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Golden Globe Best Director
Favs/dislikes: 6:0. This page lists the winners of and nominees for the Golden Globe Award for Best Director.[1] Since its inception in 1943, it has been presented annually by the Hollywood Foreign Press Association, an organization composed of journalists who cover the United States film industry for publications based outside North America. Having won all four of his nominations, Elia Kazan has been honored most often in this category. Martin Scorsese, Clint Eastwood, David Lean, Miloš Forman, and Oliver Stone tie for second place with three wins each. Steven Spielberg has had the most nominations (eleven) and has received the award twice. Barbra Streisand is the only woman to have won the award. -
Golden Globe Best Supporting Actor
Favs/dislikes: 6:0. The Golden Globe Award for Best Supporting Actor – Motion Picture was first awarded by the Hollywood Foreign Press Association in 1944 for a performance in a motion picture released in the previous year. The formal title has varied since its inception; since 2005, the award has officially been called "Best Performance by an Actor in a Supporting Role in a Motion Picture". Five actors have won the award twice: Richard Attenborough, Edmund Gwenn, Martin Landau, Edmond O'Brien, and Christoph Waltz. -
Mystery Writers of America "Edgar Award: Best Motion Picture"
Favs/dislikes: 6:0. The Edgar Allan Poe Awards® (the "Edgars®") are named after MWA's patron saint, Edgar Allan Poe, and are awarded to authors of distinguished work in various categories of the genre. Awards were given for Best Motion Picture from 1946 to 2009. -
Rosenbaum Shorts
Favs/dislikes: 6:1. All of the short films featured in Jonathon Rosenbaum’s book, Essential Cinema. -
Scholastic's 100 Greatest Movies for Kids
Favs/dislikes: 6:0. -
Criterion Collection Themes - Avante-Garde
Favs/dislikes: 5:0. Surreal, structural, et cetera: A handful of visionary, largely nonnarrative works belong to the collection, from some of the most important experimental film artists around the world—Jean Painlevé, Kenneth Macpherson, Stan Brakhage, and Chantal Akerman among them. -
Criterion Collection Themes - British Realism
Favs/dislikes: 5:0. The tradition of social realism in British film is often said to have begun with the Free Cinema movement of the mid-1950s. The aim of these documentaries—shown at the National Film Theatre in London from 1956–1959, and made by the likes of Lindsay Anderson, Karel Reisz, and Tony Richardson—was to bring to the screen authentic representations of the working class, largely absent from the conservative mainstream British culture of the day. In the early sixties, this rebellious sensibility was transposed to narrative cinema in the form of rough-edged, often black-and-white character pieces, often referred to as “kitchen-sink dramas,” such as Anderson’s major success This Sporting Life. At the end of the decade, Ken Loach, a political filmmaker with a background in television, took realism even further with the groundbreaking Kes, a grimy, unsentimental portrait of a boy in a Northern England mining town, featuring nonprofessional actors. Today, the legacy of British social realism continues to be felt in the work of many filmmakers, including Mike Leigh, Lynne Ramsay, and Andrea Arnold. -
Criterion Collection Themes - Cannes's Big Winners
Favs/dislikes: 5:0. Since its inception in 1946, cinephiles have counted on the Cannes Film Festival, the most prestigious annual film program in the world, to keep up with the medium’s most important artists and movements. Its star-studded red carpets and glorious French Riviera scenery may get as much attention as the carefully selected films in its competition showcases, but the true legacy of Cannes has always been the masterpieces that premiered there—and especially those that have emerged as winners. The festival’s top award was originally called the Grand Prix, and the trophy for it designed each year by a different artist. Then, beginning in 1955, it became the Palme d’Or, with a new trophy modeled after the city of Cannes’s coat of arms. (The festival continues to bestow a Grand Prix, although it’s a second-place honor now.) At Criterion, we’ve collected many titles that have won the festival’s highest award, hailing from many nations of the world, Russia (The Cranes Are Flying), Italy (The Leopard), Japan (Kagemusha), and the U.K. (If….) among them. -
