who, while struggling with a complex relationship with secretary girlfriend Susan, is hired by the government to advise on a dangerous new German weapon.
In the midst of Nazi air raids, a postman dies on the operating table at a rural English hospital. But was the death accidental? A delightful and wholly unexpected murder mystery, British writer/director Sidney Gilliat’s Green for Danger features Trevor Howard and Sally Gray.
Chow Yun-fat is jaded detective “Tequila” Yuen in John Woo’s dizzying odyssey through the world of Hong Kong Triads, undercover agents, and frenzied police raids; the brilliant, passionate Hard Boiled is violence as poetry, rendered by a master.
Chow Yun-fat stars as a killer with a conscience in John Woo’s exquisite dissection of morals in a corrupt society. Replete with balletic, slow-motion gun battles on the streets of Hong Kong, The Killer mixes genres from both the East and the West.
Anthony Hopkins’s Hannibal Lecter matches wits with Jodie Foster’s heroic FBI agent Clarice Starling in Jonathan Demme’s taut psychological thriller.
A grown-up superhero fantasy come to vivid, bloody life, Paul Verhoeven’s special effects-laden cult phenomenon features a resurrected hero (Peter Weller) in a new, supercharged cyborg body, struggling to reclaim his memory and avenge his own death.
These three independent films showed off Samuel Fuller’s genre diversity, gutter wit, and subversive force, and pointed the way to a controversial career in studio moviemaking.
These elegant, bawdy films, made before strict enforcement of the Hays morality code, feature some of the greatest stars of early Hollywood, as well as that elusive style of comedy that would thereafter be known as “the Lubitsch touch.”