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Old 06-17-2010, 03:48 PM   #11241
italy12 italy12 is offline
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While you're on the topic of animated titles and/or musical movies, I couldn't help thinking about two films that I would love to see, but will probably never see, released by Criterion:

The Triplets of Belleville
Pink Floyd's The Wall

What do you guys think of these titles?

-Dave
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Old 06-17-2010, 03:57 PM   #11242
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Quote:
Originally Posted by italy12 View Post
While you're on the topic of animated titles and/or musical movies, I couldn't help thinking about two films that I would love to see, but will probably never see, released by Criterion:

The Triplets of Belleville
Pink Floyd's The Wall

What do you guys think of these titles?

-Dave
I was just thinking this morning about when The Wall would come out on blu.
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Old 06-17-2010, 04:01 PM   #11243
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Originally Posted by Arkadin View Post
[

that's part of it for sure.
I may have actually been thinking about another film with more extensive changes to tell you the truth.
I just knew that there were some differences.
I don't think I realized the original UK film had the "Hey Bulldog" sequence.
I have the VHS tape and have been meaning to make my own direct comparison for some time.
I honestly though I had read long ago that the order of some of the sequences had been changed somewhat, but I'm not finding evidence of that at the moment.
maybe I ate too many shrooms myself one time.
I think there may be other color timing changes plus definitely sound differences from new mixes of the soundtrack and what not.
LOL...ah yes...I had my share of those "experiences" in my youth as well.

With Neil Young and Tom Petty becoming big supporters of music on blu-ray, I hope that we get to see some/all of the Beatles catalogue come out on blu-ray (including the movies). I guess if Yoko, Paul, Ringo, and George's widow get greedy enough, this may happen. Hey...they allowed Cirque to do a Beatles themed show..why not!?
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Old 06-17-2010, 04:19 PM   #11244
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Quote:
Originally Posted by italy12 View Post
While you're on the topic of animated titles and/or musical movies, I couldn't help thinking about two films that I would love to see, but will probably never see, released by Criterion:

The Triplets of Belleville
Pink Floyd's The Wall

What do you guys think of these titles?

-Dave
Dave...DON'T get me started on animation!

I've got The Triplets of Bellville on DVD and really enjoyed it. It would seem to fit in with the Criterion motif. It was released on DVD in the US by Sony, so I don't know if we'll ever see a release of it on Criterion.

Disney continues to release animation titles very well on BD...CAN'T wait for Fantasia...I'm sorry that the BD release got delayed, but we should see it sometime next year.

The Wall would definitely be of Criterion calibre, but it was released by Sony as well, so who knows?!

There is a bevy of classic animation (that is not property of Disney or WB), that would be GREAT candidates for Criterion BD or any BD release. Felix the Cat (not the 60s cartoon...but the 20s silent shorts) would be a nice first effort. Image did a DVD release in 1999 and the collection is wonderful.

There's old Fleischer cartoons as well, but I could see "rights" issues playing a big hand here...look how long it took to get the classic Popeyes from the 30s and 40s released on DVD, due to ongoing negotiations with WB and King Features...

I told you not to get me started!
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Old 06-17-2010, 04:20 PM   #11245
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Originally Posted by italy12 View Post
Just watched The Wages of Fear for the first time the other night....wow! What an incredible film! This has to be one of my favorite CC's at the moment, even after viewing Pierret le Fou, Walkabout, Marienbad, Stagecoach, M, and some of the Brakhage Anthology for the first time as well.

I still have quite a bit to go through this summer as I make my way through my collection, but I can only imagine something that would top it.

Next up: Revanche, Playtime, and The 400 Blows...

-Dave (psyched about Charade)
I realy liked Wages also, but for whatever reason didn't sympathsize with the main characters as much as the director wanted me to, so it seemed to limit the level of suspense.

Revanche is great! And Playtime is an all-time favorite! Enjoy!
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Old 06-17-2010, 04:27 PM   #11246
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So, Criterioncast have a pic up of what they are saying is the cover of "Thin Red Line". While the image could def be, its doesn't have any Criterion markings on it and even more awful is it has the bluray bar across the top. of course, its never gonna come out that way, but here's a link if you guys wanna see at least the image that might get used:

http://criterioncast.com/2010/06/17/...ction+Revealed


what i did enjoy most from that article is the link they provided to more of Kellerhouse's work. here's that link for your visual enjoyment:

http://www.kellerhouse.com/#/?item=WORK
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Old 06-17-2010, 04:28 PM   #11247
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Wages is always the first one I recommend to those who come into this thread blindly......
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Old 06-17-2010, 04:30 PM   #11248
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Quote:
Originally Posted by neo78956 View Post
Seeing as how you're a huge fan of Godard, I'm curious as to what your thoughts on Truffaut are. Both are generally considered the founding fathers and most important filmmakers of the French New Wave, so there are bound to be comparisons.
The comparisons are strictly during their earlier work. Once the two began receiving funding for their films, Truffaut I felt stayed true to his style (but also received American support financially for his films) while Godard began going through major political changes to the point he was alienating everyone that was once close to him. To put it plainly, he became a political propagandist.

