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This unorthodox dream western by Robert Altman may be the most radically beautiful film to come out of the New American Cinema that transformed Hollywood in the early 1970s.
Intimate and artful, this lovingly assembled portrait, narrated by actor Alicia Vikander, provides luminous insight into the life and career of an undiminished legend.
Orson Welles’s first color film and final completed fictional feature, The Immortal Story is a moving and wistful adaptation of a tale by Isak Dinesen.
The crowning achievement of Orson Welles’s extraordinary film career, Chimes at Midnight was the culmination of the filmmaker’s lifelong obsession with Shakespeare’s ultimate rapscallion, Sir John Falstaff.
This singular vision of early seventeenth-century America from Terrence Malick is a work of astounding elemental beauty, a poetic meditation on nature, violence, love, and civilization.
A young woman in a small Kansas town survives a drag race accident, then agrees to take a job as a church organist in Salt Lake City. En route, she is haunted by a bizarre apparition that compels her toward an abandoned lakeside pavilion.
Fueled by elaborate stunt work and the laconic, naturalistic charms of its two stars, The In-Laws deserves its status as a madcap classic—and has continued to draw ardent fans in the years since its release.
A sophisticated supernatural Hollywood comedy whose influence continues to be felt, Here Comes Mr. Jordan stars the eminently versatile Robert Montgomery as a working-class boxer and amateur aviator whose plane crashes in a freak accident.
Stanley Kubrick’s painfully funny take on Cold War anxiety is one of the fiercest satires of human folly ever to come out of Hollywood.
This multilayered, immensely entertaining drama from the great contemporary French director Olivier Assayas is a singular look at the intersection of high art and popular culture.
A Hollywood studio executive with a shaky moral compass (Tim Robbins) finds himself caught up in a criminal situation that would be right at home in one of his movie projects, in this biting industry satire from Robert Altman.
When a gifted but washed-up screenwriter with a hair-trigger temper—Humphrey Bogart, in a revelatory, vulnerable performance—becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (Gloria Grahame) with her own troubled past.
Experience four of the greatest films by the Master of Suspense in this deluxe box set from the Criterion Collection.
One of the most beloved American films of all time, The Graduate earned Mike Nichols a best director Oscar, brought the music of Simon & Garfunkel to a wider audience, and introduced the world to a young actor named Dustin Hoffman.
The rare film that takes aim at the frenzy of the McCarthy era while also being suffused with its Cold War paranoia, The Manchurian Candidate remains potent, shocking American moviemaking.
Electrified by crackling dialogue and visual craftsmanship of the great Howard Hawks, Only Angels Have Wings stars Jean Arthur as a traveling entertainer who gets more than she bargained for during a stopover in a South American port town.
Over the course of the 1990s, writer-director Whit Stillman made a trilogy of films about the acid tongues and broken hearts of some haplessly erudite young Americans in New York and abroad.
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.
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.
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.
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 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.”