Honestly, I just have one thing to say: Disney, please stop. IMMEDIATELY.

Oh HELL YES this fucking RULES! The fact that something with this much brash punk energy can still pull off something as genuinely emotional as that dual phone booth scene… you gotta give it up.

…is this just a different version than what was playing on Netflix when it premiered? I was kinda bored for long stretches, despite Aaron Pierre’s burning charisma. Whenever I’m streaming a movie at home, there always comes a point where I lock in, where I *really* put away all the distractions and become super invested. That didn’t happen here until the final third of a film that has no business being over two hours. And that ending is BADLY out of tune with everything that came before.

Hate that I forgot to log this back when I saw it around Halloween, because it's deliciously creepy and well done. I see you, Nell Tiger Free.

Allison Pill and Douglas Booth have great chemistry together and are incredibly charming separately, which helps push this well-done classic lit update over the top. First-time director José Lourenço makes a lot of striking decisions that push his low budget to the extreme, but this still feels a little thin, a little chintzy. It works, but feels kinda generic, like it would be good background watching.

There are so many scenes in this that go on FAR longer than they have any right to that ONLY work because Renate Reinsve is that damn good.

Gibson has enough roguish charm to pull this off, and it pretty much works right up until the point where it doesn’t, which thankfully is right at the very end. It’s just… really hard to get over a movie with this title that doesn’t give its female lead any real inner life (Hunt is maybe too good of a casting choice, as she just comes across as too intelligent to want to have anything to do with this guy after he comes clean to her).

Even on rewatch, those needle drops are so bracing, so unexpected, that every single one lands with full force. There are several shots that just hold on Daniel Craig’s face for longer than you’d think possible, and I just feel EVERYTHING that he’s feeling. But the big takeaway for me is the sensuality of two disembodied men finally finding a body, as they both try to inhabit the same skin (with the aid of ahauyasca). The film just throbs with feeling.

Not the Isabelle Huppert jump scare!

Look, I’m pretty much the ideal audience member for this and even I found it esoteric and standard enough that I questioned what we were even doing here. Not that Loïe Fuller doesn’t deserve a film made about her - she was a pioneer in just about every aspect of her life at a time when women were NOT allowed to do so and is now largely lost to history even though her influence is everywhere - but there are so damn many average biopics about groundbreaking artists that think one stylistic flourish is enough to do them justice and it’s just NOT.

Family LOVED it, but on a second viewing I saw a LOT more cracks that the tremendous performances paper over. But it just plays so damn well. Cynthia Erivo is a generational talent.

The family picking this from the screener pile the day after The Substance felt like a direct response to that, but after lots of chatter in the opening scenes by the migration they were completely silent, a rarity. Most said they liked WALL-E better, though, and I can’t exactly argue with that even though I don’t agree.

Family picked this from the screener pile based on the trailer. Half of them loved it, half of them DID NOT. They all agreed the last act went too far, but thought Demi Moore was amazing. They all wanted Oscars for makeup and costume design, at least!

Of two minds about this as an adaptation of Wilson’s work - this is one play that I think lends itself to a “just film the stage production” approach, with tons of monologues that can’t really be cut but that benefit most from watching how the other characters react to them and how the speaker engages with them. As a film, though, it’s pretty good! Washington has a good eye and some strong ideas about how to move the camera. Just a pity that for the most part, the camera’s rhythms don’t match those of Wilson’s text.

They gave us ponchos at the 4DX screening and tbh I was glad they did.

Still just as fun the second time around, and I loved that the audience loved it as much as I did. Grant is just delicious, and I love that our heroines are defined by how smart they are in a genre where protagonists are regularly ridiculed for how dumb they are.

I can’t. Adam Elliot is such a special artist.

“Succumb to the darkness,” they said.

DID I EVER.

