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Old 11-12-2018, 05:56 PM   #181301
Gacivory Gacivory is offline
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Quote:
Originally Posted by Kyle15 View Post
Cronenberg was interviewed recently and said he's working on a restoration of Crash as we speak! Don't know who is going to release it but CC is a safe bet as always.
I saw that! Hopefully it far enough along in the process!
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Old 11-12-2018, 06:06 PM   #181302
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Ali Abbasi's Top 10

https://www.criterion.com/current/to...bbasi-s-top-10
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Old 11-12-2018, 06:08 PM   #181303
SammyJankis SammyJankis is offline
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Quote:
Originally Posted by Kyle15 View Post
Monthly reminder I am obsessively awaiting Lost Highway, Crash, The Tenant, and Gummo if ever possible.
Been waiting for that Lynch for so long. I just caught it on 35mm, which is the best I have ever seen it, and I'm now more impatient than ever. It's fighting for my favorite non-TV Lynch project.
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Old 11-12-2018, 06:45 PM   #181304
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Quote:
Originally Posted by Gacivory View Post
I saw that! Hopefully it far enough along in the process!
It won't be far along enough in the process until I have a Crash bluray in my hand.

Hope 2019 is the year for La Strada!
... and Lost in Translation, The Human Condition

Ok I want too many things. I'll show myself out
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Old 11-12-2018, 06:54 PM   #181305
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Quote:
Originally Posted by Kyle15 View Post
Monthly reminder I am obsessively awaiting Lost Highway, Crash, The Tenant, and Gummo if ever possible.
Crash is likely coming. A couple months back, Cronenberg stated he had just finished supervision on a restoration. And Criterion just posted an image with him holding a bag of swag yesterday.
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Old 11-12-2018, 08:26 PM   #181306
hagios hagios is offline
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Ordered today:



received today!
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Old 11-12-2018, 08:32 PM   #181307
hoytereden hoytereden is online now
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Quote:
Originally Posted by theater dreamer View Post
Thank you. Clift has always fascinated me, so I decided to get off my butt and really explore his work. Of the three "method actors" that really broke the mold in Hollywood, he's always seemed, to me, to be the most underappreciated. Brando lived forever, and was pretty prolific, comparatively. Dean's legend continues to grow, and all three of his feature films have become classics. Clift seems to be the odd man out, even though he worked with so many of the giants, both on the screen, and behind the camera. If you ask the average moviegoer who Marlon Brando or James Dean were, there's at least name recognition. I don't know if the same could be said of Clift. Certainly classic film enthusiasts know better.

I'm keeping a lookout for anything of his playing on TCM, so I'll add both those to my want list. He was so picky as an actor in choosing scripts (much to his credit), but his body of work is, unfortunately, limited, because, as you well know, he never got over that accident while filming Raintree County. I've seen his career decline described as the longest suicide in Hollywood history. Even though he had all kinds of problems after his surgery, the work he turned in was still riveting. I thought he was outstanding in both Nuremberg and The Misfits.

I've got I Confess, Wild River and From Here to Eternity yet to watch on blu-ray, and I'll be picking up Red River before the end of the month is out.
I've been a Clift fan since I was a kid. Red River was my favorite western and I watched it countless times on tv in those pre-VHS days.

Since it'll (probably) never get an upgrade I need to get Indiscretion of an American Wife with Clift. I've never seen the original cut Terminal Station which is also included in the Criterion DVD set. The Selznick cut was barely feature length whereas the De Sica film runs 89 minutes.

Just some personal stuff regarding Clift- My dad flew in the Berlin Airlift and was there when they were filming The Big Lift. He said both Clift and Douglas were good guys as far as mixing with the servicemen during the film.
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Old 11-12-2018, 09:50 PM   #181308
SeanJoyce SeanJoyce is offline
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Originally Posted by hoytereden View Post
Just some personal stuff regarding Clift- My dad flew in the Berlin Airlift and was there when they were filming The Big Lift. He said both Clift and Douglas were good guys as far as mixing with the servicemen during the film.
I still want to kick his ass for making this junker over Sunset Blvd.
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Old 11-12-2018, 11:02 PM   #181309
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Originally Posted by koberulz View Post
WTF are you talking about?
I was replying to Cremildo and thebratpackwrangler, smart alek, LOL.


It was in reference to the notorious way that Criterion jerk around about monthly announcements, based on frivolous things. Like, "We can't announce on Tuesday the 15th, because Monday the 14th was Columbus Day." or whatever.

Anyway, moving along...
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Old 11-12-2018, 11:12 PM   #181310
Ray Jackson Ray Jackson is offline
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Quote:
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Salo is one of the most beautiful movies ever made...even the shit looks real.
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Old 11-12-2018, 11:18 PM   #181311
Al_The_Strange Al_The_Strange is online now
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Quote:
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Salo is one of the most beautiful movies ever made...even the shit looks real.
His exact words are "Even the shit looks special."

He's not wrong though. Salo has a rather baroque flair, and its contrast with the story/content is what makes it such a poignant standout.
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Old 11-12-2018, 11:29 PM   #181312
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Somebody on Reddit contacted Mulvaney about a possible Wong Kar-wai box:

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Old 11-12-2018, 11:34 PM   #181313
Tibor Lugosi Tibor Lugosi is offline
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Why are some Criterion releases out of print? Is there a set amount of discs they release for each title and once they sell out, they're gone forever?
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Old 11-12-2018, 11:38 PM   #181314
KJones77 KJones77 is offline
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Quote:
Originally Posted by Tibor Lugosi View Post
Why are some Criterion releases out of print? Is there a set amount of discs they release for each title and once they sell out, they're gone forever?
No. They do not do limited editions.

