In terms of boutique home video distribution, there’s no higher standard than The Criterion Collection. This physical media company (with an excellent streaming service) is dedicated to preserving films considered significant in the history of cinema. Since its establishment in 1984, it has released over a thousand special editions of movies, encompassing a wide range from the dawn of film at the turn of the 20th century to modern-day cinema across various languages, genres, nations, and quality levels.
The majority of its releases lean towards art-house cinema, featuring films from esteemed international directors or lesser-known treasures recently refurbished and deemed worthy of preservation. To many connoisseurs, “Criterion” symbolizes “excellence,” implying that any movie they deem fit for release is definitely worth viewing.
For many films, not just those with the prestige of Citizen Kane or Seven Samurai, their appeal lies beyond their artistic merit – often due to their historical context, being a director’s unrealized vision, or other unique factors. However, even ardent film enthusiasts find it puzzling why certain titles are included in the Criterion Collection, given the number of releases, as they aren’t particularly well-made films.
These movies might not be the pinnacle of cinematic artistry, but they’re still intriguing enough to warrant some attention, even out of curiosity. Compared to other critically acclaimed films in esteemed collections like the Criterion Collection, these particular ones don’t quite reach those heights.
The 10 Worst Criterion Collection Releases
The Haunted Strangler (1958)
In summary, while The Criterion Collection is highly respected, their box sets sometimes include lesser-known films that may not be up to par with their usual high standards. For instance, the “Monsters and Madmen” collection from Criterion, featuring obscure horror and sci-fi double features produced by Richard and Alex Gordon, contains titles like “The Haunted Strangler.” This film, starring Boris Karloff as a Jekyll-and-Hyde madman, is more of a low-budget flick than a classic. The plot is predictable and repetitive, with few memorable horror scenes. If you’re seeking a top-notch performance from Karloff, it’s advisable to stick with the established classics.
All These Women (1964)
Swedish filmmaker Ingmar Bergman’s initial foray into color cinema was met with such difficulties that he waited six years to try it again. Originally intended as a humorous take on Federico Fellini’s acclaimed film, 8 ½, titled All These Women, follows the journey of a music critic who intends to pen the biography of a renowned cellist at his summer residence. However, the elusive cellist only communicates with his wife and mistresses, leaving the critic in a predicament as he doubts his ability to write an accurate biography without direct access to his subject. Despite its absurdity and humor, the film was criticized as “the worst film he ever made” by Roger Ebert, and it remains one of Bergman’s lesser-known works in his extensive body of films.
Help! (1965)
For devoted Beatles enthusiasts, “Help!” offers an unparalleled experience. Building upon their successful debut film, the energetic and dance-filled “A Hard Day’s Night,” the Beatles presented “Help!”, a humorous musical odyssey. In this film, the band is pursued throughout London by a fanatical cult seeking an Indian mystic ring given to Ringo Starr by a fan, whom they intend to sacrifice. The plot may seem absurd even for the Beatles, with its nonsensical storyline and relentless, chaotic pace that eventually becomes tiring instead of endearing. Nevertheless, like many of their groundbreaking projects, “Help!” was ahead of its time. This film is recognized as a significant influence on the pop-art style of the iconic “Batman” TV series, foreshadowing the counterculture’s interest in Eastern philosophy and spirituality, and introducing the idea of music videos.
I Am Curious (Blue) (1968)
In the TV series ‘Mad Men’, Don Draper’s visit to see the movie ‘I Am Curious (Yellow)’ holds a specific significance. Due to its explicit content and attempts at censorship, this film became the highest-grossing foreign movie in the U.S., although it has become more of a joke in modern times, it remains one of the most notorious explicit films ever shown in theaters. Its counterpart, ‘I Am Curious (Blue)’, serves as both a prequel and sequel, continuing the story of protagonist Lena’s exploration of her sexuality and political views. However, unlike its predecessor, it didn’t receive the same positive reception. Its convoluted plot and experimental style detract from rather than enhance its numerous vague discussions on political thought and human sexuality, and it failed to recapture the previous film’s shock value.