The musical’s problems haven’t been fixed, and in some ways have been made a bit worse by the tendency towards fan service, but for what it is, this is an excellent adaptation of the show. The cinematography comes close to ruining it with those super bright key lights leeching all the vibrant color out of the gorgeous costumes and fun production design. The performances, however, really elevate this, especially Cynthia Erivo, who is so damn great that everyone else has to raise their game when they’re in scenes with her, especially Ariana Grande. Really loved how hammy Yeoh and Goldblum are, and the way Jonathan Bailey dismounts from his horse… MY GOD.

They really do bungle that third act, but have you considered that Zoe Saldaña IS that bitch

For the first half, I struggled with the deliberate pacing and had difficulty keeping this large cast of characters straight. But the slow accumulation of character detail really pays off in the second half, with a string of revelations that are as emotionally piercing as they are surprising. The performances, a bit dull in the beginning, also grow into much more interesting, psychologically detailed portraits of this poor, too-large family.

Absolutely took my breath away. The immaculate crafts place the story in the 1800s, but make no mistake: This is the most modern take on the classic vampire tale yet. Skarsgard and Depp are remarkable, transforming themselves inside and out, the former as a literal plague and the latter as an avatar of all the hurt, fear, lust, shame, and strength of women throughout history. A surprising, scary, necessary recontextualization.

Embar-going on a journey

Has some fun, clever ideas, but doesn't know what to do with them, rendering this largely dull despite all the "high energy" "fun" on display. Chris Evans better give us a whole lot of soulful indie movies soon, because the run he's been on recently with these pseudo-blockbusters is truly awful.

Wasn’t expecting this to be the movie I needed right now, but Ridley Scott’s grandly entertaining, vengefully bloodthirsty, ultimately hopeful epic gave me the boost I needed. Washington plays deliciously against type while Mescal and those soulful eyes ascend to megastardom.

GOOD LORD, this thing plays, but for a supposed epic, it’s kinda small in scope after that opening battle.

I put on this movie whenever I lose my faith in humanity anyway, but this poem so perfectly summed up my feelings about the election and it felt so Mister Rogers-like that I had to put it on.

“I am so tired of waiting,
Aren’t you,
For the world to become good
And beautiful and kind?
Let us take a knife
And cut the world in two—
And see what worms are eating
At the rind.”
 -Langston Hughes

Turns out releasing this on Halloween weekend was actually appropriate: It’s a total horror show.

Obviously from the team from behind Forrest Gump, and not even in ways I was expecting - from the obviously CGI flying thing that ties the opening and closing together (there, a feather, here, a hummingbird) to the supposedly feminist character played by Robin Wright struggling so hard for her own agency only to have that agency ripped away from her by the ending. It goes without saying that Silvestri’s saccharine score borrows heavily from his prior work, but some of the visual effects in this look far worse than the ones in Gump do even thirty years after its release.

A killer plot hook - a juror realizes he may have committed the crime he’s supposed to be adjudicating - but the story is told so blandly and ploddingly that it sucks all the intrigue right out of it. Cast is good, but there’s not enough THERE there.

Remember when movies had, like, COSTUMES and SETS?

Quite literally took my breath away, grabbing me by the throat and never loosening up even once for 115 minutes. The sharp, claustrophobic B&W cinematography is among the year’s best, as are the haunting, unforgettable performances. The most nerve-rattling score of the year. This going completely unrewarded at Cannes is a black mark against this year’s jury (every jury has at least one).

YURA BORISOV.

That’s it. That’s the review.

A corker of a premise, but the film doesn’t seem to know quite what to do with it, to the point of explicitly setting out the rules only to immediately break them. Asbille and Wittrock are pretty great, though, giving real depth and personality to these sketches of characters.

Better than I was expecting but worse than I had hoped. Julia Garner is so much better than the material that she single-handedly earns it an extra star. Wiest, given the impossible task of playing Ruth Gordon’s iconic Minnie Castevet, also delivers.

Some of the best editing I’ve seen in any film, short or otherwise.

Gorgeously crafted, with a tremendous feel for the lyricism of Hughes’s writing.

