Ranking the Criterion Collection by Cover Art | Criterion Collection Tier List

Added: 2026-05-06

[00:00:01][music] >> 3 2 1. What's up and welcome to another episode of The Loopylight. This is your weekly show where we obsessively rank anything and everything to do with movies for your entertainment. We're going to be continuing our series on the best Criterion covers here. You can find the link to episode 1 covering the first 25 movies that we ranked here in the description below. We're going to be looking at titles 26 through 50 today from the Criterion Collection according to their spine order, so when they were released by Criterion. So, let's just hop right in and start ranking these. As a reminder, we are only going off the cover art and not talking about what the movie is or anything like that. We're just looking at the art itself. So, number 26 is The Long Good Friday directed by John Mackenzie. It reads, "A combustible performance from Bob Hoskins is the fuse that lights this underworld saga, a landmark of British crime cinema." So, immediately I did notice like I think this is part of like the British flag or something in the background kind of mixed in with like his face here. I really like I guess like the angle and the posture of his face to kind of how it comes in with these leading lines here. I think it's attractive to look at. The color palette is interesting. I like the kind of the bold title over here. I mean, overall I like this one. It's one that is attractive to me when I look at it. It's not one that's going to necessarily stick in my mind, but it's easy on the eyes if that makes sense. I think I would put it like here above these just cuz it has a similar color palette to that, but I do think that it looks maybe a little more professional where these like a little more drawn like this might be more indicative of what the film is like. So, I'm going to go there with that. All right, number 27 we have Flesh for Frankenstein from 1973.

[00:01:48]This is directed by Paul Morrissey.

[00:01:50]"Maverick filmmaker Paul Morrissey's Flesh for Frankenstein reevaluates the horror film infusing it with satiric wit and sexuality." So, obviously we can see the Frankenstein influence on this poster design here with kind of the pieces of the body in this silhouette kind of showing out some of the characters' faces, some of the body horror up here. I am not really a big fan of how this looks overall. It's a little bit ugly in its design, but I also don't think it's uninspired in what it's going for. Yeah, a little bit mixed on that one. This one I wouldn't put it in uninspired, but it probably is going to be way down here.

[00:02:24]Yeah, it's just kind of ugly to me. I'm just going to put it at the bottom there. Yeah. Number 28 we have Blood for Dracula from '74. This is also directed by Paul Morrissey. "Paul's moralistic take on modern values is a brash mixture of humor, horror, and sex, a revelation to fans of the horror film." All right, so I guess that he was just kind of making these interesting like classic MGM monster offshoot films kind of like probably reimagining's of these movies. I haven't seen any of his stuff, so it's kind of an interesting thing we're going here. I mean, I get it. You can kind of see like the bloodlust in his eyes like he's watching someone wanting to hop on someone, suck their blood, Dracula sort of thing. I just I I don't know. This cover doesn't do anything for me, especially with it being kind of the old design up here. I'm not really moved by this. It's also not like gross to me.

[00:03:16]It's just like, "Okay, whatever." I definitely like these better. I'm going to put those at the very bottom of uninspired.

[00:03:25]There we go. Number 29 is Picnic at Hanging Rock. This is directed by Peter Weir from 1975.

[00:03:32]"The sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir on the map and helped usher in a new era of Australian cinema." This is a pretty like magical movie at least like visually and how the audio is made and everything, and I think that the artwork here just really encapsulates that. And I know we're only judging it based off the artwork, but kind of what I'm getting at is I think that this piece I really like the blocking of it. I love the lighting and how it's so like glowing. Yeah, I don't know. This is like a very magical cover to me. I really like the composition of it. Even this branch does a lot for the composition here kind of bringing out this character. I really like how she's clearly the focus, but there are all these other characters in like similar uniforms. Yeah, that's a really cool cover. I actually like that one a lot. I actually did buy this movie on a blind buy. I mean, I knew the director, but that's about it, but I do really like this cover.

[00:04:26]Um this one I'm going to put kind of second to Silence of the Lambs. I think I love that cover. Number 30 from 1931 we have M. This is directed by Fritz Lang. It is a simple haunting musical phrase whistled offscreen.

[00:04:41]It reads, "A simple haunting musical phrase whistled offscreen tells us that a young girl will be killed." All right, I have seen this film. Um really interesting movie. I like this design quite a bit actually how he's kind of catching his reflection here.

[00:04:56]But I don't know. That is like it's a very poignant image him kind of catching his own eyes. You see the craziness.

