The Criterion Collection

[Danespina]

Question. Can anyone tell me if the packaging for Criterion’s recent 4K discs are different than their blu-ray counterpart? For example Lost Highway, Thelma & Louis, Fisher King, Seventh Seal etc.

Only Criterion 4K I own is Wall-E. And that was thicker than a traditional criterion blu-ray.

[Mister_Kidd]

Originally Posted by Danespina

Question. Can anyone tell me if the packaging for Criterion’s recent 4K discs are different than their blu-ray counterpart? For example Lost Highway, Thelma & Louis, Fisher King, Seventh Seal etc.

Only Criterion 4K I own is Wall-E. And that was thicker than a traditional criterion blu-ray.

NOTLD is different. The BD was one of those cardboard jobs and the UHD is a regular plastic case.

[FragnitoM]

Originally Posted by Danespina

Question. Can anyone tell me if the packaging for Criterion’s recent 4K discs are different than their blu-ray counterpart? For example Lost Highway, Thelma & Louis, Fisher King, Seventh Seal etc.

Only Criterion 4K I own is Wall-E. And that was thicker than a traditional criterion blu-ray.

Wall-e 4k will have an extra disc than the bluray, that’s probably why

[MifuneFan]

As a general rule, releases with 3 discs will more likely come in Digipaks. Shaft 4K was one of the rare 3-disc sets to come in a plastic case.

[randian]

Originally Posted by MifuneFan

As a general rule, releases with 3 discs will more likely come in Digipaks.

Unfortunately Criterion isn’t limiting Digipaks to 3 disc sets (insert obligatory anti-Digipak rant here).

[mclellandj]

re: Pasolini set: If anyone from Criterion reads these forums, please stop packaging your films in these cardboard books. My discs were stuck upon arrival and eventually came out with light scratches.

[Shane Rollins]

Originally Posted by mclellandj

re: Pasolini set: If anyone from Criterion reads these forums, please stop packaging your films in these cardboard books. My discs were stuck upon arrival and eventually came out with light scratches.

Thanks bro. Pasolini just moved way the hell down my list. I don't hate Digipaks/Digibooks per se, I just hate bad packaging in general (Citizen Kane, for example.

How's Pasolini stack up against CK? Which one's worse?

[Shane Rollins]

Originally Posted by Mao

Thanks! Just waiting for "After Hours" and "One False Move" to get matched...

I'm not usually one to piss about cover art, but man that is one bad cover on One False Move. It looks like one of those third-rate indie films Lionsgate would release, when in fact it's so much more than that. If it weren't for the Criterion C and the spine, I honestly would've looked right past it.

I'm also one of the few who likes the new cover for After Hours. The OG artwork is still king, but the new one is still pretty good. Both of them capture the mood of the movie, as well as what Paul must feel like throughout the movie.

[Shane Rollins]

Originally Posted by InUCTiEn

Any reason I shouldn't order a digipack from Barnes & Noble? I figure having it shipped from anywhere runs some risk of damage.

Could be worse. You could try in vain to explain to one, then two, then three, then four, then five B&N employees plus loss prevention plus two big guys just standing there why you would like a box set without the spider wrap. That's the reason why I still don't have the Godzilla Showa set four years later.

[hainesdogg]

Originally Posted by Danespina

Question. Can anyone tell me if the packaging for Criterion’s recent 4K discs are different than their blu-ray counterpart? For example Lost Highway, Thelma & Louis, Fisher King, Seventh Seal etc.

Only Criterion 4K I own is Wall-E. And that was thicker than a traditional criterion blu-ray.

Time Bandits 4K comes with a Lenticular Slip.

[BoydR12]

Originally Posted by Shane Rollins

I'm not usually one to piss about cover art, but man that is one bad cover on One False Move. It looks like one of those third-rate indie films Lionsgate would release, when in fact it's so much more than that. If it weren't for the Criterion C and the spine, I honestly would've looked right past it.

I'm also one of the few who likes the new cover for After Hours. The OG artwork is still king, but the new one is still pretty good. Both of them capture the mood of the movie, as well as what Paul must feel like throughout the movie.

People have overwhelmingly really liked the after hours cover.

[DAT_JB]

Still several 4K titles haven't been price adjusted on amazon.com..
How long is the sale on?

[trobrianders]

Criterion unboxing vids used to go up very soon after release. Are people just not bothered about posting them anymore?

[Bates_Motel]

Originally Posted by Shane Rollins

I'm not usually one to piss about cover art, but man that is one bad cover on One False Move. It looks like one of those third-rate indie films Lionsgate would release, when in fact it's so much more than that. If it weren't for the Criterion C and the spine, I honestly would've looked right past it.

It's an homage to one of the original pieces of poster art, that was also used for Laserdisc and DVD.



And the film WAS a third rate indie film, more or less. It was going straight to video until good word of mouth got it a limited theatrical run by a nobody distributor.

[jw007]

I finally got around to watching Moonage Daydream last night. I know this film is being released in September in the Criterion Collection but I had to finally get around to seeing this. I watched it on my giant screen via my Epson EF-12 HD laser projector. My entire wall was filled with David Bowie.

I'd call this film a VERY non-conventional documentary. It plays much more like narrative cinema, with Bowie's voice spliced over endless sequences, synchronizing with the music and images. What I think is brilliant about Brett Morgen's film is how he was able to incorporate all of these clips from other films, art pieces, theatre, concerts, interviews, and pop culture. As I watched the credits, I was impressed by his referential material, and it reminded me of a "cinematic DJ" sampling all sorts of elements into his creation.

The takeaway for me is pretty much that. The film is excellent at weaving together so many diverse images outside of David Bowie's life. The montage-style editing is tremendous. The film doesn't teach me too many things aside from Bowie's existential views on life and death which I found illuminating at times. The film isn't aiming to be a complete story about the legendary rock star either. It focuses on Bowie's 25 years between the early 1970s and late 1990s. Sure, I would have liked to have seen something about his burnout during the "A Reality Tour" in 2004, his last few albums, and his subsequent health problems, but that's not the focus here (and one can check out the other film David Bowie: The Last Five Years).

Yes, it's long and clocks in at about 140 minutes, but time no longer becomes relevant when you're sucked into something as absorbing as this. The movie is one spectacular montage, and gave me a personal trek into Bowie's brain. At times I simply didn't want to leave.

[Markgway]

Originally Posted by Bates_Motel

Ah, the infamous censored poster with missing gunman.

[dvining]

Originally Posted by DAT_JB

Still several 4K titles haven't been price adjusted on amazon.com..
How long is the sale on?

Usually about a month. Amazon has also been letting a lot of the sales prices linger for weeks and months after the end of the BN sale. Not all, but some.

[DAT_JB]

Oh okay. I thought this sale was always just a 48h thing.

[Gacivory]

Originally Posted by DAT_JB

Oh okay. I thought this sale was always just a 48h thing.

That’s the flash sale from Criterion’s own site.

[Mushi Minion]

Originally Posted by Shane Rollins

(For those who aren’t familiar with their laserdiscs, some of them include King Kong, It’s A Wonderful Life, The Wizard Of Oz, Monty Python And The Holy Grail, The Silence Of The Lambs, Chasing Amy, Pulp Fiction, and even The Rock and Armageddon. They also planned but cancelled a laserdisc of Gone With The Wind.)

They were making their way through the James Bond movies too before the EON producers took offense at how candid their directors were in the commentary tracks.