Even I, an avowed Nick Kroll agnostic, had a blast with this. The jokes and rhythms do get repetitive, but it's still plenty funny, and one hell of a ride.

The empathy on display - for Tegan, for Sara, for their management, for their fans, for Fegan’s victims, and ultimately even for Fegan themselves - is palpable, and what makes this genuinely upsetting true story worth telling.

Sacrifices quite a bit of important context for the sake of forward momentum and tension, which admittedly both grabbed me. But especially for those who are too young to remember this incident (which I am, just barely), not going into more detail about who was doing this and what their goals were leaves a big gaping hole at the end that kinda spoils it a bit.

Does such a good job aping the swoony qualities of Old Hollywood epic romances that it almost convinces you it’s the real deal, but there’s not enough personality to the romance here, just two gorgeous people with fantastic eye-fucking abilities. That can absolutely take you a long way, but I needed a bit more to justify the length, even if it moves through its three hours with more energy than I was expecting.

Not really all that disturbing at all, right up until the point where it is, at which point it goes HARD, becoming probably the most psychologically disturbing film I’ve seen in a long time. That ending manages the neat trick of being simultaneously obvious (spelling out its message in no uncertain terms) and oblique (leaving the question of why Kelly-Anne did all of this entirely up to the audience).

Pascal Plante needs Jesus (complimentary).

I NEED to know how much Voss paid to sponsor this thing because girl was chugging that shit in like every other scene.

Bigger and bolder than the first, even though it gets a bit too ambitious with its central metaphor, which is now not only trauma but also fame and drug addiction, too. Extremely Vox Lux coded, so of course I loved it.

Will never forgive Netflix for getting this and just dumping it on their platform with zero fanfare or theatrical run. Can you imagine how this would play with a crowd?! SO MUCH FUN.

The rich and powerful have always seen the world - and America specifically - as their own private playground, and they will do anything to keep anyone lesser out, because they hate the poor and powerless.

Has a lot of interesting ideas that I wish it committed to more. I remember so many of these TV interviews with Trump in the 80s-90s and Stan (and the screenplay) really nails his way of speaking at the time (which has only gotten more pronounced over the years). But for people who do remember those days, it doesn’t really offer anything new, and it’s certainly not going to change any minds. The parasitic relationship between Cohn and Trump IS fascinating, but I kinda wish it had more bite to it.

Let going boys express affection for each other!

Smiling through tears in the aftermath of this big-hearted beauty.

A bit messy and a bit long, but all that is easily forgiven for River Gallo’s fiercely charismatic, hugely sympathetic performance. Plays like a perfectly updated noir from the plot to the characters and the side of society it focuses on - it’s cousins of the 40s and 70s would never have had an intersex lead, though, and Gallo’s screenplay engages with that subject matter thoughtfully without letting it overtake the plot. The NewFest audience ate it up, and given how entertaining it is, I imagine general audiences would too, assuming they get the chance.

Ties together two fascinating threads of gay history from the period where homosexuality was still considered a disease. An interesting mix of the physical and mental sides of it, too, but Fionn O'Shea is dull as dishwater in this role, and the film's deliberate pace withers and dies whenever it slows down to just focus on his face. The dreamy cinematography does a good job of evoking Merchant Ivory period dramas, but the performances aren't quite at that level.

Love the way this subtly interrogates the veracity of its subject's narrative - the film opens with onscreen text saying that at her request, Sara Jane Moore was the only person interviewed for this film, but wherever appropriate, Devor brings in archival footage to challenge her, and as the film goes on, she gets more combative and obstinate. Really clever stuff.

As he did with 12 Years a Slave, Steve McQueen puts his own spin on historical dramas with Blitz, his deeply emotional ode to 1940s Britain. The social commentary cuts deep, as does Zimmer’s magnificent score and Heffernan and Ronan’s affecting performances. Incredibly crafted, especially Adam Stockhausen’s production design, but the editing transitions between scenes don’t work more often than they do.

