Caitlin Kuhwald

"Also, Sanjuro. This edition has subtle and understated packaging that echoes the sparse and slow pacing of Kurosawa’s film. The tribal “voodoo music” is entrancing and fills up the empty spaces Kurosawa leaves deliberately open. There are so many unforgettable images that stay with you, such as the dog with the severed hand in its mouth, and Unosuke’s arm coming out of his kimono’s neck hole holding a gun."

"A shadow of a man turning around a corner, casting itself so tall it reaches beyond the roofs of buildings; endless tunnels underground broken by the white light of arched openings, and the creepy and mocking music of the zither. The Third Man is a noir archetype. Orson Welles is only present for about a quarter of the film, and he still manages to take it over complete"

"I can’t say much about this that any film historian or earnest movie buff hasn’t already said, except that it astounds me with every viewing. It’s eye opening and deeply affecting."

"This is really a sneaky way to list all of Criterion’s editions of Wes Anderson’s films. Tenenbaums is by far my favorite, but Rushmore, The Life Aquatic, and the new edition of Bottle Rocket are all pretty fantastic, too. I’m always immediately won over by the artwork and illustrations that tie all his films together. Even with different artists (Ian Dingman and Eric Chase Anderson) there is a consistency, due in no small part to Wes Anderson’s own particular aesthetic, that makes these films feel like four stories from the same hyperreal, idyllically melancholy world. There’s an interview in the Tenenbaums supplements section with artist Miguel Calderon that’s totally worth a listen."