Criterion’s November Slate Includes Japanese Classics and 2000s Indie Greats

The Criterion Collection has announced their November releases, and they continue their celebration of Japanese film. They've also got two of the most celebrated movies of the 2000s and the only directorial effort of Marlon Brando.

After their upgrades to Zatoichi and The Story of the Last Chrysanthemum, Criterion keeps fans of Japanese cinema happy with their box set of Lone Wolf and Cub, which pushed the boundaries of film violence in the early '70s. The three-disc set includes all six films, remastered in 2K. Also on deck is Dreams, one of Akira Kurosawa's final films. The series of vignettes were all based on visions the filmmaker had throughout his life, as well as Japanese folk tales. It's not his most cohesive film as a director, but it's among his most inventive.

Marlon Brando only had one film as a director in his long and storied career, the Western One-Eyed Jacks. He made it early in his career, a full decade before he became the Godfather. The cast includes Karl Malden and Slim Pickens. The film was recently restored by the Film Foundation under the supervision of both Steven Spielberg and Martin Scorsese.

Finally, two of the most acclaimed films of the 2000s make their proper high-def debuts. Punch-Drunk Love, P.T. Anderson's romantic comedy, won Best Director at the Cannes Film Festival but failed to find much love stateside at the time. Everyone agreed it was Adam Sandler's best performance ever, but the film's narrower focus felt like a step back from Anderson's widescreen epics. But it's aged very well and will finally be available on Blu-ray for the first time. Noah Baumbach's The Squid and the Whale received an Oscar nomination for Best Original Screenplay, but lost to Crash. The hilarious but sometimes uncomfortable comedy focuses on a kid (Jesse Eisenberg in one of his first roles) navigating life after his parents (Jeff Daniels and Laura Linney) decide to divorce.

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About Kip Mooney

Kip Mooney
Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.

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