Tag Archives: criterion collection

Metropolitan

It’s always a risk for a film to give you too many pointers about how to read it; most people like to work that out for themselves. But I was very charmed by a moment about halfway into Whit Stillman’s 1990 debut Metropolitan – reissued

Le Corbeau

A moment on the pen; a lifetime on the soul. Set in a small French village, Le Corbeau is the dark tale of a number of residents who find themselves the target of poison pen letters that condemn their perceived immoral behaviour. The primary target

Sword of Doom

The title of any given movie is supremely important, as many adage’s state first impressions matter and for any film that title is where we make that impression. Looking at the UK catalog of Criterion, we can separate a movie title into two camps –

Certain Women

It’s always an interesting statement of values when a prestige home video label decides to release a recent film. Everyone agrees on Kurosawa, Lang and Welles, but which modern director would you put in their company? In America, the Criterion Collection has got behind Wes

12 Angry Men

Does 12 Angry Men really need an introduction? The short answer would be no, but Sidney Lumet’s first feature has gone down in history as not only one of the greatest directorial debuts of all-time but also as one of the most important one location

Lone Wolf and Cub

Hitherto with their UK run, the criterion collection hasn’t released many of their more challenging titles instead opting for classics and cult titles whether that comes from screwball comedies or classic noir. That broader avenue sees Criterion occupy the same arena as Eureka’s Masters of

His Girl Friday

As Howard Hawk’s His Girl Friday opens, we are graced with a silent film style inter-title that announces that the following takes place in a world where Journalists have become an unscrupulous kind who care little of the people around them. What now reads as

The Royal Tenenbaums

Reputations are a slippery thing, and directors sometimes start their career with one that completely contradicts the one they get later. The French critics who would come to damn Spielberg as the McDonalds of cinema had previously swooned over the existential spareness of Duel. Likewise,

Hiroshi Inagaki’s Samurai Trilogy

History is dense with folk icons; men and women whose stories have translated with great success to cinema with the Wong Fei Hung’s and Spartacus’s of the world over-represented. Here in Britain we tend to treat our historical figures with the wrong side of a