All Monsters Attack (1969)
In a similar vein to other box sets, Criterion’s extensive collection of Showa Era Godzilla films contains a few clunkers amidst its treasure trove of classic tokusatsu entertainment. The most criticized among them is All Monsters Attack, often referred to as the worst Godzilla film ever produced. This quirky, kid-focused adventure unfolds like an after-school special. A young boy named Ichiro seeks refuge from his bullies by slipping into a dream world where he encounters Monster Island and befriends Minilla, Godzilla’s son. There, Ichiro learns that children aren’t the only ones dealing with bullying. Unfortunately, Toho’s financial struggles led to All Monsters Attack being made on a shoestring budget, resulting in the reuse of monster footage from previous kaiju films and the utilization of the same Godzilla costume from Destroy All Monsters. However, director Ishirō Honda still counted it among his favorite Godzilla movies.
A Safe Place (1971)
Occasionally, an impressively talented cast doesn’t guarantee a quality movie from a poor script. After successfully editing Dennis Hopper’s Easy Rider from a 4-hour extravaganza to a more compact version, newcomer director Henry Jaglom adopted a similar experimental method for making A Safe Place. He reduced a somewhat coherent drama film from over 50 hours of footage. The narrative revolves around a troubled young woman (Tuesday Weld) torn between two lovers (Jack Nicholson and Philip Proctor), who fail to provide the “safe place” she’s been seeking since encountering a magician (Orson Welles) as a child. Critics at the time criticized it for being pretentious, dull, and poorly edited. This film can be found in the Criterion box set America Lost and Found: The BBS Story, which compiles the films of BBS Productions, including superior titles like Easy Rider, The Last Picture Show, and Five Easy Pieces.
The Serpent’s Egg (1977)
In another instance of Ingmar Bergman’s work, we find yet another unsuccessful endeavor with his only Hollywood production, titled “The Serpent’s Egg.” This film stars David Carradine and Liv Ullman as a pair grappling with life in 1920s Berlin, both tormented by the death of the man’s brother, who was also the woman’s husband. A bizarre plot revolves around an unscrupulous doctor conducting cruel experiments on patients and the escalating political tensions of extremist German parties preceding World War II. However, these elements are submerged beneath a wave of overly melodramatic scenes that border on the absurd, as they overshadow the human misery portrayed in the film. Interestingly, Elliott Gould asserted that Bergman originally penned Carradine’s character with him in mind. This production can be found in a collection box set as well: the extensive 30-disc set called “Ingmar Bergman’s Cinema.
Chasing Amy (1997)
Is “Chasing Amy” homophobic or a symbol of queer cinema? The Criterion Collection’s decision to release a Laserdisc and later a DVD of this film may seem puzzling to some, given its depiction of gay panic comedy that reflects an era less accepting. Regardless, everyone who has seen it will likely have strong feelings about it one way or another. Ben Affleck plays a comic artist who falls in love with a lesbian, causing tension with his best friend who secretly harbors feelings for him. The movie manages to create plenty of drama and comedy from this intricate plotline. While it’s not groundbreaking by any means, the fact that “Clerks” made it into the Library of Congress’ National Film Registry suggests that Smith was doing something right in the 90s.
Armageddon (1998)
Jellyfish Eyes (2013)
Over the past while, few Criterion releases have been met with as much criticism as “Jellyfish Eyes,” the feature film debut of contemporary artist Takashi Murakami, whose works range from Kanye West’s “Graduation” album cover to the collaborative project “Kids See Ghosts” with Kid Cudi. This film is set in a quaint town where children have small creature companions they use for combat, and it tells the story of a young boy who encounters one of these creatures, uncovering a hidden conspiracy along the way. The movie is visually striking but heavily influenced by works such as Studio Ghibli, Pokémon, and Toy Story, which led to its negative critical reception upon release. Despite this, the film’s unique artistic perspective and the renown of its director warranted a Criterion release on DVD and Blu-ray, ensuring its preservation for future generations.
25 ’90s Movies That Should Have Been Bigger
Reversal of Fortune (1990)
In the ’90s, I found myself captivated by a wave of gripping legal dramas, and this one, reminiscent of the Claus von Bülow case, was no exception. I recall Jeremy Irons earning an Oscar for his portrayal of von Bülow, while director Barbet Schroeder skillfully delved into the case from various angles, refraining from outright exoneration of his enigmatic subject. Although Ron Silver’s Alan Dershowitz persistently argued for his client’s innocence, Schroeder seemed more preoccupied with examining the elusive concept of reasonable doubt. Glenn Close left an indelible impression as Sunny von Bülow, despite her character narrating most of the movie from a vegetative state. Though the real Sunny remained in a coma until her passing in 2008, Close was granted the privilege of delivering the film’s chilling final lines, which lingered long after the credits rolled.
