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Criterion Collection Themes - Samurai Cinema
Favs/dislikes: 2:0. Samurai cinema, which includes both chanbara (action-oriented sword-fight films) and the historical jidai-geki film, focuses on the nationally mythologized samurai warriors of the twelfth to sixteenth century. Like the American western, the samurai film lends itself to tales of loyalty, revenge, romance, fighting prowess, and the decline of a traditional way of life. Akira Kurosawa’s samurai films have arguably been the most influential both in Japan and around the world; certainly the range of his approaches—from Seven Samurai’s epic scope to Yojimbo’s acidic black humor to Ran’s poetic despair—established the genre’s creative possibilities, influencing generations of filmmakers, including George Lucas and Quentin Tarantino. Key works of the genre, in its more traditional form, also include Masaki Kobayashi’s Samurai Rebellion, Masahiro Shinoda’s Samurai Spy, and Hiroshi Inagaki’s Musashi Miyamoto, the first part of his epic “Samurai Trilogy.” -
Criterion Collection Themes - Road Trips
Favs/dislikes: 4:0. One of cinema’s most abiding subgenres, road movies can be comedies, romances, thrillers, psychological dramas, or broader social commentaries. Tales of disillusionment or discovery, they are related to the bildungsroman, making literal the moral journeys characters undertake in that literary tradition—though modern films have often chosen to complicate that linear trajectory (some roads go in circles) or satirize the form (just ask the Leningrad Cowboys). At Criterion, we have a vast selection of movies in which the characters never really end up where they thought they would because by the time they reach their destination, they’ve become different people. Joel McCrea’s Hollywood director who finds out how the other half lives in Sullivan’s Travels may not seem to have much in common with Sandrine Bonnaire’s enigmatic drifter in Agnès Varda’s Vagabond, but both are transformed by their experiences on the open road. -
Katottu
Favs/dislikes: 0:2. -
Favourite films from the 40s
Favs/dislikes: 1:1. -
FB 1969 watch list
Favs/dislikes: 1:0. -
Criterion Collection Themes - Oscar Winners
Favs/dislikes: 3:0. The Criterion Collection is bursting with films that have earned Hollywood’s prestigious little golden guy—though, perhaps unsurprisingly, many of them were made pretty far from Hollywood. On our shelves you’ll find eighteen best foreign-language film winners, which make up a fairly comprehensive history of art-house cinema in the U.S., from Kurosawa, Bergman, and Fellini to Tati, Costa-Gavras, and Buñuel. A handful of these trophy-winning foreign films (like Bicycle Thieves, Rashomon, and Forbidden Games) even hail from the period before the competitive foreign-language film category was established—they had such cultural impact that the Academy gave them special honorary awards. Furthermore, two of the best picture winners in the collection have the very rare distinction of also being foreign films: Hamlet, which was the first movie from a country other than the U.S. to garner the prize, and The Last Emperor, which, with its nine Oscars, remains one of the most Academy-honored films of all time. Of course, Criterion also offers a selection of Oscar-embraced American films, which have won in such categories as best documentary feature (Hearts and Minds), cinematography (Days of Heaven), screenplay (Missing), visual effects (The Curious Case of Benjamin Button), editing (The Naked City), and even best documentary short (Paul Robeson: Tribute to an Artist). Explore all the Academy-awarded Criterion films below. -
Criterion Collection Themes - Originals
Favs/dislikes: 1:0. The history of cinema: one hundred years of do-overs. Whether updating critically acclaimed foreign hits for Hollywood consumption (Seven Samurai became The Magnificent Seven), bringing the art house to the grind house (The Last House on the Left was a gorier iteration of The Virgin Spring), or reconstituting old plots as inspiration for new genres (Star Wars was based on The Hidden Fortress) or showcases for newfangled effects (The Blob was reincarnated as . . . The Blob), the remakers keep on trying—but the films will never be as good as these originals. -
Criterion Collection Themes - Novels on the Big Screen
Favs/dislikes: 4:0. There’s a long-held and widespread feeling that a movie adaptation of a novel is never as good as the source. It’s easy to see how this became received wisdom, given the sheer difficulty of translating a plot that unfolds over hundreds of pages to a feature-length film’s running time, the immensity of the passions and mysteries that a novel can hold. The challenge for the film version is to function as its own work of art while at the same time reflecting a previously established perspective. But there have been many films that brilliantly interpret the literary universes they take on. In the movies below, the words of Charles Dickens, E. M. Forster, Patricia Highsmith, Victor Hugo, Flannery O’Connor, and Erich Maria Remarque, among many other authors, are transmuted into compelling and expressive visual experiences. Whether faithful adaptations (Rosemary’s Baby, Howards End, The Ice Storm) or daring reimaginings (The Idiot, Naked Lunch, The Thin Red Line), these are films that deserve to be appreciated alongside their printed progenitors. -
Criterion Collection Themes - New York Stories
