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The Criterion Channel has unveiled its streaming lineup for August 2024, which features an eclectic mix of independent films showcasing the work of auteurs from around the world.

The boutique service will become the exclusive streaming home of Paul Thomas Anderson’s 2021 comedy “Licorice Pizza,” and will celebrate the occasion by adding four more of his films to the channel: “The Master,” “There Will Be Blood,” “Punch-Drunk Love,” and “Magnolia.” Anderson’s frequent collaborator Philip Seymour Hoffman will additionally be celebrated on the streaming service as part of a larger retrospective. Many of the late actor’s most iconic roles, including “Capote” and “Synecdoche, New York,” will be included, along with his sole directorial outing “Jack Goes Boating.”

The channel will also highlight several other prominent filmmakers including Preston Sturges, who helped pioneer the modern rom-com through films like “The Lady Eve” and “The Palm Beach Story,” and prolific Egyptian auteur Youssef Chahine.

The Criterion Channel’s August lineup pays tribute to auteurs of all kinds: directors, actors, and photographers, fictional or otherwise. In a notable act of preservation and advocacy, they’ll stream 20 titles by the Egyptian filmmaker Youssef Chahine, here introduced by the great Richard Peña. More known (but fun all the same) is a five-title Paul Thomas Anderson series including the exclusive stream of Licorice Pizza, as well as a Philip Seymour Hoffman series that overlaps with Magnolia, Punch-Drunk Love (a Criterion Edition this month), and The Master, plus 25th Hour, Love Liza, and his own directing effort Jack Goes Boating. Preston Sturges gets five movies, with Sullivan’s Travels arriving in October.

Theme-wise, a photographer series includes Rear Window, Peeping Tom, Blow-up, Close-Up, and Clouzot’s La prisonnière; “Vacation Noir” features The Lady from Shanghai, Brighton Rock, Kansas City Confidential, Purple Noon, and La piscine. Alongside the aforementioned PTA and Antonioni pictures,...

Ed Fury, a 1951 Mr. Muscle Beach winner who became one of the most successful male physique models of the era before launching a swords & sandal film career that rivaled the genre’s leading man Steve Reeves, has died at his California home. He was 94.

His death on February 24 was announced this week by his wife and family friends. A cause of death has not been specified.

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Born Edmund Holovchik in New York on June 6, 1928, Fury began lifting weights as a high school wrestler before moving to Southern California in the late 1940s, where he soon found his place among the Santa Monica Muscle Beach bodybuilding set. He began...

Ed Fury, the Muscle Beach bodybuilder who starred as the mighty warrior Ursus in three Italian “sword and sandal” epics, has died. He was 94.

Fury died Feb. 24 at his home in Woodland Hills, his wife, Shelly, told The Hollywood Reporter.

In 1953 alone, Fury appeared uncredited in seven films, including Abbott and Costello Go to Mars, Dangerous When Wet, Gentlemen Prefer Blondes, Island in the Sky and The Eddie Cantor Story.

Later, he showed up in The Country Girl (1954), Athena (1954), Demetrius and the Gladiators (1954), Hell and High Water (1954), Female on the Beach (1955), I Died a Thousand Times (1955), Raw Edge (1956), Bus Stop (1956), South Pacific (1958) and The Wild Women of Wongo (1958).

After he auditioned for Joshua Logan and landed a role on Broadway in the 1954-56 musical Fanny, Italian film producers in the audience visited him backstage and signed him to a contract.

Fury appeared opposite Rod Taylor in the Italian comedy Colossus...

Like nearly all of director Joseph Pevney’s films, 1955’s Foxfire has been more or less forgotten, despite starring Jane Russell. It’s a pity considering the film’s significant condemnation of racism, something the narrative is inextricably intertwined with rather than as a blunt subtext, an uncommon tangent for a 1950s era romantic melodrama. Strikingly, the film was one of two 1955 dramas directed by Pevney starring Jeff Chandler, the other being the equally obscure Female on the Beach with Joan Crawford, and was only two years before Pevney’s most successful cinematic offering, Tammy and the Bachelor, the Debbie Reynolds hit which inspired a celebrated song and franchise for the star.…...

Joan Crawford controls every aspect of this glamorous, Oscar nominated noir about a murderous marriage double-cross. Good acting enlivens a by-the-book, gimmick-laden plot, with every moment designed to flatter the star.

Sudden Fear

Blu-ray

The Cohen Film Collection

1952 / B&W / 1:37 flat Academy / 110 min. / Street Date December 13, 2016 / 34.99

Starring Joan Crawford, Jack Palance, Gloria Grahame, Bruce Bennett, Virginia Huston, Touch Connors, Bess Flowers, Taylor Holmes, Lewis Martin, Arthur Space.

Cinematography Charles Lang

Film Editor Leon Barsha

Art Director Boris Leven

Original Music Elmer Bernstein

Written by Lenore Coffee, Robert Smith from a novel by Edna Sherry

Produced by Joseph Kaufman

Directed by David Miller

Reviewed by Glenn Erickson

The Joan Crawford movie Sudden Fear is an efficient and stylish thriller. Although it’s technically film noir, its story of a two-way murder frame-up is sublimated to the actress’s overpowering personality. It’s the first movie where Crawford was able to...

There are two major sides to the film noir coin, as I see it – the psychological and the practical. Now, the practical noir is fairly straightforward; maybe a detective has to solve a crime, or someone gets themselves in over their head with some scheme gone wrong. There’s a problem to be solved, and the protagonist either overcomes or becomes consumed by it. Double Indemnity, Where the Sidewalk Ends, Night and the City, The Killing, and The Maltese Falcon fit into this section rather well. The psychological noir uses genre tropes to investigate someone’s soul, usually stemming from their nearness to sin and death. Scarlet Street, Laura, Female on the Beach, The Chase, Sunset Boulevard, and Kiss Me Deadly fit the bill. Obviously films in each use elements of the other to shade the characters or move the story along, but the texture and flavor is notably distinct,...

The La Weekly's Karina Longworth has turned a lunch with Elvis Mitchell, a lot of research and several phone calls into today's must-read. "One of the best known, and definitely most controversial, living film critics in America, Mitchell is both irresistibly charming and legendarily incapable of playing by the rules, or perhaps simply oblivious to them." And now: "He's been brought to Lacma as the embodiment of a major break from business as usual at the museum's film department." In one of the best pieces of film-related reporting I've seen in a long while, Karina outlines two histories, first, that of Lacma's evolution from "one of the city's premier destinations for cinephiles" to an institution with a "strategy to plumb the film industry for patrons," and second, that of the "former New York Times film critic who lunches at swank restaurants with movie stars and drives off in a cherry-red convertible.