The Two Jakes (1990)
The Two Jakes”
In essence, “The Two Jakes” serves as an unexpected sequel that only makes sense once you’ve watched it. It unravels a convoluted case involving Jake Gittes (played by Jack Nicholson who also directed), where he finds himself implicated in a premeditated murder on behalf of a client (Harvey Keitel). As the story unfolds, Gittes unearths links to his own past. Originally written by Robert Towne, the screenwriter for “Chinatown,” this film is a poignant narrative about the pitfalls of dwelling in the past. The closing line of “Chinatown” is memorable, but the final line of “The Two Jakes” – “It never goes away” – may be even more chilling.
The Man in the Moon (1991)
Stepping into the limelight for the very first time, I found myself captivated by the raw talent displayed by Reese Witherspoon in the poignant indie drama, “The Man in the Moon.” At just 14 years old, Witherspoon masterfully portrayed a young girl navigating her way through love and life in the 1950s Louisiana. Her character’s first crush, played by Jason London, was nothing less than a heartthrob. Despite this being her debut role on the big screen, Witherspoon exuded the assurance of a seasoned actress. For those who watched this movie in the early ’90s, it was no surprise that she would go on to achieve major stardom in Hollywood.
Deep Cover (1992)
This gripping suspense film directed by and starring Bill Duke offers a deep exploration of a police officer ensnared by his undercover role. It serves as a powerful critique on the drug war, as well as an unexpectedly humorous scene featuring Jeff Goldblum shouting “We’ll have shrimp!” while tossing someone from a speeding vehicle. Essentially, there’s plenty to appreciate in this film. For years, it was relatively unknown, even among dedicated movie enthusiasts. However, in recent times, it has received more recognition; the Criterion Collection included it in their collection in 2021.
Army of Darkness (1992)
In simple terms, Sam Raimi from the ’90s was exceptional at operating cameras, and the first 20 minutes of “Army of Darkness” could be used to educate an entire class on visual storytelling. His use of panning, shifting, zooming, and dollying is both chaotic and controlled, always serving to boost the narrative, comedy, and horror. Furthermore, his sudden transitions between terrifying scares and funny moments are unparalleled. Topping it off, Bruce Campbell delivers an outstanding performance as a particularly annoying hero, making “Army of Darkness” a remarkable example of comic horror.
Guilty As Sin (1993)
Sidney Lumet, famed for his gritty New York crime thrillers such as “Dog Day Afternoon” and “12 Angry Men”, along with Larry Cohen, a master of exploitation movies, appear to be an unusual creative pair. Yet, their collaboration resulted in success. The film “Guilty As Sin” is based on an intriguing concept, somewhat like a reverse version of “Basic Instinct”. Here, Rebecca De Mornay plays a female lawyer who becomes attracted to the prime suspect (Don Johnson) in the murder of his wife. Lumet primarily maintains a straight approach and allows his actors to take the lead. Interestingly, he transforms the entire film into a platform for Don Johnson to shine as an unparalleled charmer – a role that leaves you eagerly anticipating his downfall. Johnson delivers a hilarious performance as one of cinema’s most infuriating characters. In one scene, a woman attempts to buy him a drink in a bar. He declines her offer, instructing her to cover the cost of the drink he is currently consuming, then promptly abandons her with an empty glass and the bill.
This review highlights the unique creative partnership between Sidney Lumet and Larry Cohen, showcases Don Johnson’s exceptional performance as a charming yet infuriating character in “Guilty As Sin“, and describes an amusing scene where Johnson’s character manipulates a woman in a bar.
Household Saints (1993)
The movie “Household Saints,” directed by Nancy Savoca, stands out as a unique blend of humor and tragedy, tackling spirituality in a thoughtful yet questioning manner. Its complex nature may explain why it remained relatively unknown for so long; it seems marketing it would have been challenging. It’s too passionate to resonate with a faith-based audience, yet it’s not an anti-Catholic film either. This is what makes it appealing – it offers a fresh perspective on these themes that are seldom portrayed in this way. Lili Taylor delivers an exceptional performance as the central figure in this multi-generational story of an Italian American family. I can’t recall encountering a character quite like hers in film before. Fortunately, the movie has regained interest due to a recent restoration and re-release in cinemas. Kino Lorber distributed the film on home video in 2024. Be sure to check it out.