Criterion Collection Themes - Classic Hollywood
Favs/dislikes: 5:0. Oh, those movies from the dream factory. There’s nothing quite like them. Products of a streamlined studio system, classic Hollywood films have always had a peculiar magic. With their clearly delineated cause-and-effect narratives, invisible continuity cutting style, and glamorous stars, these movies were designed to go down as easy as champagne. Yet we now recognize the directors, writers, cinematographers, and technical craftspeople behind the studios’ effervescent entertainments as artists, and the style they forged is one of the most distinct, beautiful, and important in cinema history. Here are the comedies, romances, melodramas, thrillers, and fantasies in the Criterion Collection that hail from those golden years of Hollywood, commonly defined as 1917 to 1960. -
Criterion Collection Themes - Dysfunctional Families
Favs/dislikes: 5:0. To paraphrase Tolstoy, happy families are all alike: they’re really boring to watch on-screen. Thus, cinema is besotted with deliciously unhappy families. Below, scan Criterion’s collection of miserable moms, depressed dads, and their sullen offspring, nestled as uncomfortably in the houses and yards of the suburbs of Connecticut as in the apartments of the side streets of Paris. -
Criterion Collection Themes - Faith on Film
Favs/dislikes: 5:0. Joyful professions of belief, self-flagellating admissions of guilt, and heretical abnegations of religion seem to sit alongside one another a bit more easily on the shelves of cinephiles than they do in the world at large. This list includes some films that engage matters of faith as their raison d’etre and others that deal with them more glancingly or derisively, but taken as a whole, it underlines both the compulsion of humankind to ask itself the eternal questions and the paradoxical power of a visual medium to capture the intangible. -
Criterion Collection Themes - Heist Movies
Favs/dislikes: 5:0. At Criterion, it’s clear that heist movies have stolen our hearts. What is it that makes them so compelling? The clockwork precision, the array of characters needed, the potential consequences hanging in the air, our inevitable identification with the thieves (and our frustration when they don’t get away with it)—not to mention all that shiny loot. Here are some great movies to check out in a pinch, from French (Rififi) to American (The Friends of Eddie Coyle) to Japanese (Cruel Gun Story); they’re sure to inspire your inner criminal mastermind. -
Criterion Collection Themes - Poetic Realism
Favs/dislikes: 5:0. Poetic realism was a cinematic style that emerged in France during the 1930s, the peak of that nation’s classic period of filmmaking. With its roots in realist literature, this movement combined working-class milieus and downbeat story lines with moody, proto-noir art direction and lighting to stylishly represent contemporary social conditions. Julien Duvivier’s Pépé le Moko, with the iconic Jean Gabin as the titular antihero, is generally regarded as the start of this melancholic, often fatalistic brand of cinema, which in part reflected the ominous atmosphere of prewar France but also lent itself to the individual sensibilities of a wide range of brilliant directors, such as Jean Renoir (Grand Illusion, La bête humaine) and Marcel Carné (Le jour se lève), and set designers like Alexandre Trauner. Poetic realism is thought to have greatly influenced such later film movements as Italian neorealism, which was equally sympathetic to the proletariat, and the French new wave, which looked to these great masters who had retained their artistic freedom while working in the French film industry. -
Films Scored by Bernard Herrmann
Favs/dislikes: 5:0. Feature films scored by Bernard Herrmann -
Golden Globe Best Supporting Actress
Favs/dislikes: 5:0. The Golden Globe Award for Best Supporting Actress – Motion Picture was first awarded by the Hollywood Foreign Press Association in 1944 for a performance in a motion picture released in the previous year. The formal title has varied since its inception; since 2005, the award has officially been called "Best Performance by an Actress in a Supporting Role in a Motion Picture". -