They go OOP if they lose the rights to distribute them which can happen for a variety of reasons.
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Old 11-12-2018, 11:38 PM   #181315
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I believe their licenses allow for as much printing as the company wants, but once in a while the licenses run out and can't be renewed for whatever reason.
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Old 11-13-2018, 12:18 AM   #181316
Ray Jackson Ray Jackson is offline
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Quote:
Originally Posted by Al_The_Strange View Post
His exact words are "Even the shit looks special."

He's not wrong though. Salo has a rather baroque flair, and its contrast with the story/content is what makes it such a poignant standout.
I’m trying to envision a scenario where human fecal matter is shot in such a way that it looks special.

[Show spoiler]
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Old 11-13-2018, 12:23 AM   #181317
Ray Jackson Ray Jackson is offline
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I watched Sisters last night for the first time.

I’m not saying it’s a bad movie, but I would rank it as the worst De Palma film I’ve seen among the films he made during his serious period in the 70s and 80s. I’m not counting all the paycheck films he’s made recently, like Mission To Mars.

Dressed To Kill looks like Vertigo compares to Sisters.

...just my personal opinion.
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Old 11-13-2018, 12:26 AM   #181318
Kyle15 Kyle15 is offline
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Quote:
Originally Posted by demonknight View Post
Crash is likely coming. A couple months back, Cronenberg stated he had just finished supervision on a restoration. And Criterion just posted an image with him holding a bag of swag yesterday.
Wowee zowee I'm hype now. Didn't know about that post!
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Old 11-13-2018, 12:28 AM   #181319
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I love OBSESSION and SISTERS, while realizing that many De Palma fans wouldn't agree with that opinion.
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Old 11-13-2018, 12:39 AM   #181320
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Julien Tavernier, a war veteran played by Maurice Ronet (The Fire Within), is having an affair with his employer's wife, Florence, played by Jeanne Moreau (Jules and Jim, La Femme Nikita), and the two of them have devised a foolproof scheme to kill her husband. While working late on a Saturday evening, Julien uses a rope to climb up to the husband's office, commits the murder, places the gun in the corpse's hand to make the death seem like a suicide, and then makes a discreet getaway so that he can leave town with Florence in a half hour. Just as he emerges onto the street and prepares to drive away in his fancy convertible, however, he realizes that he has accidentally left incriminating evidence at the scene of the crime. He quietly reenters the building to retrieve the evidence, only to be stuck in the elevator between floors when the power is shut off for the weekend. At the same time, Julien's car is stolen by a young couple who takes to the highway with reckless abandon on a countryside getaway that leads to another tragic chain of events. As night falls, the abandoned Florence wanders the streets of the city in search of her lover, oblivious to the uncanny twists of fate that have befallen both of them.

The 1958 French film noir, Elevator to the Gallows, which was directed with an adventurous, yet tautly meticulous aesthetic by Louis Malle, who would go on to helm subsequent movies of wildly disparate genres, is one of the most ecstatically suspenseful cinematic depictions of flawed characters whose agendas are derailed by bad luck. This offbeat bridge between Hitchcockian precision and French New Wave vibrancy is laced with electrifying coolness, thanks to the improvised jazz score by the one and only Miles Davis and his accompanying musicians.

The centerpiece of this movie, a luxuriously-paced sequence where Moreau's character walks around Paris at night, illuminated by street lamps and bright storefronts, while the lonely trumpet instrumentation by Davis swirls around a sparse rhythm section, is masterfully melancholic, yet undeniably seductive. During an age of filmmaking when actors and actresses were brought to the screen with utmost attention paid to the photography for a glamorous effect, the producers of this movie were alarmed at the idea of Moreau's face displayed by inherent street surroundings and wind instead of on a professionally lit sound stage, but the end result marked a pivotal evolution point for both the leading woman's career and the future of French cinema. A later scene, with a delinquent pretty crook and his girlfriend lounging inside her cramped apartment, anticipated Jean-Luc Godard's iconic 1960 masterpiece, Breathless.

I have seen Elevator to the Gallows close to a dozen times, but it continues to envelope me in its kinetic thrall, because, like Quentin Tarantino's 1994 blockbuster, Pulp Fiction, it is the type of movie that one can revisit multiple times and still have no idea what will happen from one scene to the next. This is brilliant filmmaking through and through, thanks to its riveting comedy of haphazard errors, where viewers delight at watching the absurd predicaments that the characters get themselves into, and to its jazz-infused visions of evening cafes and bustling night traffic in glorious black-and-white, showcasing 1950s cityscapes that were sometimes crowded, sometimes lonely, sometimes erotic, sometimes dangerous, and always cool.

The Criterion Blu-ray of Elevator to the Gallows brings a 2K restoration of the movie to high definition in a marvelously filmic fashion that is beyond reproach to my eyes. Miles Davis's score has also never sounded better than on this lossless audio presentation. A 25-minute documentary on the music score and its place in the history of modal jazz is the most prominent supplement, and it's wonderfully entertaining in its own right.
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