Matinee (1993)
In a fresh and nostalgic take, “Matinee” delves deeper than just a tribute to ’60s B-movies. Director Joe Dante employs these vintage films as a platform to examine the contrast between authentic terror and the sensationalized horror peddled by John Goodman’s character, Lawrence Woolsey, and his peers in the movie industry. One might wonder why a film about a tacky producer could be so insightful.
The film’s portrayal of ’60s B-movies is juxtaposed with the grim reality outside the theater, reflecting the bleakness of the world then and now. The protagonist, Gene (Simon Fenton), resides with his mother and younger brother on a military base, with their father absent due to duty during the Cuban Missile Crisis. With his mother often preoccupied, Gene assumes responsibility for looking after Dennis (Jesse Lee). Their frequent relocations due to the father’s job make them perennial outcasts at school. The movie theater serves as a haven of joy amidst their troubles.
Last Action Hero (1993)
Despite being overshadowed by the blockbuster hit, “Jurassic Park,” which debuted a week prior and was the top film of 1993, “Last Action Hero” has slipped into relative obscurity. It’s worth revisiting, as it’s not every day you find a movie with such self-deprecating elements. Written by Shane Black, the film takes jabs at the action films that made him wealthy, while Schwarzenegger questions his own persona as both character Jack Slater and real-life Hollywood star “Arnold Schwarzenegger.” Intriguingly, Schwarzenegger even encounters his own fictional doppelgänger in one memorable scene. While the child sidekick could be seen as a weaker version of the same trope from “Terminator 2,” the satire and fake trailers are spot-on.
After being overshadowed by “Jurassic Park,” “Last Action Hero” has become less well-known, but it’s worth another watch for its funny comments on action movies and Schwarzenegger questioning his own image. Although the kid sidekick is similar to one in “Terminator 2,” the humor and fake trailers are good.
The Paper (1994)
In the ’90s, among Ron Howard’s more renowned productions like “Backdraft”, “Apollo 13”, and “Ransom”, there lies a lesser-known gem that I believe could be his finest work of the decade. Titled simply as “The Paper“, this film offers an engaging glimpse into the bustling world of a big-city newspaper.
As a fan, I found myself deeply immersed in the story, which centers around Michael Keaton’s character, an overworked editor of a New York City tabloid. His relentless pursuit of a sensational story verges on career and personal ruin. If you’re a fan of journalistic dramas, this film is a must-watch, boasting a stellar cast that includes heavyweights like Robert Duvall, Glenn Close, Jason Alexander, Marisa Tomei, and Jason Robards. Each actor delivers a captivating performance that truly brings the newspaper’s inner-workings to life.
Cabin Boy (1994)
It’s not so unexpected that the film “Cabin Boy” was met with indifference upon its premiere. After all, it’s quite unusual! Chris Elliott plays a high-society type who finds himself on the wrong ship and embarks on a sequence of peculiar adventures at sea. However, the movie’s quirky humor and creative visual style have become more appreciated over time. Today, it appears as an avant-garde comedy that was truly ahead of its era.
Ed Wood (1994)
As a fan who appreciates the unique perspective that Tim Burton brings to his films, I’ve always found “Ed Wood” to be a captivating portrayal of the movie-making world. In the hands of a lesser artist, the life story of “Plan 9 From Outer Space” director Edward D. Wood Jr. could have been a mere campy parody. However, Burton masterfully crafted a heartfelt and honest depiction that encapsulates both the exhilarating joy of creation and the crushing despair of working within an industry ruled by executives and financiers.
Ed Wood (played by Johnny Depp) may not be a world-class artist like his idol, Orson Welles, but he’s far from a fool. He’s a dreamer who must adapt to Hollywood’s rigid structure, where financing often overshadows artistic integrity. In essence, Ed Wood is a quintessential Tim Burton protagonist.
In the past, I’ve sometimes felt uneasy about the movie’s ending. The reality of Ed Wood’s life was filled with sadness and hardship. His films were derided, and they all failed at the box office. He died alone and destitute. Yet, “Ed Wood” concludes on a hopeful note, with Ed’s successful debut of “Plan 9 From Outer Space” and his proposal to Kathy.
Upon reflection, I now understand that part of the movie’s genius lies in its duality. Beneath the triumphant ending about the indomitable dreamer, you can find Ed Wood’s tragic end, hidden in the character of Bela Lugosi. In “Ed Wood”, Bela is depicted as being on the brink of death (literally, he tries out coffins). By the end of the film, Bela (portrayed by Martin Landau in a chilling performance) has been consumed and discarded by Hollywood. When Ed looks at him, he sees his own future, though he may not yet realize it.