I’m genetically predisposed to hate anything that equates singing in public with being insane, so I did not like this… but I kinda love that they cast Mother Monster herself as a literal embodiment of toxic fandoms. The meta commentary really isn’t that deep, and this script has a whole host of issues, but cinematographer Lawrence Sher shoots the ever-loving hell out of it.

If that opening animated sequence is what Sylvain Chomet had to do to keep making his own movies, then so be it, I guess. It is the best part of this, at least.

The power of aunties.

I was expecting it to be heartwarming, and it definitely is, but I wasn’t expecting the way in which it becomes emotionally resonant. We need to be so much better to this planet. It’s the only one we’ve got.

Ranked as I see them, these are the films of 2024!

1. I Saw the TV Glow
2. No Other Land
3. Hundreds of Beavers
4. Sing Sing
5. All We Imagine as Light
6. The Life of Chuck
7. The Brutalist
8. His Three Daughters
9. Nosferatu
10. Memoir of a Snail

...plus 173 more. View the full list on Letterboxd.

Not necessarily my favorite films, but whether because of re-releases, general excitement, special events, or friends who simply HAD to see them, I saw these more than once in the theater.

CURRENT RECORD HOLDERS: La La Land/Everything Everywhere All At Once, 4 times

• Titanic
• The Lord of the Rings: The Fellowship of the Ring
• Enchanted
• Avatar
• Inception
• Black Swan
• Gravity
• American Hustle
• Birdman or (The Unexpected Virtue of Ignorance)
• Florence Foster Jenkins

...plus 32 more. View the full list on Letterboxd.

Ranked as I see them, these are the films I saw as part of the 62nd edition of NYFF

1. No Other Land
2. The Brutalist
3. The Seed of the Sacred Fig
4. Maria
5. Hard Truths
6. Misericordia
7. Anora
8. Queer
9. A Real Pain
10. Eephus

...plus 12 more. View the full list on Letterboxd.

Note that this is "failed" romances, NOT "tragic" romances. These are romances that end not because one of the lovers dies, but for other, non-lethal reasons. These are some of my favorite films ever made, never failing to make me all emotional.

So... spoilers, I guess!

• Gone with the Wind
• Now, Voyager
• Casablanca
• Brief Encounter
• Roman Holiday
• Summertime
• Splendor in the Grass
• The Umbrellas of Cherbourg
• Sweet Charity
• The Way We Were

...plus 22 more. View the full list on Letterboxd.

Ranked as I see them, these are the films I saw as part of the 2024 Toronto International Film Festival

1. All We Imagine as Light
2. The Life of Chuck
3. Babygirl
4. Heretic
5. The Substance
6. Eden
7. Mistress Dispeller
8. Flow
9. The Wild Robot
10. William Tell

...plus 34 more. View the full list on Letterboxd.

1. Inglourious Basterds
2. Kill Bill: Vol. 1
3. Kill Bill: Vol. 2
4. Jackie Brown
5. Pulp Fiction
6. Death Proof
7. Reservoir Dogs
8. Once Upon a Time... in Hollywood
9. Django Unchained
10. The Hateful Eight

1. Monkey Man
2. Black Box Diaries
3. Dìdi (弟弟)
4. Timestalker
5. The Queen of My Dreams
6. Grand Theft Hamlet
7. Smugglers
8. Música
9. We Can Be Heroes
10. The Fall Guy

...plus 15 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of 2022!

1. The Whale
2. Everything Everywhere All at Once
3. Broker
4. RRR
5. The Northman
6. Moonage Daydream
7. Glass Onion
8. Avatar: The Way of Water
9. Descendant
10. Bros

...plus 164 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of 2023!

1. Past Lives
2. Poor Things
3. Oppenheimer
4. National Anthem
5. Rye Lane
6. Bottoms
7. The Zone of Interest
8. How to Have Sex
9. Fallen Leaves
10. The Taste of Things

...plus 164 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of the 2023 New York Film Festival!

