Once again, ‘tis the season to make lists. And here at Mid Century Cinema that means it’s time to reveal our annual Top Ten home video releases. Things were tricky this year, as landing a spot on the covered MCC “best of” list has led agents and publicists to lobby for certain releases to be featured. And, admittedly, it does help if you have that sort of inside track. Oh wait, that’s not us, that’s . . . well, I’d rather not say—but, ya know, that’s something to keep mind more generally.
In any event, here is our list—eminently contestable, but pure as the proverbial driven snow. As always, the standard caveat applies: this is not a list of our “favorite” movies newly available in 2025, but rather reflects the “best of home video 2025”—and as such great emphasis is placed on packages that offer valuable extras, and new releases of notable films which were previously hard to find or otherwise obscure.
Carnal Knowledge This outstanding seventies film has long been difficult to secure—we’ve been relying on a bare-bones German import. But it has now received the Criterion treatment, with a characteristically well appointed special edition. If you’re unfamiliar with this one, do check it out; it is bursting at the seams with talent on both sides of the camera. Written by Jules Feiffer, directed by Mike Nichols at the peak of his powers and shot by Giuseppe Rotunno with production design by Richard Sylbert, Carnal Knowledge boasts outstanding performances by Jack Nicholson, Art Garfunkel, Candice Bergen (her best on-screen work) and Ann-Margaret.
Cruising This was an enormously controversial movie upon release, as critics of the film thought it presented an unflattering, prurient, and even leering look at the gay leather bar subculture in late 1970s New York City—attributes the movie does flirt with. Cruising also has no idea what to do with Karen Allen, a nominal love interest, and, for all the salacious content, to our eyes it actually pulls its punches on some of the most interesting questions it raises. Nevertheless, it is ambitious, features a gutsy performance by Al Pacino (in a role most movie stars would not have touched), a very fine turn by Paul Sorvino, great Big Apple locations, and appealing feints regarding the “real” killer. All of which can be pored over in this spectacular new special edition from Arrow Video.
Drugstore Cowboy One of the best films of the 1980s, which sounds like a backhanded compliment, but is not intended as such. This is . . . what we want from the movies. It’s small, personal, intimate, distinct, character driven; it feel real and is quite smart and knowing. We think it’s Gus Van Sant’s best film, and Matt Dillon’s greatest performance. Kelly McGillis also shines, and it is always a pleasure to see Heather Graham, not to mention the irresistible William S. Burroughs in a small but indelible role. Roger Ebert put Drugstore Cowboy in the company of films like Bonnie and Clyde, Midnight Cowboy, and Badlands, which is pretty high praise.
Eyes Wide Shut Well. Let’s just say a special edition of Stanley Kubrick’s final film was long overdue—and here it is. We’re lined up to go long form on this one for The New Left Review very soon, so for the moment, just a couple of quick comments. First, and most important, this movie was misunderstood on release; few grasped it at the time, with the notable exception of Janet Maslin. But the more you watch this movie, the more you understand it on its own terms—and the more you realize that Eyes Wide Shut unambiguously takes its place alongside Stan-the-man’s masterpieces. Second, avoid at all costs internet chatter on this one. There is something about Kubrick that sends some people around the bend, like those folks who think he faked the moon landing. Just watch the movie (and enjoy the generous extras). [Bonus footage: Criterion also put out a magnificent edition of Barry Lyndon this year.]
Goodbye Columbus So, Goodbye Columbus is not a great movie. But it’s got a lot going for it: based on the Philip Roth novella, and featuring Richard Benjamin, Ali McGraw, and the always welcome Jack Klugman. We’re with Andrew Sarris: In 1969, Columbus was “about ten years too late” to case much of a stir, but ten years ago it would have been “too hot to handle.” And Richard Benjamin, he notes, “is so ideally cast as Philip Roth that it is almost frightening to think of his ever playing anything else.” Most pointedly, Sarris sees the film as a more honest version of The Graduate. And it is now available in a handsome edition from Fun City.
Hitchcock 10 Film Collection We are, as regular MCC readers well know, admirers of Alfred Hitchcock (that’s fitting British understatement). We have celebrated, among other things, his films of the 1930s, 1940s, and 1950s. But beyond natural talent, what made Hitchcock such a master—one of the greatest and most disciplined formal stylists in the history of cinema? According to Hitch, it was his training ground in silent cinema, which taught him the art of visual storytelling. With this impressive new box set, you can see that for yourself.
The Inquisitor Claude Miller’s 1981 police procedural is our find of the year, and so let us add a huge hat tip to Radiance films – which has been on quite a roll lately – for putting out this lovely new restoration. Largely set in a single location, I found myself in awe of Miller’s framing, pacing, and sure-handed direction; he also had a hand in the sharp screenplay. Mr Lino Ventura and Michel Serrault are simply impeccable as investigator and suspect respectively, as they play cat and mouse over whether the latter is responsible for some heinous crimes. And then Romy Schneider shows up to twist the plot a bit. Can’t wait to watch this one again.
The Lost One Speaking of Radiance films. It has long been our contention that Peter Lorre’s The Lost One – the only film he directed – was in desperate need of a proper restoration and special edition. Well, here it is. The movie tanked at the time of its release—shockingly, in 1951 audiences on both sides of the Atlantic audiences were not lining up to see a gloomy, noir-inflected slice of despair about an apolitical scientist in Nazi Germany (Lorre) who did what he had to do during the war (his girlfriend turned out to be a spy), and then did a bit more. Something short of a masterpiece, it is nevertheless excellent and essential.
Night Moves You know what’s great about Night Moves? Everything. One of the landmarks of the ‘70s film, this movie boasts the best work by director Arthur Penn and writer Alan Sharp; Cinematographer Bruce Surtees is also at the top of his game, as are players Gene Hackman, Susan Clark, Jennifer Warren, and Harris Yulin, among others. Part of the holy trinity of New Hollywood neo-noirs (along with The Long Goodbye and Chinatown), this is jaw-droppingly good stuff. I could go on. Indeed I have gone on, here, with a feature about this special edition, which arrived just in time for Night Moves’ fiftieth birthday.
The Sacrifice Kino-Lorber checks in with a fine special edition of Andrei Tarkovsky’s final film. It was shot in Sweden, which accounts for the welcome presence of both legendary director of photography Sven Nyquist and MCC favorite Erland Josephson in the leading role. Not for all tastes, which its admirers readily admit. Still, even if you get lost along the way (surely you weren’t expecting some sort of plot, were you?), Tarkovsky nevertheless manages to be routinely riveting. Or as the Guardian’s Peter Bradshaw put it, The Sacrifice is “brilliant and audacious, with one of the most extraordinary final sequences in modern cinema,” and even “more complex and ambiguous than it appeared at the time.” We understand if you decide to pass on this one—but don’t miss out on the cream of this years crop!