The Road to Wellville (1994)
24. Devil in a Blue Dress (1995)
Is there any man throughout history who has sported a crisp white tank top more appealingly than Denzel Washington in “Devil in a Blue Dress”? Granted, this isn’t the most objective method to gauge a film’s success, but it’s worth mentioning that this movie, adapted from Walter Mosley’s detective novel, showcases one of the most captivating leading man performances of the 1990s. In the role of Easy Rawlings, an unemployed factory worker who becomes embroiled in a complex, unforeseen mystery while helping to locate a missing person, Denzel Washington delivers an exceptional performance. The supporting cast, featuring Tom Sizemore, Jennifer Beals, and particularly a young Don Cheadle as Easy’s friend Mouse, is outstanding. Moreover, the script penned by director Carl Franklin effectively explores the racial tensions dividing 1940s Los Angeles. Furthermore, it’s impossible to look away from Denzel Washington in this movie for even a moment.
The Quick and the Dead (1995)
Among the ’90s films where critics’ opinions were off-base, this one could be their most significant misjudgment. Despite my admiration for director Sam Raimi, I delayed watching this film for quite some time due to widespread belief that it was a shallow, superficial, melodramatic Western. Contrary to popular opinion, it boasts one of the decade’s most talented ensembles – featuring Gene Hackman, Leonardo DiCaprio, Tobin Bell, Lance Henriksen, Keith David, Gary Sinise, Woody Strode, Pat Hingle, Mark Boone Junior, and a pre-“L.A. Confidential” Russell Crowe. The script is rich with crisp frontier dialogue, and Raimi skillfully employs his most innovative cinematic techniques to depict Western gunfights. What’s not to appreciate?
Johnny Mnemonic (1995)
In an unfortunate turn of events, the release of “Johnny Mnemonic” proved disastrous due to its timing. It followed the success of “Speed,” which catapulted Keanu Reeves into mainstream stardom, causing studio TriStar to alter the original quirky sci-fi film to appeal to “Speed” fans. The modified version received poor reviews, flopped at the box office, and largely faded into insignificance in Reeves’ career (with “The Matrix” further solidifying his status as a sci-fi icon a few years later).
However, it’s worth noting that despite its compromised state, this film foreshadowed several aspects of life in the 2020s. For instance, it accurately predicted that Keanu Reeves would still look much the same as he did in 1995. In the movie, Reeves portrays a courier with sensitive data stored in his brain’s hard drive. The film’s production design is impressive, and it is brimming with intriguing concepts and prescient predictions about the future. Could we possibly revive this franchise with a sequel titled “Johnny 2monic”?
Strange Days (1995)
Currently, Kathryn Bigelow is highly respected as one of our top contemporary directors, with films such as “The Hurt Locker” and “Zero Dark Thirty” under her belt. However, Bigelow’s early career received a mix of criticism and outright negative reviews. For instance, following the success of her first significant film (“Point Break” in 1991), she released one of her most critically and commercially unsuccessful projects: The 1995 sci-fi thriller “Strange Days,” starring Ralph Fiennes as a dealer of virtual reality memories who finds himself entangled in a dangerous conspiracy.
Although the technology depicted in the film seems outdated (the VR MacGuffin is based on MiniDiscs, a technology that was nearly obsolete by the time the movie was released), its predictions about deepfakes turned out to be surprisingly accurate, and Bigelow’s directing style remains as gritty and powerful.
Night Falls on Manhattan (1996)
Here’s another overlooked Sidney Lumet drama from the ’90s, with a much grimmer tone compared to his film “Guilty as Sin.” Contrary to its title, the movie is not a flamboyant neo-noir but rather an intricate exploration of systemic corruption in New York City. Lumet’s restrained style didn’t resonate with audiences in 1996, and the film has yet to develop a cult following. However, its complex narrative and anticipation of antiheroic fiction that would become prevalent in the next decade, particularly on TV, make it an intriguing rediscovery. Notably, some future stars from “The Sopranos” are featured in this movie, including James Gandolfini and Dominic Chianese.
Lone Star (1996)
John Sayles, a highly esteemed and impactful independent filmmaker throughout the 1980s and 1990s, has seen a significant decrease in his output since the 2000s – with his last directorial work released in 2013. This decline seems to have affected his popularity among younger movie enthusiasts.
