The Criterion Collection

[CriterionJunkie]

Originally Posted by jw007

The only reason why I'd rank Armageddon just a trifle bit higher than The Rock is that the special effects in that film were amazing, the story is so bad its timeless and a future scenario of an asteroid hitting Earth and wiping out all life is definitely scary (as opposed to blowing up San Francisco with nukes).

I must say, I hear that there is a remake of Robocop coming out soon. I honestly haven't seen that film in maybe 15 years, so it might be worth checking out again soon now with a new remake coming out in 2014.

I'm glad you recognize how "style over substance" has taken over Hollywood cinema (well, it probably peaked during the Michael Bay heyday, but it hasn't really gone away). Wow, that rhymed!

Yes, they are. It's a bit sad too. I really like the Jose Padilla's two movies Elite Squad. They were really strong and entertaining little films from Brazil. I suppose though, as with every other 'hot up and comer', Hollywood finds it necessary to quickly import them here by contracting them to do projects like this (generously budgeted remakes, reboots, action flicks).

I'd rather see someone of Padilla's potential continue to make films that interest him. I can't help but feel that once these talented filmmakers get a taste of more money on their projects, they tend to forget the things that made them so good to begin with. And that's when the studios step in and start dictating what should and shouldn't go.

I've grown tired of movies out today honestly. And there are so many directors who speak of being influenced by the masters from yesterday. But, I only see that they are just copying a film technique or a composition. The masters that came before had a purpose behind their process. And that's what gave it substance. Well, to me anyway.

Which is why I feel filmmakers today are more style over substance. Pretty images but really nothing going on beneath the surface. Though, I'm keeping my eye on on a few new directors (Steve McQueen & Andrea Arnold).

I just watch High and Low today and just love that film! Nothing beats that old black and white film stock that they used back in the day. I don't know of any movies today if they were to shoot in black and white that can rival that same atmosphere Kurosawa and his DP created with that stock. It fit the movie so well as a noirish thriller!

[Nighteyes]

Originally Posted by jayembee

Well, the story goes that after seeing several notable directors working with Criterion on their discs, Michael Bay pretty much begged Criterion to do an extra-special release of The Rock, promising that he'd help with whatever they needed.

Yes. Bay actually considers himself something like a filmmaker, when in fact he can only turn out utter crap. So he went where the real auteurs are, which only makes him look more ridiculous. I have nothing but contempt for that man.

[Carletty]

3 Films By Roberto Rossellini Starring Ingrid Bergman now costs only $59 on amazon! Great price, considering it's not even released yet.

[Norbie]

Originally Posted by ccg1978

What was your first Criterion? Mine was Benjamin Button....no comments please

Rerelease of Seven Samurai & Videodrome were the first DVDs. First discs I ever imported from the US, I'm in Australia.

I couldn't believe what great releases they were, especially with the way the Videodrome DVD was designed!

My first BD were THE LAST EMPEROR & THE MAN WHO FELL TO EARTH. Unlike my first Criterion DVD purchases, I was greatly disappointed by those doggy digipacks.

[aewb]

Originally Posted by Abdrewes

Wow! I can't say I understood all the goings-on in the final hour of Mysteries of Lisbon, but I was very impressed. Who is this Raul Ruiz? I must make it an effort to track down more of his films. I saw a lot of Max Ophuls in the cinematography, and that is a very good thing.

Raul Ruiz.

If you're region free there are a couple of nice boxsets out in France. Picture quality varies but I can't see anyone else releasing them.

3 films.

10 films.

Cinema Guild just released his last film Night Across the Street.

[jw007]

Originally Posted by CriterionJunkie

Yes, they are. It's a bit sad too. I really like the Jose Padilla's two movies Elite Squad. They were really strong and entertaining little films from Brazil. I suppose though, as with every other 'hot up and comer', Hollywood finds it necessary to quickly import them here by contracting them to do projects like this (generously budgeted remakes, reboots, action flicks).

I'd rather see someone of Padilla's potential continue to make films that interest him. I can't help but feel that once these talented filmmakers get a taste of more money on their projects, they tend to forget the things that made them so good to begin with. And that's when the studios step in and start dictating what should and shouldn't go.