[00:05:04]Even how he's startled by his own insanity and everything there. Like I think this image says quite a bit. It's simple, but very effective to me to be honest. I like the M kind of coming up on his back there. Yeah, I think that's a pretty good cover. I don't know if it's quite enough to be a blind buy for me, but I do think that that is Looking at some of these. Yeah. Yep.

[00:05:30]Yep. Yep. Yep. Yep. Yeah, I really like this one. I'm going to put it at the top of attractive art. That one's a really good cover. Next up at 31 we have Great Expectations from 1946. This is a David Lean movie. "One of the great translations of literature into film, David Lean's Great Expectations brings Charles Dickens' masterpiece to robust on-screen life." All right, we have the old Criterion Collection design here.

[00:05:53]David Lean's Great Expectations just over kind of a still from the film.

[00:05:58]But to be honest, I'm not a fan of the blue choice for David Lean here. I mean, I like this image from the film. I think it's a good image kind of foreboding, atmospheric.

[00:06:09]The color grading is pretty interesting.

[00:06:11]I just wish maybe the font treatment and everything was a little different and we had the newer design and then I'd feel better about it. Even still, I think because this image is strong enough I'm not turned off by it. The composition is really nice, but that's not one that's going to like stick with me. I'm going to put it maybe like right down here. Seven Samurai needs to be better than that. All right, from Great Expectations to Oliver Twist, another David Lean, but this one 2 years later, 1948.

[00:06:43]So again, we've got the old Criterion Collection design and honestly, this is a very similar situation with the David Lean being in a different color. I do like this. I like the way that this flows better with the blocking here having been so short, the people kind of towering up over him.

[00:07:00]The words kind of going up with that design. I do think that that's kind of nice, but man I that the way that David like is touching the top of that bar is driving me crazy.

[00:07:10]I can't do it. No.

[00:07:13]Makes me want to vomit in my mouth. I hate how that looks.

[00:07:16]It's like touching the black bar there.

[00:07:17]It needs some separation or something. I wish it just said Oliver Twist and David Lean could be like down here or something if they're going to do that.

[00:07:25]That's kind of frustrating to me, but Yeah, I don't know. I guess I would put it around the same place, but honestly, I said it was like better, but that's making me tweak with that stupid David Lean. Yeah, actually I'm going to move it down a little bit.

[00:07:43]I'll put it like right here.

[00:07:44]Cuz I that David Lean ruined everything for me. All right, next up number 33 from 1922 we have Nanook of the North directed by Robert Flaherty. "Robert's classic film tells the story of Inuit hunter Nanook and his family as they struggle to survive in the harsh conditions of Canada's Hudson Bay region." All right. So, that makes sense. Kind of a survival film. Taking this still makes sense for that. It's not one that really jumps out to me too much even with this font design kind of looking like a candy cane right here.

[00:08:16]Like not sure if that's really doing it for me. Again with the old Criterion Collection, just don't love that too much.

[00:08:24]Um I do like this line how it's not like it's angled a little bit. Like that is kind of nice. You can see him leaning into his throw there with his javelin, but yeah. I mean, this one's not going to do anything for me. It's not offensive to me, but it's not going to stick in my mind at all. Let me look at these uninspired ones.

[00:08:44]I'll put it here like above Spinal Tap.

[00:08:47]That one kind of annoys me. This one's not offensive at all. It's just very forgettable to me. Next up at 34 we have Tarkovsky coming in with Andrei Rublev from 1966.

[00:08:59]"Tracing the life of a renowned iconic painter, the second feature by Andrei Tarkovsky vividly conjures the murky world of medieval Russia." All right, cool. I really really like this cover design.

[00:09:12]I feel like it doesn't even speak too much about the plot to me, but it just really speaks to this character. He seems like such a figure with the title being his name. I really like how the font like changes its color here to kind of like, you know, match with the background. That's really cool. Um even down here in Andrei Tarkovsky film. Yeah, that's nice.

[00:09:33]Um I like the branches kind of coming out, how it's all textured and everything. It almost looks like this door opening up behind him, the moon or the sun. I don't know. I really like that. It gives a sense of him being like caught in nature, being caught in the elements. Looks like he's going to go on a pilgrimage.

[00:09:51]This character seems like he's going to be, you know, a strong figure in the film. I don't know. I really like that.

[00:09:56]Again, the new design. This would look really ugly with that old design up here, but I really like this one a lot.

[00:10:02]I would buy this one blind. Like that stands out to me. It's so pretty to me.

[00:10:06]I would put this Ooh.