It’s unfortunate because Sayles’ film “Lone Star,” which was one of the most celebrated movies of 1996 and a major arthouse hit that year, showcased an early performance by Matthew McConaughey as a legendary Texas sheriff. After the sheriff’s demise, the unearthing of human remains triggers an investigation led by the sheriff’s son (Chris Cooper), potentially revealing disturbing truths about the community. “Lone Star” is a captivating mystery and a sharp examination of the myth of small-town America.
Mystery Science Theater 3000: The Movie (1996)
As the makers of the satirical television show “Mystery Science Theater 3000” shared, their transition to the big screen was not without challenges. Their distributor resisted many of the team’s usual methods for producing content on cable TV, resulting in “Mystery Science Theater 3000: The Movie” being a feature film shorter than a typical episode on Comedy Central – an unconventional marketing approach, to say the least (“Forget about value for money; we’ll give you less than what you get for free at home!”). Despite this, the final product is still quite hilarious, holding its own against some of the series’ best episodes.
Trial and Error (1997)
In the ’90s, many popular sitcom stars struggled in films, be it creatively or financially. However, this era produced an unusual gem – a courtroom comedy spinoff of sorts from Kindergarten Cop, starring Michael Richards from Seinfeld as a man forced to pose as a lawyer because his friend (Jeff Daniels) was too drunk after his bachelor party and couldn’t attend a hearing. This film represents the kind of zany humor we don’t often see today, and it also features one of Charlize Theron’s early big-screen roles.
G.I. Jane (1997)
The infamous slap by Will Smith at the Oscars was triggered by a remark from Chris Rock about the movie “G.I. Jane,” which, surprisingly, is a Ridley Scott film featuring Demi Moore as a female military officer chosen for integrating the U.S. military. Prior to Rock’s use of “G.I. Jane” in a witty but harsh comment about Jada Pinkett Smith, the movie and especially Moore’s shaved head portrayal had been the subject of jokes on talk shows and by the media. However, “G.I. Jane” is actually a good film, characterized by toughness and strong performances. Though it may not be Scott’s best work as a director, it certainly deserves more respect than its current reputation suggests.
The Rainmaker (1997)
As a movie critic, let me share my thoughts on “The Rainmaker” – a film that, unlike Francis Ford Coppola’s masterpiece, “The Godfather,” wasn’t met with universal acclaim upon its release. Some viewed it as a mere job for Coppola, given at a time when John Grisham’s name was enough to propel a novel onto the best-seller list and secure a movie adaptation.
However, “The Rainmaker” is far from being a half-hearted effort by Coppola. The film carries an endearing roughness that reflects its source material. Clocking in at 135 minutes, it’s not excessively long, but it doesn’t rush to focus on a single case. Initially, it appears as if the story revolves around Matt Damon’s character, a young attorney, and his confrontation with his unsavory boss, played by Mickey Rourke.
Having not read “The Rainmaker,” I can say that Coppola captures the spirit of the Grisham novels popular during that period perfectly. He masterfully blends moral fables, legal thrillers, and character dramas in a way that truly reflects the assignment.
The Spanish Prisoner (1998)
The Spanish Prisoner”, a cleverly intricate film about deceit, showcases a witty screenplay by David Mamet and features an assortment of talented actors such as Campbell Scott, Ben Gazzara, Ricky Jay, Ed O’Neill, and Steve Martin. The protagonist, Joe (portrayed by Scott), has devised a mysterious process with the potential for great wealth, which catches the eye of Martin’s character, Jimmy – a wealthy entrepreneur who seems to have a sudden interest in the inventor. However, one must question whom Joe can trust, as everyone appears intent on exploiting him. The Spanish Prisoner, however, is not a real person; it refers to an ancient confidence trick.
Cookie’s Fortune (1999)
Robert Altman, renowned filmmaker of the ’70s, saw a resurgence in his career during the ’90s with movies like “The Player” and “Short Cuts”. However, even his lesser-known ’90s films hold their own merit. One such example is “Cookie’s Fortune”, made in 1999, which follows the Altmanesque pattern of an ensemble story. The narrative revolves around the consequences of a wealthy old woman’s (played by Glenn Close) suicide, which could wrongly send an innocent man (Charles S. Dutton) to prison. The woman’s niece tries to make the death appear as a murder, but the film is filled with Altman’s signature masterful elements. One such example is the recurring motif of a cabinet door that won’t stay shut – symbolizing the difficulty of keeping the past securely locked away in a story about the impossibility of doing so in real life.
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2025-06-18 17:29