I've grown tired of movies out today honestly. And there are so many directors who speak of being influenced by the masters from yesterday. But, I only see that they are just copying a film technique or a composition. The masters that came before had a purpose behind their process. And that's what gave it substance. Well, to me anyway.

Which is why I feel filmmakers today are more style over substance. Pretty images but really nothing going on beneath the surface. Though, I'm keeping my eye on on a few new directors (Steve McQueen & Andrea Arnold).

I just watch High and Low today and just love that film! Nothing beats that old black and white film stock that they used back in the day. I don't know of any movies today if they were to shoot in black and white that can rival that same atmosphere Kurosawa and his DP created with that stock. It fit the movie so well as a noirish thriller!

Yes, those two directors are ones to watch, but there are plenty of up and coming directors that I can't even begin to name because there are so many. It's also true that many directors today are simply imitating past filmmakers in pretentious ways. I can't even begin to tell you how many science fiction films these days all strive to be like Ridley Scott's original Alien film (and there's another one coming out soon, I think its called The Last Days on Mars which looks terribly like the original Alien). I do think that the forthcoming film by Alfonso Cuarón called Gravity is going to be amazing though. That looks completely original and I have to say it might be a white knuckle thriller on the level of Wages of Fear.

After watching Safety Last! for the second time tonight in 3 nights, I am reminded of the simple yet effective tension and thrills created in films made in the early 1920s using real, non-optical, in-camera effects. After I learned how these shots were possible when Harold Lloyd was scaling buildings in downtown LA, I was amazed, but also, thanks to the Criterion supplements, I will never be able to watch this film again with the same level of suspense after knowing how they filmed this. At least I went in with a fresh perspective having no idea and being completely blown away in terms of suspense as I was on the "edge of my couch". This is the power of cinema, 90+ years later. We really don't need filmmakers overusing CGI to try and impress us, because we know the actors/actresses are never in serious danger anyway. Yet in the 1920s when these "stunt" films were coming out, the characters on screen were in potential danger from real-life stunt work. And it wasn't just stunt men doing these things but the main stars as well (ie. Harold Lloyd). People back then were fainting from shock and awe while sitting in movie theaters. Could you imagine? Fainting! Ha. It seems like that is an antiquated thing, as I feel people were fainting much more 100 years ago than today. Today's culture is completely desensitized and the power and magic of cinema is regurgitated over and over and over and over AND OVER again. It's gotten to a point where people are no longer really amazed anymore as we're jaded since we've seen it all.

And that is just on the suspense thriller. But don't even get me started on dramas (which are still my favorite genre of film). I wish substance would be more of a priority than style, but since big Hollywood movies are "franchises" now, the writers are brainwashed by executives and producers into making sure the movie sells well at the box office. Money is #1, art is a distant #10 and there is a lot of filler in between in terms of the priority of the movie's intentions. Unless that is, a legendary director (such as Terrence Malick) is at the helm of the film and won't sacrifice substance for a money-driven movie. Even some well-known directors are selling out now (Spike Lee anyone?), so even the best filmmakers aren't immune to today's trends.

[JoeBuck]

Originally Posted by pro-bassoonist

Hello Joe. Are you sure this is true? My understanding is that what is shown at Film Forum is in fact sourced from Canal (not the new resto).





Pro-B

It's hard to say. On the description it does read "50th Anniversary Restoration" but you never know with these things.
I'm definitely keeping hopeful though!

[TJS_Blu]

Originally Posted by Abdrewes

Wow! I can't say I understood all the goings-on in the final hour of Mysteries of Lisbon, but I was very impressed.

There is a 6 disc DVD (region 2) collection (pretty sure it's English-friendly) of the mini-series along with feature film available in France here. Don't know if that would make it easier to understand or not.

[Abdrewes]

Originally Posted by aewb

Raul Ruiz.

If you're region free there are a couple of nice boxsets out in France. Picture quality varies but I can't see anyone else releasing them.

3 films.

10 films.

Cinema Guild just released his last film Night Across the Street.

Thank you for all those links!

I am not region free, so I will have to seek his films out on streaming very soon.