[00:10:10]I might put this right under Picnic.

[00:10:11]Like that's an awesome cover. I love that. Next at number 35, we have a Diabolique from 1955.

[00:10:19]All right, so I do like this cover quite a bit.

[00:10:23]Um let me read the plot description real quick. Before Psycho, Peeping Tom, and Repulsion, there was Diabolique. This thriller, which shocked audiences in Europe and the US, is the story of two women, the fragile wife and the willful mistress of the sadistic headmaster of a boys boarding school, who hatch a daring revenge plot. I actually really like this cover. I did buy this one blind um based off the cover alone. I think that just like the leading lines here moving into this hand pushing the head underwater, the bubbles and everything.

[00:10:54]I really liked this. Even how the title kind of comes up with the ripples of the water, the director's name down here. Um yeah, that's a I really like this one.

[00:11:03]Very nice design, really good kind of color direction here with this hand coming down. Very striking. I like this one a lot. It did catch my eye and I would put this in blind buy. I'm trying to decide if I like this more or less than the Titanic and 400 Blows. High and Low also is really good. I might put this one right above High and Low.

[00:11:28]Yeah. Next, we have the original Wages of Fear from 1953 by the same director. In a squalid South American oil town, four desperate men sign on for a suicide mission to drive trucks loaded with nitroglycerin over a treacherous mountain route. This is one that has always stood out to me because of I mean, because of the artwork here.

[00:11:50]Um this is one that I actually haven't bought yet, but I very much plan to buy um and that was before I knew much about the movie. That was solely based off this artwork. I just love everything about this. How we see the different smoke plumes, the the truck up here kind of falling off um this bridge, the character's trying to save it, the mountainside leading up. Um I really like just the harsh line into the title down here. This is an awesome awesome cover. I love the kind of black and white look of it all. Man, I just really like the perspective of this. It seems so exciting and adventurous just from the cover there. This is one that's going to kind of shoot up for me. I'm going to put this right above I am a big fan of that one. I might actually move this one up.

[00:12:36]Yeah, I'm going to put that at the top.

[00:12:38]I love that one. Now that I think about it, does this deserve more? Does this deserve more? Should this be our second one? Forget it. I'm going to put this right here. I love that cover. That's like a perfect cover to me. Yeah. 37 is Time Bandits from 1981.

[00:12:55]This film was directed by Terry Gilliam.

[00:12:57]It reads, "In this fantastic voyage through time and space from Terry Gilliam, a boy named Kevin escapes his gadget-obsessed parents to join a band of time travelers." All right, so this cover here definitely alludes to the adventurous spirit of the film, kind of those boat going on the voyage. I really like how the title and the structure here is poking up through the grids in the sky here. Um it kind of alludes to some of the sci-fi elements um or yeah, just the very like high fantasy elements, high concept elements is I guess what I'm looking for. Interesting cover, it's it definitely jumps out and it's memorable.

[00:13:37]I have seen this film and I would say kind of like the cover here. It gives a certain like zany energy that oh my god, I didn't even see his face down here. It gives a certain zany energy that makes me scared to watch it.

[00:13:53]>> [laughter] >> If that makes sense.

[00:13:55]Um but I think it's memorable. It's a good cover.

[00:13:59]I think it's better than a lot of these.

[00:14:00]Like it's definitely more memorable than some of these. Even like I feel like that one might be too high.

[00:14:06]I'm going to put it under Salo cuz I do think it's a good cover. It's just like frightening. Next up at 38 is Branded to Kill.

[00:14:16]Directed by Suzuki here.

[00:14:19]This one reads, "When Japanese New Wave bad boy Suzuki delivered this brutal, hilarious, and visually inspired masterpiece to the executives at his studio, he was promptly fired."

[00:14:30]All right, well, that kind of tells us enough, I guess. Interesting cover here.

[00:14:36]It's interesting seeing just like the texture of the shot, kind of showing off the character hidden behind his glasses and everything, but just the stark kind of butterfly imagery here. Um I do really like the title coming up on this big wing here.

[00:14:50]It's It's nice. Part of me wonders if these butterflies needed to be a little more textured, not so harsh, or if that kind of adds to it. I'm not completely sure.

[00:15:00]I think or maybe there needed to be like a gradient with it, if that makes sense.

[00:15:05]Like these needed to be more textured leading up to this one being like the most harsh.

[00:15:10]I'm not sure.

[00:15:11]Either way, I think it's a nice cover.

[00:15:13]It's I do like the pink coming off a lot right here. That's really nice. Yeah, I like this one.