Warner Film Noir Classics
Favs/dislikes: 5:0. Movies included in Warner Film Noir Classic Collection box sets. -
Wikipedia - Classic Film Noir
Favs/dislikes: 5:0. Film noir is not a clearly defined genre. Therefore the composition of this list may be controversial. Due to the fact that the 1940s and 1950s are universally regarded as the "classic period" of American film noir, films released prior to 1940 are listed under the caption "Precursors / Early noir-like films". Films released after 1959 should generally only be listed in the list of neo-noir titles. -
Alternate Oscars (Danny Peary) - Best Picture
Favs/dislikes: 4:0. These are the movies that film critic Danny Peary picked as his "best picture" choices from 1927-28 to 1991 in his book "Alternate Oscars" from 1993. Note that Peary selected no films to win for 1963. -
Bob Dorian's Classic Movies
Favs/dislikes: 4:0. List of films from the book "Bob Dorian's Classic Movies: Behind the Scenes of 100 Great Movies from Hollywood's Golden Years" (1990). -
BYU Great Works List - Film
Favs/dislikes: 4:0. -
Criterion Collection Themes - Blue Christmases
Favs/dislikes: 4:0. It’s not that we don’t get into the holiday mood at Criterion, but our carol of choice is less likely to be “We Wish You a Merry Christmas” than “In the Bleak Midwinter.” Our titles have Christmas celebrations that are marred by dysfunction (A Christmas Tale) or poverty (Mon oncle Antoine), lavish parties tinged with morbid melancholia (Fanny and Alexander) or adolescent anxiety (Metropolitan)—and what would Christmas be without some passive-aggressive gift giving (All That Heaven Allows)? Don’t even get us started on Lulu’s grisly yuletide at the climax of Pandora’s Box. Check out the titles below—they may not offer Miracle on 34th Street warm and fuzzies, but they do propose their own undeniable brand of Noel spirit. -
Criterion Collection Themes - Great Soundtracks
Favs/dislikes: 4:0. Try to think of Charade without that perfectly swoony Henry Mancini title song. Imagine Easy Rider roaring down the highway without Steppenwolf’s “Born to Be Wild” kicking it into high gear, or Dazed and Confused fading out to anything other than Foghat’s “Slow Ride”—or a zitherless The Third Man. Many movies are inextricable from their flawlessly selected soundtracks. Similarly, certain songs don’t seem to have reason to exist without the images they’ve been set to: Jeannette’s unfathomably giddy “Por que te vas” is forever tied to Ana Torrent’s bedroom dance in Cría cuervos . . . , and anyone who’s seen Chungking Express is unlikely to hear the Mamas and the Papas’ “California Dreamin’” without dreaming of Faye Wong bopping along. Below, explore a potpourri of Criterion pop and jazz, in films featuring music from David Bowie, Nat King Cole, Miles Davis, John Lurie, Nico, the Rolling Stones, Annie Ross, Tom Waits, and more. -
Criterion Collection Themes - Italian Neorealism
Favs/dislikes: 4:0. The neorealist movement began in Italy at the end of World War II as an urgent response to the political turmoil and desperate economic conditions afflicting the country. Directors such as Roberto Rossellini, Vittorio De Sica, and Luchino Visconti took up cameras to focus on lower-class characters and their concerns, using nonprofessional actors, outdoor shooting, (necessarily) very small budgets, and a realist aesthetic. The best-known examples remain De Sica’s Bicycle Thieves, a critical and popular phenomenon that opened the world’s eyes to this movement, and such key earlier works as Rossellini’s Open City, the first major neorealist production. Other classics of neorealism include De Sica’s Umberto D. and Visconti’s La terra trema, but the tendrils of the movement reach back to De Sica’s The Children Are Watching Us and forward to Rossellini’s The Flowers of St. Francis, as well as to some filmmakers who did their apprenticeships in this school, Michelangelo Antonioni and Federico Fellini—and far beyond. -
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 - 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.
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