This should be the next Ruiz film I see:
http://www.amazon.com/gp/aw/d/B00005...AC_SX110_SY165

[Abdrewes]

Originally Posted by TJS_Blu

There is a 6 disc DVD (region 2) collection (pretty sure it's English-friendly) of the mini-series along with feature film available in France here. Don't know if that would make it easier to understand or not.

Well, maybe I'll understand it all much better on a second viewing. I'm just trying to figure out what Blanche de Montfort's role is in the grand scheme of things. I've heard that this is an okay response to the film, that it should leave you a bit perplexed, so maybe I should just leave it mysterious until I see it again.

[smoss469]

Originally Posted by The Great Owl

I would go with the first five on your list. A Man Escaped, The Spy Who Came in from the Cold, Seconds, M, and Tokyo Drifter are all phenomenal.

The Spy Who Came in from the Cold and Seconds both have the best picture quality that I've seen in any black-and-white film releases this year.

Yeah, the last 2 were added after watching The Darjeeling Limited. I might watch them to go on sale a little through Amazon and have them price matched at Best Buy and pay for them with reward zone certs

[The Great Owl]

Originally Posted by jw007

And that is just on the suspense thriller. But don't even get me started on dramas (which are still my favorite genre of film). I wish substance would be more of a priority than style, but since big Hollywood movies are "franchises" now, the writers are brainwashed by executives and producers into making sure the movie sells well at the box office. Money is #1, art is a distant #10 and there is a lot of filler in between in terms of the priority of the movie's intentions. Unless that is, a legendary director (such as Terrence Malick) is at the helm of the film and won't sacrifice substance for a money-driven movie. Even some well-known directors are selling out now (Spike Lee anyone?), so even the best filmmakers aren't immune to today's trends.

I don't think that all hope is lost, but I definitely get what you're saying above.

The trailer for the new movie, Prisoners, looked right up my alley. Most of the reviews for the film are favorable, but several trusted review sites indicate that the film drops the ball pretty badly in the last half. It's too bad, because this sort of thing is par for course now. There are so many 2013 movies that look incredible at first, but my spider sense is triggered by a few red flags when I do a little bit of research online. I was thinking of checking Prisoners out this weekend, but I'm more fired up about watching Blu-rays here.

[Abdrewes]

Originally Posted by The Great Owl

I don't think that all hope is lost, but I definitely get what you're saying above.

The trailer for the new movie, Prisoners, looked right up my alley. Most of the reviews for the film are favorable, but several trusted review sites indicate that the film drops the ball pretty badly in the last half. It's too bad, because this sort of thing is par for course now. There are so many 2013 movies that look incredible at first, but my spider sense is triggered by a few red flags when I do a little bit of research online. I was thinking of checking Prisoners out this weekend, but I'm more fired up about watching Blu-rays here.

It definitely does drop the ball in the last act, hell, I think it drops the ball about 45 minutes in. I'm sure this is not as articulate as the other reviews you have read, but here are my full thoughts: http://filmvice.blogspot.com/2013/09/prisoners.html?m=0

(I'm sure that heavy-handedness I mention is bound to be a turn off)

[Ausjdm]

Late reply was swamped this weekend... Thanks to the members who helped Afew pages back on the Godard Contept discussion to pick the CC version over the Canal blu. I guess ill bite the bullet and buy the more expensive one. Ill take expensive over crap picture quality anyday.

[The Narrator]

Originally Posted by ccg1978

What was your first Criterion? Mine was Benjamin Button....no comments please

Gimme Shelter on Blu-Ray.

[The Great Owl]

Originally Posted by Abdrewes

It definitely does drop the ball in the last act, hell, I think it drops the ball about 45 minutes in. I'm sure this is not as articulate as the other reviews you have read, but here are my full thoughts: http://filmvice.blogspot.com/2013/09/prisoners.html?m=0

(I'm sure that heavy-handedness I mention is bound to be a turn off)

Thanks for sharing that! Your review pretty much confirms what my spider sense was telling me about this flick.

