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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In the midsixties, the maverick American director Monte Hellman conceived of two westerns at the same time. Dreamlike and gritty by turns, these films would prove their maker’s adeptness at brilliantly deconstructing genre.
Michelangelo Antonioni invented a new film grammar with this masterwork.
John Ford takes on the legend of the O.K. Corral shoot-out in this multilayered, exceptionally well-constructed western, one of the director’s very best films.
This genuinely frightening, exquisitely made supernatural gothic stars Deborah Kerr as an emotionally fragile governess who comes to suspect that there is something very, very wrong with her precocious new charges.
The biggest hit from the most popular Italian filmmaker of all time, La dolce vita rocketed Federico Fellini to international mainstream success—ironically, by offering a damning critique of the culture of stardom.
This cornerstone of 1970s American moviemaking from Robert Altman is a panoramic view of the country’s political and cultural landscapes, set in the nation’s music capital.
In this beautifully shot, psychologically complex western, Van Heflin is a mild-mannered cattle rancher who takes on the task of shepherding a captured outlaw (played with cucumber-cool charisma by Glenn Ford) to the train that will deliver him to prison.
This fleet and gripping film is the first of the early thrillers the Master of Suspense, Alfred Hitchcock, made during the fertile phase of his career spent at the Gaumont-British Picture Corporation.
Traveling to accept an honorary degree, Professor Isak Borg—masterfully played by veteran director Victor Sjöström—is forced to face his past, come to terms with his faults, and make peace with the inevitability of his approaching death.
These are unforgettable depictions of a postwar Japan troubled by identity crises and moral corruption on scales both intimate and institutional.
One of the greatest and least-known directors of all time, Raymond Bernard helped shape French cinema into a truly formidable industry at the dawn of the sound era. Wooden Crosses and Les misérables exemplify the formal and narrative brilliance of an unjustly overshadowed cinematic trailblazer.
Dreyer’s The Passion of Joan of Arc, in which Renée Falconetti gives one of the greatest performances ever recorded on film, convinced the world that movies could be art.
Marlon Brando gives the performance of his career as the tough prizefighter-turned-longshoreman Terry Malloy in this masterpiece of urban poetry.
Under Kenji Mizoguchi’s dazzling direction, this classic Japanese story became one of cinema’s greatest masterpieces, a monumental, empathetic expression of human resilience in the face of evil.
In the decades of occult cinema that Polanski’s ungodly masterpiece has spawned, it has never been outdone for sheer psychological terror.
A buried treasure from Hollywood’s golden age, Lonesome is the creation of a little-known but audacious and one-of-a-kind filmmaker, Paul Fejos (also an explorer, anthropologist, and doctor!).
With muscular sensitivity, Hollywood’s last action hero Arnold Schwarzenegger goes undercover as a teacher of five-year-olds, who include a tumor-forewarning death-obsessive and a genitalia expert.
Even among cinema’s legends, Jean Vigo stands apart. The son of a notorious anarchist, Vigo had a brief but brilliant career making poetic, lightly surrealist films before his life was cut tragically short by tuberculosis at age twenty-nine.
Two unique versions of Maxim Gorky’s classic proletariat play, adapted by two of cinema’s greatest directors: Jean Renoir and Akira Kurosawa.
The great Soviet director Mikhail Kalatozov, known for his virtuosic, emotionally gripping films, perhaps never made a more visually astonishing one than Letter Never Sent.
Roberto Rossellini is one of the most influential filmmakers of all time. And it was with his trilogy of films made during and after World War II—Rome Open City, Paisan, and Germany Year Zero—that he left his first transformative mark on cinema.
This trio of rousing action epics reveals a deeply unsettling portrait of the Soviet Union under Stalin, and provided battle-scene blueprints for filmmaking giants from Laurence Olivier in Henry V to Akira Kurosawa in Seven Samurai.
Cnuts: “This one hit me by surprise. What a cast, score, screenplay, and setting. Powerful Ending! Dysfunctional family/social drama done oh so right. BLU? ”
Masaki Kobayashi’s mammoth humanist drama is one of the most staggering achievements of Japanese cinema. A raw indictment of its nation’s wartime mentality as well as a personal existential tragedy, Kobayashi’s riveting, gorgeously filmed epic is novelistic cinema at its best.
Cnuts: “My first glimpse of Neo-Realism. I want more, and Criterion's got 'em! One of the most haunting endings, one that is pitch perfect. Blu-ray soon guys?”
Cnuts: “OUP. Maybe that's why I want you so! Or perhaps it's because you are the happiest of accidents since Casablanca, and the perfect bookend to that film ”
Cnuts: “Saw a restored 35mm print at a local art house. Now I NEED this. Expansive Sicilian vistas rival anything this side of David Lean. EPIC? Of course! ”
Cnuts: “Turned me into a Ralph Meeker fan. Great cocky, cool screen attitude. If your friend is close to becoming infected with cinephilia, show them this! ”
Ingmar Bergman intended Fanny and Alexander as his swan song, and it is the legendary director’s warmest and most autobiographical film, a four-time Academy Award–winning triumph that combines his trademark melancholy and emotional intensity with immense joy and sensuality.
Cnuts: “I love Simone Signoret's wide eyes full of hysteria—all the while looking gorgeous. The suspenseful twists and turns. What a great French thriller!”
Cnuts: “Audrey finally as a somewhat independent woman w/out a father figure! I always hold this and say no, it needs to priced like other Criterion-Lights. ”
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.
Cnuts: “This surreal film flows back and forth from watery dreamscape to dusty desert dive bar & has me close to worshiping in the cult of all things Altman ”