[00:15:20]I think I actually think similarly, I would put this up here with Time Bandits. I think Time Bandits is better to me, though.

[00:15:29]Yeah. 39, same director from 1966, so a year prior is Tokyo Drifter.

[00:15:37]So this has always been a cover that was interesting to me um based off of like these frames of motion catching this character.

[00:15:47]Um it's always been one that I never knew if I like loved it or hated it, um which definitely makes it memorable.

[00:15:54]Um the description reads, "In this jazzy gangster film, reformed killer Tetsu attempts to go straight is thwarted when his uh former cohorts call him back to Tokyo to help battle a rival gang."

[00:16:08]I mean, I do think this is interesting based off that title. I think it's kind of interesting seeing this one where like he's still, but then he's like propelled into action or something.

[00:16:17]Maybe that's the idea is like how quickly one can be turned into a violence and he's having to shoot all directions, kind of forward, left, right, spinning around, looking on the different directions. The threat can come from anywhere. Tokyo Drifter. It's a memorable one to me. Um I still don't know how much I actually like it, but it's a very It's definitely inspired. Um it's a really cool cover.

[00:16:43]And because of that, I think I'm going to put it above a lot of these that are just kind of like all right to me. Um I think I'm going to put it Yeah, right under Branded to Kill.

[00:16:55]Yeah.

[00:16:56]It feels good. All right, we hit number 40 with Armageddon. This is from 1998 directed by Michael Bay and this is disgusting. What am I looking at? Oh my god. I hate the old Criterion Collection completely blending in. Like I mean, I get it. Like it's just darkness. You see the rim of the planet and the fire.

[00:17:16]Armageddon.

[00:17:18]Bruce Willis and an all-star cast of roughneck oil Yeah, roughneck oil drillers blast off on a mission to save the planet in Michael Bay's space epic.

[00:17:28]With an absolutely disgusting cover.

[00:17:31]It's an abomination. Get that out of my face. Moving right the freak along.

[00:17:36]Henry V by Laurence Olivier. This is from 1944.

[00:17:42]Olivier mustered out of the Navy to film this adaptation of Shakespeare's history. Um all right. So kind of interesting uh seeing like the fifth logo here coming in with like a film strip. I guess just saying like this is the film adaptation of Henry V. It's not uninspired, but it's ugly. I I don't know. It doesn't make me want to watch the film necessarily. I think if they just leaned into the set like the the production of what he actually filmed and everything rather than emphasizing like, "Hey, this is like the film about it."

[00:18:16]Like I get it. Maybe it's like, "This is the defining movie." But I don't know.

[00:18:20]I'm not a huge fan of how that one comes off right there.

[00:18:25]I mean, it's not uninspired.

[00:18:28]I'm trying to decide if this is the bottom of attractive art or like the top of ew cuz like it is kind of gross. I think it's just a poor decision.

[00:18:36]I'm feeling spicy.

[00:18:40]42 is Fishing with John from 1992 directed by John Lurie here. John Lurie knows absolutely nothing about fishing, but that doesn't stop him from undertaking the adventure of a lifetime in Fishing with John. Traveling with his special guest to the most exotic and dangerous places on Earth, John Lurie battles sharks with Jim Jarmusch off the Okay, so all of his adventures. Is this a documentary?

[00:19:06]I guess this must be a documentary. I guess that gives more context to the cover, which is good that we read that because I guess this is him going on adventures with other directors, other filmmakers, and just kind of being an encapsulation of that.

[00:19:23]All right. I'm not against some of this design down here, but I don't know what the freak is going on with this font up here. Oh my goodness.

[00:19:33]Um Oh, no.

[00:19:37]>> [laughter] >> The energy this is giving is like a Neill Blomkamp movie or something. I'm so sorry. I I can't unsee it. All right.

[00:19:47]43 Lord of the Flies from 1963 directed by Peter Brook. In the hands of the renowned experimental theater director Peter Brook, William Golding's legendary novel about the primitive primitivism lurking beneath civilization becomes a film as raw and ragged as the lost boys at its center. Wow, I have never seen this cover before, but this is incredible. I love the work how the colors blend in and out of each other, how the characters faces blend in and out. That is really cool. It's very striking. I love the design of his face, the design of like the flies wings and everything. Man, that is wow. That's a cover right there. Not a movie I necessarily had on my wish list, but I'm going to put it on my wish list now just because of this cover. Maybe better than the movie, but that's a striking cover to me. Freak it.