1. Poor Things
2. The Zone of Interest
3. The Taste of Things
4. Last Summer
5. All of Us Strangers
6. Anatomy of a Fall
7. The Settlers
8. Maestro
9. About Dry Grasses
10. Perfect Days

...plus 10 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of TIFF 2023!

1. How to Have Sex
2. Fingernails
3. Wicked Little Letters
4. His Three Daughters
5. Sing Sing
6. American Fiction
7. Unicorns
8. Orlando, My Political Biography
9. Rustin
10. Shayda

...plus 26 more. View the full list on Letterboxd.

Ranked in order of preference

1. National Anthem
2. Bottoms
3. Black Barbie
4. John Wick: Chapter 4
5. Kite Zo A: Leave The Bones
6. Upon Entry
7. Citizen Sleuth
8. Queendom
9. Only the Good Survive
10. Talk to Me

...plus 13 more. View the full list on Letterboxd.

The films I saw at 2022's NYFF 60, ranked in order of preference.

1. Decision to Leave
2. Bones and All
3. All That Breathes
4. Triangle of Sadness
5. Till
6. Saint Omer
7. Aftersun
8. TÁR
9. She Said
10. The Eternal Daughter

...plus 1 more. View the full list on Letterboxd.

1. The Whale
2. Broker
3. Glass Onion
4. Bros
5. Holy Spider
6. Emily
7. Pearl
8. Chevalier
9. The Banshees of Inisherin
10. Aristotle and Dante Discover the Secrets of the Universe

...plus 22 more. View the full list on Letterboxd.

• The Integrity of Joseph Chambers
• A Love Song
• Blaze
• Official Competition
• Butterfly in the Sky
• All Man: The International Male Story
• The Black Phone
• Cherry
• Land of Dreams
• Four Samosas

...plus 12 more. View the full list on Letterboxd.

Top 20 in Order, the rest not.

• Beasts of the Southern Wild
• Cloud Atlas
• Amour
• The Perks of Being a Wallflower
• The Impossible
• Moonrise Kingdom
• Magic Mike
• Argo
• Brave
• Rust and Bone

...plus 50 more. View the full list on Letterboxd.

• Amadeus
• The Purple Rose of Cairo
• Blue Velvet
• Au Revoir les Enfants
• Who Framed Roger Rabbit
• When Harry Met Sally...
• Ghost
• Beauty and the Beast
• Strictly Ballroom
• Schindler's List

...plus 27 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of 2021! (Sort of! Fucking pandemic and fucking AMPAS with their fucking extended Oscar deadline)

1. Nine Days
2. Benedetta
3. The Worst Person in the World
4. Saloum
5. Titane
6. Brother's Keeper
7. Shiva Baby
8. CODA
9. Mass
10. In the Heights

...plus 165 more. View the full list on Letterboxd.

1. Brother's Keeper
2. Petite Maman
3. I'm Your Man
4. Language Lessons
5. Ninjababy
6. Any Day Now
7. The Scary of Sixty-First
8. Memory Box
9. Ballad of a White Cow
10. Wheel of Fortune and Fantasy

...plus 11 more. View the full list on Letterboxd.

• Saloum
• The Worst Person in the World
• Flee
• Ali & Ava
• Memoria
• A Hero
• Violet
• Belfast
• The Humans
• Benediction

...plus 23 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of 2020! (Sort of! Fucking pandemic and fucking AMPAS with their fucking extended Oscar deadline..)

1. Quo Vadis, Aida?
2. Aviva
3. The Father
4. Promising Young Woman
5. Possessor
6. I'm Thinking of Ending Things
7. Relic
8. Summerland
9. Wolfwalkers
10. Two of Us

...plus 119 more. View the full list on Letterboxd.

Truly, it's The Red Shoes and then everything else, and maybe it's too early for In The Heights to be here?

Let PINA serve as a bonus, documentary that it is.