Favs/dislikes: 3:0. Take a time-traveling tour of New York, starting with the waterfront dives of the late twenties (The Docks of New York), the Upper East Side during the depressed thirties (My Man Godfrey), and the Lower East Side in the noirish forties (The Naked City). Then there are the jazzy fifties beatniks (Shadows) and the artsy sixties Central Park dwellers (Symbiopsychotaxiplasm Take One), melancholy midtown memories in the seventies (News from Home), and sweltering Bed-Stuy tension in the eighties (Do the Right Thing). Finally, the dying debutante society of the nineties (Metropolitan) gives way to a nostalgic, picture-book image of Manhattan circa 2001 (The Royal Tenenbaums). There are eight million stories in the Naked City. Here are some of them. -
Criterion Collection Themes - New German Cinema
Favs/dislikes: 3:0. Written and signed by two dozen German filmmakers pledging themselves to “the new German feature film,” the 1962 Oberhausen Manifesto boldly announced the arrival of New German Cinema, with young, innovative, and politically radical directors taking up arms against the propriety of West German society and its failing film industry. In the late sixties and early seventies, filmmakers such as Rainer Werner Fassbinder, Margarethe von Trotta, Volker Schlöndorff, Wim Wenders, Werner Herzog, Alexander Kluge, and Hans-Jürgen Syberberg set out to create smaller, more independent and artistically challenging films to investigate the state of contemporary Germany (Schlöndorff and von Trotta’s The Lost Honor of Katherine Blum), as well as to grapple with the ghosts of the past, from the Weimar era (Fassbinder’s Berlin Alexanderplatz) and the Nazis (Schlöndorff’s The Tin Drum) to their aftermath (Fassbinder’s “BRD Trilogy”). Like other countries’ new waves, New German Cinema, which ended in the mid-eighties, embraced politically akin but artistically disparate directors with diverse interests, working methods, and spheres of influence, from the avant-garde (Kluge’s Artists Under the Big Top: Perplexed) to major international productions (Fassbinder’s Querelle). -
Criterion Collection Themes - New American Cinema
Favs/dislikes: 6:0. In the midsixties, U.S. theater attendance was declining. Bloated epics, mindless star vehicles, and juvenile musicals had become standard Hollywood fare, and the public was no longer interested. Then came the shock to the system of Bonnie and Clyde, and a renaissance was under way; radical new filmmakers, influenced by the foreign art cinema that was in vogue as well as the avant-garde and documentary techniques, rose to prominence, both within and outside of the studio system. Audiences hungry for something different, engaged, political, and raw were buying tickets (at least at first). Astonishing success stories like Dennis Hopper’s Easy Rider, John Cassavetes’ Faces, and Bob Rafelson’s Five Easy Pieces ushered in a new era in which the auteur was king and unlikely movie stars played rough-around-the-edges antiheroes, giving birth to the daring careers of such artists as Robert Altman, Peter Bogdanovich, Ellen Burstyn, Brian De Palma, Shelley Duvall, Monte Hellman, Terrence Malick, Jack Nicholson, Robert Redford, Gena Rowlands, and Sissy Spacek. Unfortunately, this period of experimentation wouldn’t last forever, as the bottom-line, blockbuster mentality would creep back in, leaving ambitious auteurs adrift. But the films that did get made during that time (a selection of which you can see below) remain emblems of a fertile period in American cinema. -
Criterion Collection Themes - Melodrama
Favs/dislikes: 2:0. One aim of art has always been to evoke intense feelings; for melodramatic cinema, that is its unabashed and overt raison d’etre. With themes of love, suffering, betrayal, sacrifice, and redemption, melodrama puts its audiences through the emotional wringer. Various national cinemas have made contributions to the genre—from Japan, we have Mikio Naruse’s dramas of steadfast women trapped in quiet domestic anguish; from France, Max Ophuls’s luxurious tragic romances; from Italy, Luchino Visconti’s opulent tales of amour fou and Raffaello Matarazzo’s contorted, epic expressions of thwarted desire. Historically, the Hollywood work of the German émigré Douglas Sirk has been considered the expressionistic epitome of the movie melodrama; his All That Heaven Allows, Magnificent Obsession, and Written on the Wind used the form to comment on 1950s America with a sophisticated mix of irony and forthright emotion. In the ’70s, Rainer Werner Fassbinder, a fan of Hollywood melodrama, provocatively remade All That Heaven Allows as the heartbreaking interracial romance Ali: Fear Eats the Soul. -
Goya Award Best Film Nominees
Favs/dislikes: 6:0. -
Zuma 2010+
Favs/dislikes: 1:0. Ranked -
sci-fi series
Favs/dislikes: 2:0. Sci-fi and Mystery Series -
The 100 Best Sci-Fi Movies of All Time (Popular Mechanics)
Favs/dislikes: 9:0. "Cinema exists to project our dreams. Science-fiction cinema exists to project our most creative dreams -- time-travel, alternate worlds, expanded consciousness, and more. That's why we're science-fiction maniacs and why we gathered up our top 100 movies." -- Popular Mechanics -
Tom Cruise filmography
Favs/dislikes: 3:0. From his profile on IMDB. -
Lars von Trier Films
Favs/dislikes: 6:0. It's the list of movies directed by Danish director, Lars von Trier. -
My Favourite Movies of the 1940s
Favs/dislikes: 1:0. -
The Movies I've Seen in 2014
Favs/dislikes: 0:4. -
Loud, Speed, Stress, Intense
Favs/dislikes: 0:0. -
1940s favs
Favs/dislikes: 0:0. Ranked. -
Top 100 Films
Favs/dislikes: 0:0. This is a personal list of my top 100 all-time favorite films, as of January 1, 2014. -
Complex Pop Culture's The 25 Best Foreign Comedy Movies
Favs/dislikes: 2:0. -
OSCAR 2014
Favs/dislikes: 0:4.
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