[00:20:42]That's an incredible cover. I'm going to put that at the very top, dude. Like I was like blown away just looking at that. That was awesome. 44, we have The Red Shoes from 1948. This is directed by Michael Powell and Emeric Pressburger.

[00:20:57]The Red Shoes, the singular fantasia from Michael Powell and Emeric Pressburger, is cinema's quintessential backstage drama as well as one of the most glorious Technicolor feast ever concocted for the screen. This is one that I bought purely based off of the cover actually, which is kind of a surprising to say given the simplicity of it, but I think there's something about the combination of color work here and the fact that a lot of the frame is kind of out of focus leading into the focus kind of grabbing sweat off her forehead leading into her reclining on her hand here with the red kind of highlighting her skin and the you know, backlighting her hair and everything.

[00:21:42]The red shoes, catching her makeup. I don't know. There's something where it's all just very like uniformed and like there's a vision for this. It's an odd one. Maybe it doesn't strike people as much as it does me, but it's the expression on her face. It's the posturing. It's the color work. It's the soft focus leading into the sharper focus. Um yeah, I don't know. I really like this design and it did cause me to buy it blind one time. I would put this one I think I'm going to put it here next to The 400 Blows. I'm going to put it right above The 400 Blows. No, I'm going to put it right above a night to remember.

[00:22:22]Cuz I think that like it's simplicity Some of these I kind of knock for their simplicity and being uninspired, but I think a cover can be simplistic if it has just the right ingredients and that's why I want to kind of give it some credit there. All right, we have like five more. Number 45 is The Taste of Cherry from 1997, directed by Abbas Kiarostami. The first Iranian film to win the Palme d'Or in this austere emotionally complex drama by the great Abbas Kiarostami follows the enigmatic Mr. Badii as he drives around the hilly outskirts of Tehran looking for someone who will agree to bury him after he commits suicide, a taboo under Islam. All right.

[00:23:07]This is one I bought simply for the cover because of this character just kind of being lost in this sea of what looks like sand or fog or something or dirt in the air with even the title kind of fading in and out with also me not understanding what the title meant.

[00:23:25]I think The Taste of Cherry is a pretty like abstract title for what this is going for, even for what the plot description is going for. All of the elements came together to really grab me, even how his hand I think if he was just like a figure sitting there with his arms down kind of like this one it would be less interesting, but with how he kind of has his hand outstretched here like he's asking for something and his expression here even though he can hardly see his face, it looks like he's yearning or something like that.

[00:23:53]I'm in love with this cover. This is one of my favorite Criterion covers. It got me to blind buy the film and I did not regret it. This is a classic. Those movies incredible. Man, man, man, man, man. I'm going to put this one as number two. I think that one is phenomenal, but Lord of the Flies just like knocked my socks off. So I think I think that's a strong like top four so far. Next to 46, we have The Most Dangerous Game from 1932. This is directed by Ernest B.

[00:24:22]Um Schoedsack and Irving Pichel if I announce those name or pronounce those names correctly. Interesting kind of like infrared look here at these characters looking up. Not a big fan of the old Criterion Collection design here. I do think this is interesting.

[00:24:40]When I was looking at it on the previous page, I was like, oh man, I'm not going to like this, but now that I get a closer look at it, it is kind of interesting seeing these they look like they're being hunted or something which goes along with The Most Dangerous Game.

[00:24:52]They're looking up, they're scared, they look like they're being seen in the night time even if they're trying to hide. I do kind of like that actually. One of the best and most literate movies from the great days of horror, The Most Dangerous Game stars Leslie Banks as a big-time game hunter with a taste for the world's most exotic prey, his house guests.

[00:25:10]Okay, cool.

[00:25:12]I do like this cover actually. It's kind of striking, kind of interesting. If only it had the better modern Criterion Collection logos and everything, but it is a very interesting cover. I'm going to put this one in attractive art cuz I do think it stands out more than some of these, even maybe more than Branded to Kill.

[00:25:32]I think I'm going to put it right here.

[00:25:34]That's a pretty interesting cover right there. 47 is Insomnia from 1997, directed by Erik with a Norwegian last name that I do not know how to pronounce. I apologize. In this elegantly unsettling murder mystery, Stellan Skarsgård plays an enigmatic Swedish detective with a checkered past who arrives in a small town in northern Norway to investigate the death of a teenage girl. All right, so Insomnia, I do like how it kind of fades like from brightest into the darkest of the frame here, how it's just this character's cold face feels like a murder.

[00:26:10]Really interesting seeing this bright light coming off this eye here, maybe like a flashlight is shining on it.