1. The Red Shoes
2. All That Jazz
3. 42nd Street
4. West Side Story
5. Seven Brides for Seven Brothers
6. An American in Paris
7. Step Up Revolution
8. Suspiria
9. Flamenco
10. In the Heights

...plus 1 more. View the full list on Letterboxd.

1. The Lost Leonardo
2. The Beta Test
3. Ascension
4. Ailey
5. Accepted
6. The Novice
7. Rita Moreno: Just a Girl Who Decided to Go for It
8. Lorelei
9. Poser
10. See for Me

...plus 7 more. View the full list on Letterboxd.

1. Quo Vadis, Aida?
2. The Father
3. 76 Days
4. No Ordinary Man
5. Shiva Baby
6. Wolfwalkers
7. Beans
8. One Night in Miami...
9. Shadow in the Cloud
10. I Care a Lot

...plus 23 more. View the full list on Letterboxd.

I rank movies here as I see them. Since films can linger or fade in retrospect, this is not really indicative of what my actual "Best of 2014" would be, but it's close.

1. Pride
2. Ida
3. Birdman or (The Unexpected Virtue of Ignorance)
4. Selma
5. How to Train Your Dragon 2
6. The Grand Budapest Hotel
7. The Lego Movie
8. The Theory of Everything
9. Under the Skin
10. The Babadook

...plus 52 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of 2019!

1. A Beautiful Day in the Neighborhood
2. Jojo Rabbit
3. Parasite
4. Booksmart
5. The Last Black Man in San Francisco
6. 1917
7. Luce
8. Invisible Life
9. Portrait of a Lady on Fire
10. Uncut Gems

...plus 86 more. View the full list on Letterboxd.

My first film festival! Here they are, ranked in order of preference.

1. A Beautiful Day in the Neighborhood
2. Jojo Rabbit
3. Invisible Life
4. Waves
5. The Sky Is Pink
6. Bad Education
7. First Love
8. Knives Out
9. Hope Gap
10. The Laundromat

...plus 12 more. View the full list on Letterboxd.

Ranked as I see them, these are the films of 2018!

1. If Beale Street Could Talk
2. The Favourite
3. Suspiria
4. 1985
5. Disobedience
6. First Man
7. A Quiet Place
8. Love, Simon
9. Tully
10. The Hate U Give

...plus 80 more. View the full list on Letterboxd.

This is only one of my all-time favorite genres, so HERE WE GO!

1. Casablanca
2. In the Mood for Love
3. The Umbrellas of Cherbourg
4. Brief Encounter
5. Shakespeare in Love
6. Summertime
7. Call Me by Your Name
8. Once
9. La La Land
10. Moulin Rouge!

Ranked as I see them, these are the films of 2017!

1. The Shape of Water
2. BPM (Beats per Minute)
3. Atomic Blonde
4. Wonder Woman
5. Lady Macbeth
6. Lady Bird
7. Personal Shopper
8. Dunkirk
9. God's Own Country
10. Call Me by Your Name

...plus 55 more. View the full list on Letterboxd.

• Black Swan
• Vox Lux

1. Amélie
2. Vertigo
3. Crouching Tiger, Hidden Dragon
4. Under the Skin
5. Schindler's List
6. Beasts of the Southern Wild
7. Suspiria
8. Titanic
9. Star Wars
10. Koyaanisqatsi

1. Gravity
2. Children of Men
3. Birdman or (The Unexpected Virtue of Ignorance)
4. Assassination Nation
5. The Secret in Their Eyes
6. Possession
7. Frenzy
8. Kill Bill: Vol. 1
9. GoodFellas
10. La La Land

• When Harry Met Sally...
• Shakespeare in Love
• Populaire
• Bringing Up Baby
• Notting Hill
• The Shop Around the Corner
• Sabrina
• Annie Hall
• 50 First Dates
• It Happened One Night

No, I haven't seen the Cars movies, and NO, you can't make me.

1. Toy Story 3
2. Finding Nemo
3. Up
4. Ratatouille
5. Inside Out
6. Monsters, Inc.
7. Coco
8. WALL·E
9. The Incredibles
10. Toy Story

...plus 5 more. View the full list on Letterboxd.

