5 movies you should watch on The Criterion Channel in February

February was a cinematic whirlwind! I devoured five incredible Criterion Channel films. My personal favorites included a stunningly atmospheric noir, a captivating Japanese ghost story, a laugh-out-loud comedy, a genuinely unsettling horror flick, and a groundbreaking independent classic. Each one was a unique and rewarding experience!

A Breathtaking Noir⁚ “Out of the Past” (1947)

I’d heard whispers about “Out of the Past” for years, legends murmured in hushed tones amongst cinephile friends. Finally, I dove in, and wow. What a film! Robert Mitchum, as Jeff Bailey, is utterly captivating; his world-weary cynicism and smoldering intensity are mesmerizing. He’s a private investigator pulled back into a dangerous past, a past that involves a sultry femme fatale (Jane Greer, simply incredible), a ruthless gangster (Kirk Douglas, perfectly cast), and enough twists and turns to make your head spin. The cinematography is breathtaking, a masterclass in shadows and light, perfectly capturing the film’s dark, atmospheric mood. I found myself completely absorbed in the narrative, captivated by the morally ambiguous characters and the relentless tension. The dialogue is sharp, witty, and often laced with a cynical humor that perfectly complements the overall tone. There’s a scene where Mitchum sits in a dimly lit bar, nursing a drink, the rain lashing against the window – it’s a perfect encapsulation of the film’s mood; brooding, melancholic, and utterly unforgettable. The pacing is superb; it builds slowly, deliberately, ratcheting up the tension until the explosive climax. I was on the edge of my seat the entire time, completely engrossed in this thrilling, atmospheric masterpiece. I even found myself revisiting certain scenes, pausing to appreciate the masterful use of light and shadow, the subtle nuances in the performances. “Out of the Past” isn’t just a film; it’s an experience. A dark, seductive, and ultimately unforgettable journey into the heart of classic noir. It solidified its place as one of my all-time favorite films, and I highly recommend it to anyone who appreciates the art of filmmaking. It’s a film I’ll be returning to again and again, and I suspect it will stay with me for a long time to come. This is a film that deserves its legendary status.

A Masterpiece of Japanese Cinema⁚ “Ugetsu” (1953)

Kenji Mizoguchi’s “Ugetsu” had been on my watchlist for ages, a film whispered about in reverent tones by film buffs. I finally decided to experience it during my February Criterion Channel binge, and it exceeded all expectations. The film’s ethereal beauty is immediately striking. The cinematography is breathtaking, capturing the stark beauty of the Japanese countryside with a poetic sensibility. The misty landscapes, the ancient temples, the haunting imagery—it all contributes to a truly unforgettable visual experience. The story itself, a tale of ambition, greed, and the supernatural, is both captivating and unsettling. I found myself completely drawn into the world of Tobei (played with remarkable subtlety by Masayuki Mori), a potter whose ambition leads him down a path of self-destruction. His wife, Miyagi (played with quiet strength by Machiko Kyo), is equally compelling, a woman struggling to maintain her family and her sanity amidst the chaos. The film’s exploration of human nature, the seductive power of illusion, and the consequences of unchecked ambition are all incredibly resonant. The ghosts, both literal and metaphorical, haunt the film with an unsettling grace. They aren’t simply scary; they represent the consequences of Tobei’s choices, the weight of his desires. The pacing is deliberate, allowing the story to unfold organically, building a sense of unease and suspense that keeps you on the edge of your seat. The film’s ambiguity is a testament to its artistry; it doesn’t offer easy answers or simple moral judgments. It’s a film that stays with you long after the credits roll, prompting reflection and contemplation. I found myself thinking about “Ugetsu” for days after I finished watching it, pondering its themes and its stunning visuals. It’s a true masterpiece of Japanese cinema, a haunting and beautiful film that deserves to be seen and appreciated by all film lovers. It’s a film that demands attention, a film that rewards patience, and a film that I will cherish for years to come. The experience was profoundly moving and left an indelible mark on me.

