“Why You Should Own a Blu-ray Collection (Really)”

The real number one reason, of course, is that Andy Crump told you to. Continue reading →

“Federico Fellini: The Essential Films”

Look, you all saw this coming. It’s like Criterion made this set just for me. Continue reading →

“Best of Criterion’s New Releases, November 2019”

In November’s Criterion round-up: There’s a cold war being fought, Betty Blue and Eve make the voyage all about themselves. Continue reading →

“Best of Criterion’s New Releases, October 2019”

All I want is to talk about Godzilla, but I’ll have to just settle for talking about Josef von Sternberg instead, even though his movies do not have radioactive thunder lizards in them. Continue reading →

“Best of Criterion’s New Releases, February 2019”

I swear to the Criterion gods, one of these days we’ll get a Criterion round-up live in the month it’s intended for. Just not this month. Maybe not next month. But one of these days! Anyway, “To Sleep with Anger” is incredible. Continue reading →

“Best of Criterion’s New Releases, January 2019”

Elaine May, Alfred Hitchcock, Abbas “We Miss You” Kiarostami, and Norman Jewison’s unexpected tonic for “Green Book” make up the DNA of this month’s Criterion round-up. Continue reading →

“Best of Criterion’s New Releases, September 2018”

Question: Does anyone care if Paste‘s Criterion round-ups publish the month after they’re intended for? This used to bother me just on grounds of professional, writerly pride, but I’m not sure anymore if it’s worth me being bothered by; by the time these pieces land, every release from the preceding month is commercially available, which feels … Continue reading →

“Best of Criterion’s New Releases, February 2018”

And yet another entry in “better late than never,” though in this case you still get some utility out of the piece: Now you know which February Criterion releases are worth your time and money, courtesy of the team at Paste Magazine. (Hint: Night of the Living Dead.) (Second hint: Elevator to the Gallows.) (Third hint: Tom Jones, … Continue reading →

Best of Criterion’s New Releases, September 2015

The best Wes Anderson movie ever made, Bruce Beresford’s most accomplished and well-recognized works, top-drawer De Palma, and more in September’s Criterion round-up. (Via Paste Magazine.)

Best of Criterion’s New Release, July 2015

Beefy film noir, violent, lurid crime flicks, Carroll Ballard, and early Stephen Frears make up the bulk of this month’s Criterion offerings. (Via Paste Magazine.)

The Criterion Files: Days of Heaven

Well, this has been a long time coming, hasn’t it? I admit that I gave the Criterion Files a bit of a break for a time there, but the good news is that I’m bringing them back again over at Go, See, Talk!, starting with Days of Heaven…and nothing else. That’s right, I’m altering the format … Continue reading →

Whitman and Polanski, Powell and Fellini: The Latest Criterion Files

Have you been missing the Criterion Files? Well, then you haven’t been heading over to Go, See, Talk! to check them out! Maybe, just maybe, I’m responsible for directing you over there in the event that you miss the Tweets pointing to the updates (or if you miss the update itself)– but let’s forget about … Continue reading →

The Criterion Files: Bicycle Thieves/Gomorrah (pt. 2)

It’s taken me some time, but I finally have the second half of the most recent Criterion Files installment for you to peruse. I realize we’re well outside the week and a half timeline I hinted at in the first part, but by now you should all know me well enough to not take my … Continue reading →

The Criterion Files: Bicycle Thieves/Gomorrah (pt.1)

I’m going to do something a little bit different with this week’s Criterion File– I’m splitting it up into two segments. Why? Simple: the two films I selected for this installment both gave me an enormous amount to talk about, and not just on individual levels, or within the context of themselves, either. On the … Continue reading →

The Criterion Files: La Commare Secca/Rashomon

Alright, gang: I’m crying “uncle”. I set out to deliver one installment of the Criterion Files every single week, but I’m tapping out and reestablishing the series as bi-weekly. Apart from the fact that watching two Criterion films every week is something of a tall order on top of my other movie watching and writing … Continue reading →

The Criterion Files: F For Fake/The Flowers of St. Francis

After skipping a week*, it’s time for another dip into the Criterion Files, where I’ll be hand-picking a pair of titles from the much-vaunted Criterion Collection and giving them the (abridged) ACVF treatment. Last time, I looked at two films which share a common thread together in the form of genre. While I’ll endeavor to … Continue reading →

The Criterion Files: Drunken Angel/The Naked City

Welcome to the first entry in what I intend to fashion into a weekly series. As the name suggests, the focus here is Criterion Collection films, the classics and masterpieces and unequivocal essentials that hold sway in cinematic canon. My goal? Grab two random entries from off of my shelf, or stream them through Netflix … Continue reading →