From the grimy to the glamorous, here are (some of) my favorite visions of the city I now call home!

• Breakfast at Tiffany's
• Brooklyn
• The French Connection
• Ghostbusters
• The Immigrant
• Miracle on 34th Street
• Moonstruck
• West Side Story
• When Harry Met Sally...
• You've Got Mail

AKA Please Make Love To My Eyeballs

1. The Tree of Life
2. The Red Shoes
3. In the Mood for Love
4. Amélie
5. The Grandmaster
6. Gravity
7. Blade Runner 2049
8. Anna Karenina
9. West Side Story
10. Kwaidan

Ranked as I see them, these are films released in 2016.

1. La La Land
2. The Lobster
3. Jackie
4. Sing Street
5. Closet Monster
6. The Mermaid
7. The Handmaiden
8. Moonlight
9. Zootopia
10. Toni Erdmann

...plus 55 more. View the full list on Letterboxd.

With Honorable Mentions to Guardians of the Galaxy, Man of Steel, and Wonder Woman.

1. A History of Violence
2. Sin City
3. X2
4. The Mask
5. Ghost World
6. Persepolis
7. Dick Tracy
8. Snowpiercer
9. The Rocketeer
10. Scott Pilgrim vs. the World

1. Brooklyn
2. Room
3. Carol
4. Grandma
5. Inside Out
6. Chi-Raq
7. It Follows
8. I'll See You in My Dreams
9. The Martian
10. Spy

...plus 27 more. View the full list on Letterboxd.

From the Criterion Collection website:

"Since 1984, the Criterion Collection, a continuing series of important classic and contemporary films, has been dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements. Over the years, as we moved from laserdisc to DVD, Blu-ray disc, and online streaming, we’ve seen a lot of things change, but one thing has remained constant: our commitment to publishing the defining moments of cinema for a wider and wider audience. The foundation of the collection is the work of such masters of cinema as Renoir, Godard, Kurosawa, Cocteau, Fellini, Bergman, Tarkovsky, Hitchcock, Fuller, Lean, Kubrick, Lang, Sturges, Dreyer, Eisenstein, Ozu, Sirk, Buñuel, Powell and Pressburger. Each film is presented uncut, in its original aspect ratio, as its maker intended it to be seen. Every time we start work on a film, we track down the best available film elements in the world, use state-of-the-art telecine equipment and a select few colorists capable of meeting our rigorous standards, then take time during the film-to-video digital transfer to create the most pristine possible image and sound. Whenever possible, we work with directors and cinematographers to ensure that the look of our releases does justice to their intentions. Our supplements enable viewers to appreciate Criterion films in context, through audio commentaries by filmmakers and scholars, restored director’s cuts, deleted scenes, documentaries, shooting scripts, early shorts, and storyboards. To date, more than 150 filmmakers have made our library of Director Approved DVDs, Blu-ray discs, and laserdiscs the most significant archive of contemporary filmmaking available to the home viewer."

This is the complete list of all films included in Criterion's mainline DVD/Blu-Ray releases, in order of spine number.

MISSING: From the "Golden Age of Television" set (Spine #495): A Wind From the South (1955), Bang the Drum Slowly (1956), Requiem for a Heavyweight (Ralph Nelson, 1956), Days of Wine and Roses (John Frankenheimer, 1958).

• Grand Illusion
• Seven Samurai
• The Lady Vanishes
• Amarcord
• The 400 Blows
• Beauty and the Beast
• A Night to Remember
• The Killer
• Hard Boiled
• Walkabout

...plus 523 more. View the full list on Letterboxd.

1. Gravity
2. Her
3. 12 Years a Slave
4. Frances Ha
5. Populaire
6. American Hustle
7. Captain Phillips
8. Man of Steel
9. Frozen
10. 20 Feet from Stardom

...plus 59 more. View the full list on Letterboxd.