Behind every great suspense film lies the shadow of M, a fact-based drama that is the first and, perhaps, the ultimate portrait of a serial killer. Peter Lorre's flawless performance as a psychotic child murderer elicits feelings of both fear and pity. Lorre (Casablanca), in his first starring role, conveys the agony of a man driven by his compulsions, tormented by self-loathing, and hunted by both the criminal underworld and the police. M, director Fritz Lang's (Metropolis) first sound film and personal favorite, skillfully blends innovative camerawork, fine acting, and atmospheric settings. This version includes the often missing final scene and a restored sound track.

Behind every great suspense thriller lurks the shadow of M. In this, Fritz Lang's first sound film, Peter Lorre delivers a haunting performance as the cinema's first serial killer, a whistling pedophile hunted by the police and brought to trial by the forces of the Berlin underworld. Greig's "Peer Gynt Suite" will never sound the same. Criterion is proud to present Lang's seminal film in a new transfer.

A suave tennis player (Ray Milland) plots the perfect murder, the dispatching of his wealthy wife (Grace Kelly), who is having an affair with a writer (Robert Cummings). Amazingly, the wife manages to stave off her attacker, a twist of fate that challenges the hubby's talent for improvisation. Alfred Hitchcock wisely stuck to the stage origins of Dial M for Murder, ignoring the temptation to "open up" the material from the home of the unhappy couple. The result may not be one of Hitchcock's deepest films, but it's a thoroughly engaging chamber movie. It also features Grace Kelly at her loveliest, the same year she made Rear Window with Hitchcock. Dial M for Murder was filmed in the briefly trendy 3-D process, and Hitchcock shot some scenes to bring out the depth of the 3-D field; it's... Less

A hilarious Soul Cinema send-up, this ultra-slick, urban action comedy blows 70's blaxploitation movies right out of the 'hood! Featuring the very funny Wayans family (Keenen, Damon and Kim), Bernie Casey, Antonio Fargas, Isaac Hayes, Jim Brown, Ja'net DuBois, David Alan Grier, Kadeem Hardison and Chris Rock, I'm Gonna Git You Sucka is a perfect "mixture of nostalgia, silliness and genuinely unpredictable humor" (The New York Times). Jack Spade, a goody-goody war hero with medals for short-hand, returns to the ghetto to discover that his brother, Junebug, has OG'd (Over-Golded on jewelry). Jack swears revenge against the local gang boss, Mr. Big, and sets off to enlist an army of Shaft, Superfly and Black Caesarlook-a-likes , that is. They don't come easy, cheap or youngbut they do... Less

A hilarious Soul Cinema send-up, this ultra-slick, urban action comedy blows 70's blaxploitation movies right out of the 'hood! Featuring the very funny Wayans family (Keenen, Damon and Kim), Bernie Casey, Antonio Fargas, Isaac Hayes, Jim Brown, Ja'net DuBois, David Alan Grier, Kadeem Hardison and Chris Rock, I'm Gonna Git You Sucka is a perfect "mixture of nostalgia, silliness and genuinely unpredictable humor" (The New York Times). Jack Spade, a goody-goody war hero with medals for short-hand, returns to the ghetto to discover that his brother, Junebug, has OG'd (Over-Golded on jewelry). Jack swears revenge against the local gang boss, Mr. Big, and sets off to enlist an army of Shaft, Superfly and Black Caesarlook-a-likes , that is. They don't come easy, cheap or youngbut they do... Less

Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I... Less

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise--but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable... Less

For a full dose of pure, unfiltered Joan Crawford, look no further than this slab of scorching film noir. Crawford is in her element as the heroine of James M. Cain's pulp-fiction classic, a ditched wife and mother who is forced to become a waitress. On the strength of Crawford's steely willpower (and maybe those intimidating wide-wing shoulder pads), she constructs an empire of eateries, only to be disappointed by her rotten daughter (Ann Blyth) and a ferret-faced new husband (Zachary Scott). Director Michael Curtiz (Casablanca) whips up a storm of atmosphere, and the script is a series of tartly written exchanges. The best lines go to perennial wisecracker Eve Arden, as Crawford's acid-tongued pal--she earned her only Oscar nomination for the role. Commenting on the ungrateful daughter,... Less

For a full dose of pure, unfiltered Joan Crawford, look no further than this slab of scorching film noir. Crawford is in her element as the heroine of James M. Cain's pulp-fiction classic, a ditched wife and mother who is forced to become a waitress. On the strength of Crawford's steely willpower (and maybe those intimidating wide-wing shoulder pads), she constructs an empire of eateries, only to be disappointed by her rotten daughter (Ann Blyth) and a ferret-faced new husband (Zachary Scott). Director Michael Curtiz (Casablanca) whips up a storm of atmosphere, and the script is a series of tartly written exchanges. The best lines go to perennial wisecracker Eve Arden, as Crawford's acid-tongued pal--she earned her only Oscar nomination for the role. Commenting on the ungrateful daughter,... Less

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise--but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable... Less

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise--but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable... Less

Tough stuff from director Fritz Lang (M), making his first American film with this 1936 story of an innocent man (Spencer Tracy) who escapes a lynch mob and then orchestrates his apparent murder at their hands. Tracy is superb, and the film is uncompromising, until studio interference takes some of the wind out of Lang's sails right at the end. But as the portrait of a character who comes to reflect the destiny he is trying to avoid, this is still essential Lang and a pre-noir classic. --Tom Keogh

The debut film of director Joel Coen and his brother-producer Ethan Coen, 1983's Blood Simple is grisly comic noir that marries the feverish toughness of pulp thrillers with the ghoulishness of even pulpier horror. (Imagine the novels of Jim Thompson somehow fused with the comic tabloid Weird Tales, and you get the idea.) The story concerns a Texas bar owner (Dan Hedaya) who hires a seedy private detective (M. Emmett Walsh) to follow his cheating wife (Frances McDormand in her first film appearance), and then kill her and her lover (John Getz). The gumshoe turns the tables on his client, and suddenly a bad situation gets much, much worse, with some violent goings-on that are as elemental as they are shocking. (A scene in which a character who has been buried alive suddenly emerges from... Less

You might have heard people say they'd kill to get into Harvard. Well, here's a film that takes it literally. There's a legendary rule at many universities, so the film posits, that if your roommate commits suicide you can take a 4.0 GPA for the semester. Tim (Matthew Lillard of Scream fame, in yet another of his patented psycho roles) plans with his roommate Chris (Michael Vartan) to kill a third roommate Rand (Randall Batinkoff) so they can collect their 4.0s and get Chris a Harvard M.B.A. As Chris says, "Either it's a Harvard M.B.A. or you're flipping burgers." No elevated thinker, Chris. Rand is a cruel jerk to his Sandy Dennis-like girlfriend, Natalie (Tamara Craig Thomas), so it's hard to miss him when he's gone. But that sentiment applies equally to nearly every other... Less

When photographer Ric Oliver is killed in a car accident, his brother Max (John Pyper-Ferguson, TV's Brothers and Sisters, She's the Man) is devastated... until he discovers Ric's incriminating photos of powerful Senator John Kane (M. Emmet Walsh, Christmas with the Kranks, My Best Friend's Wedding) with a prostitute. Now suspecting foul play in his brother's death, Max is determined to publish the photos. But after waking one evening with a murdered prostitute in his apartment and no memory of meeting her, Max realizes the corrupt senator-and his assassin brother (Michael Ironside, The Alphabet Killer, The Machinist)-will stop at nothing to preserve his reputation... This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.