[00:26:15]They're checking Insomnia. It's a nice cover. It's spooky. Um it gets the point across. I like how a film by Erik here is kind of like slightly off-kilter from the Insomnia title. Everything is just like slightly off. Unsettling. I like that cover overall. It's a very nice color palette on that one. Just because I don't know if I like Tokyo Drifter or not. I think I'm going to put this one just right above it, but under Branded to Kill.

[00:26:41]It's pretty nice. Three more. We're up to Black Orpheus by Marcel Camus from 1959.

[00:26:50]Let's see. Black Orpheus brings the ancient Greek myth of Orpheus and Eurydice to the 20th century or Eurydice to the 20th century madness of carnival in Rio de Janeiro. That's That's actually pretty interesting. I haven't seen this film before. Kind of an interesting cover. It gives the vibes.

[00:27:09]Kind of mixing the Greek with like the carnival. I feel like I wouldn't be completely sold on this knowing if this is a good film or worthwhile film based off this. I don't know. Something about it comes off like it could be very cheap to me, but I don't know anything about this movie. Doesn't matter. We're just judging it for the artwork.

[00:27:29]>> [singing] >> I don't know. Maybe it's like just a strictly black background is throwing me off a little bit with this one. I'm pretty torn on this one. I'm a little bit mixed. It isn't the worst like at all, but I'm also not blown away by it.

[00:27:45]Um what feels right? What feels right?

[00:27:49]Uh shoot. I don't know where to put this one. I guess I'll put it in kind of this area down here. Maybe just like there.

[00:28:01]Part of me wants to make a new category cuz I'm not happy with some of these being in attractive art.

[00:28:08]I'm going to call it mixed and move it above uninspired.

[00:28:16]Let's see.

[00:28:18]Yeah, really starting with this one, Great Expectations, down. These I'm very mixed about.

[00:28:31]I feel better about that. What color do we want mixed to be? Or do we like just kind of that dead color >> [laughter] >> there in the middle?

[00:28:41]Yeah, I'll do that. Okay. I'm okay with that. I think that I didn't like giving some of these like the attractive art label. I can live with that better. All right, moving on here to Kapuscinski, we have a little combo pack by Federico Fellini starting with Nights of Cabiria.

[00:28:57]Cabiria, an irrepressible, fiercely independent sex worker who as she moves through the sea of Rome's humanity through adversity and heartbreak must rely on herself and her own indomitable spirit to stay standing. Essential Fellini. A little branding up there, Nights of Cabiria. Nights of Cabiria here. Okay. Um I do kind of like the framing of this like it's in a little like um photo book or something or in a picture frame. It's a design. It's kind of interesting, kind of nice. I I do like it, especially if that's part of a collection.

[00:29:30]Um I don't mind that at all. I think that one I kind of feel it's like down here in this category. Um for now, I'll put it right above these.

[00:29:43]I do like it overall. All right, so So we are. Number 50 with the other Fellini one from 83 this time, and the ship sails on.

[00:29:52]In this late career highlight from Fellini, the ringmaster Autore trades his customary spectacles, the cinema, the circus, and the variety at a show stage for that of the opera in a quirky imaginative fable set on the high seas.

[00:30:05]So we have just another piece of the Fellini collection here with this character and popping out an oddball, right? I'm thrown off a little bit by like the orange or the red of this like tie piece around his neck and everything. I feel like it clashes a little bit, but other than that, I like the design overall. I think I like this one better though. Um I'm going to do I put these together?

[00:30:30]I feel like hers is more attractive.

[00:30:33]I might just put it here.

[00:30:35]Just to throw shade for no reason.

[00:30:39]All [snorts] right, well, that is where we're at for being up to 50. Um we now have four of these. Assisting Chapel got nothing on this. So I really like the artwork. These are beautiful covers.

[00:30:50]We also filled out the lowest tier, got some mixed category in here now. Um I like that. I feel like that spreads it out pretty well. We have a good spread so far. I like this.

[00:31:01]What are the ones I got wrong? Y'all tell me what y'all would have done differently. Um what are your top one so far? Even if you have a top four, what would your top four look like? Tell me in the comments below.

[00:31:13]Um consider liking and subscribing if you like the content and everything. I know y'all responded well to the first video in this series, so I'll continue working on these and I have a fun time doing them. Maybe when the Criterion sale happens in the summer, I'll do a bigger video covering more movies or something like that. Um but yeah, thanks for checking out this video, guys, and I will see y'all on the next one.