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How now, what news: the Criterion Channel’s July lineup is here. Eight pop renditions of Shakespeare are on the docket: from movies you forgot were inspired by the Bard (Abel Ferrara’s China Girl) to ones you’d wish to forget altogether (Joss Whedon’s Much Ado About Nothing), with maybe my single favorite interpretation (Michael Almereyda’s Hamlet) alongside Paul Mazursky, Gus Van Sant, Baz Luhrmann, Derek Jarman, and (of course) Kenneth Branagh. A neonoir collection arrives four months ahead of Noirvember: two Ellroy adaptations, two from De Palma that are not his neonoir Ellroy adaptation, two from the Coen brothers (i.e. the chance to see a DVD-stranded The Man Who Wasn’t There in HD), and––finally––a Michael Winner picture given Criterion’s seal of approval.

Columbia screwballs run between classics to lesser-seens while Nicolas Roeg and Heisei-era Godzilla face off. A Times Square collection brings The Gods of Times Square,...

Rock ‘n’ roll bands, we’re told, are the closest and most combative of families. They come up in the world together, they eat and sleep and ride a tour bus together, they haunt the recording studio together, they become experts in how to manipulate (and shield themselves from) the media together, and, in a funny way, they break up together. But in 1970, Joe Cocker fronted a band of virtuoso ruffians called Mad Dogs & Englishmen, who put on some of the most musically rambunctious and cathartic concerts of their time, and the strange thing is that the band members barely knew each other.

In 1969, Cocker had made a splash at Woodstock — it was the first time almost anyone had seen his writhing British blues-dog self — and after riding that buzz for a while, he fired his band out from under him and tried to take a break. But an American...