Criterion announced today that its new streaming service, The Criterion Channel, will be launching in the U.S. and Canada begging April 8th. In addition to the 1,000+ Criterion Collection titles, the channel will be exhibiting prelaunch titles and special marathons every Sunday
The Criterion edition of 24 Frames is a fittingly superb tribute to a great artist.
The Criterion Collection has announced its lineup for April 2019, which includes new Blu-ray editions of A Face in the Crowd from Elia Kazan, a Police Story and Police Story 2 set, Gillian Armstrong‘s My Brilliant Career, Jan Němec‘s Diamonds of the Night, and two Jim
The Criterion Collection has announced their selection of films for March 2019, with Ingmar Bergman‘s The Magic Flute, Harold Lloyd‘s The Kid Brother, Edgar G. Ulmer‘s Detour, Barbara Loden‘s Wanda, Robert Zemeckis‘ I Wanna Hold Your Hand, and Carlos Reygadas‘ Japon.
A brilliant film that delivers a hypnotic, yet joyous experience of audio-visual bliss.
This is absolutely the version of Shampoo to own based solely on the immaculate restoration Criterion has done for Ashby's underappreciated masterwork.
Despite having not a lot of new content, the fact that Criterion includes basically everything from all the other releases, including the now-rare Laserdisc, the new restoration and the wonderful packaging, makes this an easy recommend to anyone who grew up watching this magical, life-affirming film that will consistently make everyone’s day a little better.
Cold Water is an absorbing, pensive look at what such desires feel like on the inside, with its handheld close-ups on faces and careful observance at objects and structures, as if to seek answers from everything in equal measure.
A Matter of Life and Death is aesthetically and thematically governed by images of the planets and stars themselves, always greater than individual hangups.
The Criterion Collection has announced the lineup for their October 2018 home releases including Cornel Wilde‘s The Naked Prey, Rainer Werner Fassbinder‘s Eight Hours Don’t Make a Day, Hal Ashby‘s Shampoo, Brian De Palma‘s Sisters, and Rob Reiner‘s The Princess Bride.
As the Eric Hynes essay in the Criterion booklet astutely points out, it’s best to consider Moore’s films as a kind of dynamic presentation, mixing traditional storytelling techniques and operatic hellraising with the kind of infuriating horrors that can only come from simply discussing aspects of real life as they stand.
