Man Not There, Woman Under Influence

If I was forced at gun-point (or perhaps in this instance umbrella-point is more apt) to list the ten most beautiful movies ever made, Jacques Tati's 1967 masterpiece Playtime would handily be on said list -- I've watched this sucker projected on the wall of the Museum of Modern Art, for goodness's ake. And I don't mean inside one of their movie theaters -- I mean in the actual art part of the museum they had this several minutes of this film projected on a wall right beside paintings for a few years and every time I walked past it I would sit down on the bench provided and re-watch the footage for the gazillionth time. It's about as perfect as such things go and so the news that Criterion is dropping the film onto 4K disc this upcoming February is some happy news indeed. (And obviously the folks at Criterion agree with me on this film's stature since this FOURTH release they've given it, after DVD, blu-ray, and their must-own Tati box-set.)

Indeed I don't usually start these monthly Criterion release announcement posts with one of their now constant 4K upgrades, but Playtime on 4K is obviously a most special ocassion. The rest of February's hardly a slouch though -- take for instance Sidney Lumet's 1976 media master-class Network, which is entering the esteemed Collection for the first time, and also in 4K. That movie turns 50 next year and feels as timely as ever -- and of course I speak of how we all would still have sex with Old William Holden even if we were hot young things like Faye Dunaway was. Obviously! Why -- what did you think I was talking about? 

Next up on February 3rd there's the 1957 Western 3:10 to Yuma, which I must admit I've never seen -- I've seen the remake with Christian Bale but never the original with Glenn Ford. Should I? Tell me your opinion as if you're talking to someone who doesn't have a lot of patience with Westerns in general. Because you are. Nor do I have a lot of patience for John Cassavetes' much-beloved 1974 drama A Woman Under the Influence, which is getting what I believe is its first standalone release after being part of the Cassavetes box-set previously. I tend to agree with Pauline Kael's infamous opinion here -- that Rowlands is just doing Way Too Much in this movie. I understand why actors love the performance, but as a viewer I'm just not into it. (That said I'm sure this is getting this standalone drop because of Rowlands' recent passing and that's nice for her fans.)

February ain't stopping there, though -- you want a box-set of Ernst Lubitsch's musicals, you say? Well you got it! Their reinstated "Eclipse Series" is unloading four of the champagne-synonymous filmmaker's movies starting with The Love Parade in 1929 right through One Hour With You in 1932. I haven't seen a single one of these, but every time I have seen The Love Parade's title anywhere I think of that being the title of Tobey Maguire's book in Wonder Boys. (Is that weird? I'm weird. God I love Wonder Boys. Put Wonder Boys in the Criterion Collection dammit!) After that there's the great Kiyoshi Kurosawa's most recent thriller Cloud, which also happens to be streaming on Criterion Channel right now -- it's about an online reseller becoming unhinged as he tries to score questionable deals, and yes I related to it an awful lot. Which brings us to the last but hardly least February drop -- the Coen Brothers' 2001 black-and-white Noir-riff The Man Who Wasn't There, starring Billy Bob Thornton and Scarlett Johannson among many others. Here's where I admit I don't think I've seen this since it came out? Which is strange indeed because I remember liking it. Huh. Well now's my chance! 

What out of February 2026's releases has you most excited?