Andrew Haigh

Year in Review: Best Criterion

It seems like every year we have to begin this particular article with the disclaimer that we aren’t necessarily talking about the best releases Criterion put upon us this calendar year. If one made a list of top 10 home releases in a given year one could conceivably litter that list with nothing but Criterion releases, and still find themselves in the same predicament. Here, our approach to this article has, more often than not, been based on a wow factor in one of many different areas. Either a wow for the presentation of the release, a wow for the personal discovery of something previously unknown, a wow for the collective power of a set, or, occasionally the most fun, a wow for the “I can’t believe Criterion released that….I’m really happy Criterion decided to release that…but seriously can you believe they released that?” This year was no different in any of those respects for Criterion as they continue to put out some of the most impressive releases month in and month out with films that have been in dire need of the Criterion treatment for a long time (Purple Noon), notoriously maligned and controversial artworks that deserve a second chance (Heaven’s Gate), their continuous support for the unique voices of the next generation of filmmakers (Tiny Furniture) while trying to also include the early works of some of modern cinema’s most exciting visionaries (The Game, Being John Malkovich, Shallow Grave); which, on that note, brings us to our first […]

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Over Under - Large

Brokeback Mountain had the highest opening weekend per screen average in 2005, and it went from opening in only five theaters to playing wide all over the world by the end of its run. Then, when award season rolled around, it garnered all sorts of acclaim, getting awards for best picture from multiple outlets, Oscars for Best Adapted Screenplay and Best Director, and it even got recognition from GLAAD for being the year’s most outstanding film. Pretty much it was embraced by everyone as being groundbreaking and important, and it saved Ang Lee’s butt after he pissed everyone off by making The Hulk. Weekend came out just this last September, but you might not remember it because not many people ended up checking it out. By the time it left theaters it had only made a domestic gross of  $484,592. Ouch. And while this movie also got some love from GLAAD, it was ignored by all of the mainstream awards shows like the Oscars and the Golden Globes. A cultural phenomenon it wasn’t.

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published: 11.21.2014
D
published: 11.21.2014
B+
published: 11.19.2014
C+
published: 11.19.2014
B-, C


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