[MifuneFan]

Not sure if it's been mentioned, but there are some really good deals on Criterion titles at Amazon Warehouse Deals. Plenty of sub $20 titles. Thy have a few copies of The 39 Steps for around $17.

http://www.amazon.com/s?me=A2L77EE7U...qid=1379865461

[CriterionJunkie]

Originally Posted by jw007

Yes, those two directors are ones to watch, but there are plenty of up and coming directors that I can't even begin to name because there are so many. It's also true that many directors today are simply imitating past filmmakers in pretentious ways. I can't even begin to tell you how many science fiction films these days all strive to be like Ridley Scott's original Alien film (and there's another one coming out soon, I think its called The Last Days on Mars which looks terribly like the original Alien). I do think that the forthcoming film by Alfonso Cuarón called Gravity is going to be amazing though. That looks completely original and I have to say it might be a white knuckle thriller on the level of Wages of Fear.

After watching Safety Last! for the second time tonight in 3 nights, I am reminded of the simple yet effective tension and thrills created in films made in the early 1920s using real, non-optical, in-camera effects. After I learned how these shots were possible when Harold Lloyd was scaling buildings in downtown LA, I was amazed, but also, thanks to the Criterion supplements, I will never be able to watch this film again with the same level of suspense after knowing how they filmed this. At least I went in with a fresh perspective having no idea and being completely blown away in terms of suspense as I was on the "edge of my couch". This is the power of cinema, 90+ years later. We really don't need filmmakers overusing CGI to try and impress us, because we know the actors/actresses are never in serious danger anyway. Yet in the 1920s when these "stunt" films were coming out, the characters on screen were in potential danger from real-life stunt work. And it wasn't just stunt men doing these things but the main stars as well (ie. Harold Lloyd). People back then were fainting from shock and awe while sitting in movie theaters. Could you imagine? Fainting! Ha. It seems like that is an antiquated thing, as I feel people were fainting much more 100 years ago than today. Today's culture is completely desensitized and the power and magic of cinema is regurgitated over and over and over and over AND OVER again. It's gotten to a point where people are no longer really amazed anymore as we're jaded since we've seen it all.

And that is just on the suspense thriller. But don't even get me started on dramas (which are still my favorite genre of film). I wish substance would be more of a priority than style, but since big Hollywood movies are "franchises" now, the writers are brainwashed by executives and producers into making sure the movie sells well at the box office. Money is #1, art is a distant #10 and there is a lot of filler in between in terms of the priority of the movie's intentions. Unless that is, a legendary director (such as Terrence Malick) is at the helm of the film and won't sacrifice substance for a money-driven movie. Even some well-known directors are selling out now (Spike Lee anyone?), so even the best filmmakers aren't immune to today's trends.

Yes, I'm completely on the same page as you regarding the state of the movies made today as compared to then. As I was watching High and Low, the way Kurosawa composed, shot and edited his shots it was his understanding of the craft that made the end result of that movie very dramatic and thrilling. It's not even an action movie but, yet, you continually watch the characters go from one event to the next. It kept me on the edge of my seat! And that is something I don't really feel when I watch a overblown, CG fest of a movie today.

As you said, movies today are so over saturated with CG on each frame that the audiences have become so accustomed to it they already know and become so disconnected from it. We're not as immersed into movies as we used to because of that. In fact, sometimes when I watch movies with no CG and it's just a straight, by-the-numbers script, it's sad to see/hear audiences react like it's never been done before. I hate to sound like I'm a snob about it, I'm not. I just think after watching so much movies, I'd like to know that I'd like films to stimulate and draw me in where I forget I'm watching a movie.

I also love Malick! I know he's been criticized of late for his last two films, but I really enjoyed them and I can see where he was going with them. It's a different approach to filmmaking and I love that. It's not as straight forward as most movies sure, but (for me anyway) it adds to the repeated viewing because I've always got a different interpretation of his film or I'll pick up something I didn't catch before.

[Yami]

Originally Posted by Abdrewes

Wow! I can't say I understood all the goings-on in the final hour of Mysteries of Lisbon, but I was very impressed. Who is this Raul Ruiz? I must make it an effort to track down more of his films. I saw a lot of Max Ophuls in the cinematography, and that is a very good thing.

It was only after his death that I discovered Ruiz was a Professor of Film and Modern Thought at my local university. I gather he only taught part-time but it would have been nice to attend one of his talks.

[GentleGiant]

Originally Posted by Blu Titan

I'll be watching Late Spring in a few minutes .

I watched it last night for the first time and really liked it. Beautiful bittersweet film.