A Hilarious and Heartfelt Classic⁚ “Some Like It Hot” (1959)

I’d heard the legends, of course. Everyone talks about “Some Like It Hot,” Billy Wilder’s masterpiece of screwball comedy. But experiencing it myself on the Criterion Channel in February was something else entirely. From the very first scene, I was hooked. The sheer audacity of the premise – two musicians fleeing the mob by disguising themselves as women in an all-female orchestra – is brilliant. The casting is perfect. Marilyn Monroe is dazzling as Sugar “Kane” Kowalczyk, her comedic timing impeccable. Jack Lemmon and Tony Curtis are equally fantastic as Joe and Jerry, respectively, navigating the complexities of their disguises with a blend of panic and hilarious improvisation. Their interactions with the other characters, particularly the wonderfully eccentric Osgood Fielding III (Joe E. Brown), are consistently laugh-out-loud funny. But what surprised me most was the film’s surprisingly poignant undercurrents. Beneath the surface of the slapstick and the witty dialogue, there’s a genuine exploration of identity, love, and the pursuit of happiness. The film’s exploration of gender roles, though viewed through a modern lens, is both insightful and remarkably prescient. The way the characters navigate their assumed identities, the awkwardness, the unexpected connections, and the ultimate revelations, all contribute to a rich and complex narrative. I found myself completely engrossed in their journey, laughing one moment and feeling a pang of sympathy the next. The supporting cast is equally impressive, each character adding to the overall comedic chaos. The film’s pacing is brisk, keeping the energy high throughout. The writing is sharp, the dialogue snappy, and the jokes consistently land. But it’s more than just a string of gags; it’s a cleverly constructed narrative with surprising depth. The final scene, with its unexpected twist and heartwarming resolution, is perfection. “Some Like It Hot” isn’t just a funny movie; it’s a timeless classic that continues to resonate with audiences today. It’s a film that I will undoubtedly watch again and again, discovering new layers of humor and insight each time. I wholeheartedly recommend it to anyone looking for a hilarious and surprisingly heartfelt cinematic experience.

A Visually Striking Horror Film⁚ “Carnival of Souls” (1962)

I’m a big fan of atmospheric horror, and “Carnival of Souls” completely delivered. This low-budget masterpiece from 1962, discovered during my February Criterion Channel binge, is a chilling example of how effective a film can be with minimal resources. The story, about Mary Henry (Candace Hilligoss), a young woman who survives a car accident and finds herself inexplicably drawn to a deserted carnival, is simple yet profoundly unsettling. The film’s visual style is haunting. The stark black-and-white cinematography, coupled with the desolate, almost otherworldly landscapes, creates a pervasive sense of unease. The abandoned Salt Flats, where much of the film takes place, are both breathtakingly beautiful and deeply unnerving. There’s a palpable sense of isolation and dread that permeates every frame. The film’s pacing is deliberate, building tension slowly but surely. There are moments of genuine terror, but the film’s power lies more in its unsettling atmosphere than in jump scares. The sound design is equally effective, with subtle, unsettling sounds adding to the overall sense of unease. The score, too, is hauntingly beautiful, enhancing the film’s eerie atmosphere. What struck me most about “Carnival of Souls” was its ambiguity. The film doesn’t offer easy answers, leaving much to the viewer’s interpretation. Is Mary Henry truly dead? Is the carnival a real place, or a manifestation of her subconscious? The film’s open-ended nature adds to its lasting impact. The ending, in particular, is both shocking and unforgettable. It’s a film that stays with you long after the credits roll, prompting reflection and discussion. It’s certainly not a horror film for those seeking thrills and spills, but for those who appreciate slow-burn suspense and unsettling atmosphere, I highly recommend it. The film’s influence on subsequent horror films is undeniable, and it remains a powerful and unsettling viewing experience even today. I found myself thinking about the film’s imagery and themes long after I finished watching it, a testament to its enduring power. The Criterion Channel’s presentation is excellent, allowing viewers to appreciate the film’s visual beauty and subtle nuances. It’s a film I’ll definitely revisit.