The two were like Lennon/McCartney but the fact is that Truffaut was consistent, Godard was the revolutionary. Truffaut admired cinema and its auteurs, Godard had contempt towards cinema towards himself and his fellow filmmakers.

And of course 1973, was the year the two had their most public split. We know from his films that 1968 and on...Godard was not the same type of director that people knew via the French New Wave. He lost support from critics and even several of his former friends/filmmakers.

It's one thing that he had his own Super-8 video equipment but the fact is, unlike Truffaut, he was not getting any money. So, probably the most agressive thing he did was to criticize Truffaut on his film "La nuit americaine" (Day for the Night). Sent Truffaut a letter and called him a "liar" for leaving things out of his film and to make amends, Truffaut should send him money to make a film in response. (it's important to note that he even sent a letter for the film's star and an actor he had worked with, Jean-Pierre Leaud).

What Godard received was a 20-page letter of 15 years of frustrations that Truffaut had with Godard.

Jean-Luc.

So as not to oblige you to read this disagreeable letter to the end, I begin with the essential: I will not enter your coproduction in your film.
Second, I am returning your letter to Jean-Pierre Leaud: I have read it and find it disgusting. It is because of this that I fell tha the time has come to tell you, at length, that in my view you behave like shit.


What he wrote to Leaud was asking for money. Truffaut felt it was disgusting that a director would ask a poor actor for financial help. Truffaut had said that if the letter to Leaud was not included, he would have helped out Godard.

In this 20-page letter, Truffaut went all out and of course, kept calling Godard "shit" to his unprofessionalism of trying to seduce his female actresses, not showing up to film festivals when he promisted to attend, calling Pierre Braunberger a "Dirty Jew" (interesting to note: that even his 70's filmmaking partner Gorin, when Gorin tried to recoup the money he had made with Godard, Godard made a similar comment which ticked Gorin off).

But in the letter, Truffaut continued:

"Anyone who has a different opinion from yours is a creep, even if the opinion you hold in June is not the same one you held in April. In 1973, your prestige is intact, which is to say, when you walk into an office, everyone studies your face to see if you are in a good mood."

You have never succeeded in loving anyone or in helping anyone. Other than by shoving a few banknotes at them.

Truffaut then added in the letter of all the times he went to bat for Godard, helped him financially especially in "Contempt" when Truffaut was asked to replace Godard and didn't. Telling Godard that he was jealous of him and including a letter when Godard demanded money from him for the production of "Two or Three Things".

And ended with:

"In any case, we no longer agree about anything."

Needless to Godard continued his tirade towards Truffaut and even at his death, there were no signs of Godard letting up.

"I am amazed that people who lack ideas for new films (including some old friends like Truffaut, Rivette, who don't have any more ideas than the guys whom they denounced twenty years ago), continue to adhere to the one and self-same system of filmmaking, which is easy to describe: a sum of so many million, multiplied by so many weeks, multiplied by a certain number of people."

In 1977, he did a talk with students and reviewed his career and said that he was relieved that his films after "Breathless" were financial failures. In his mind, he felt it kept him from becoming what he thought Truffaut had become: someone who "Talks to nobody, except to Polanski". Godard felt that Polanski and Altman films "pretend to be intellectual when it's pure merchandise". He felt their style was dishonest. He felt that Truffaut was part of that group.

I do feel that in 1973, that letter stung Godard to his core. No one would dare tell him how they felt about him in such a manner, nor use the past as evidence to show how Godard was to them and he used his friendship. I think it was stinging to him because it was Truffaut. The man who has helped him so much.

Needless to say, both men are apples and oranges when it comes to their approach to filmmaking. Truffaut is right that how Godard is one month, he was different the other. Godard was complex and I think that's why we love his films.

Godard inspired filmmakers with his attitude and doing things his way even if it angered his producers. While Truffaut, I admire him as a filmmaker and also his appreciation to the artistic work of filmmakers.

But I think the way how people have used the Lennon/McCartney comparison works for Truffaut and Godard. These two created films that were loved by many, films that were even despised by critics at times and both were rebellious as well. But both veered into opposite paths and there was no way this relationship could ever be repaired.

note: Source of information is from Richard Brody's "Everything is Cinema: The Working Life of Jean-Luc Godard".
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Old 06-17-2010, 04:33 PM   #11249
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Originally Posted by capnnarcolepsy View Post
So, Criterioncast have a pic up of what they are saying is the cover of "Thin Red Line". While the image could def be, its doesn't have any Criterion markings on it and even more awful is it has the bluray bar across the top.
Not that I believe that one is accurate........ but will this be like Benny-Buttons, and come in a Blue Case, with slipcover

Are they teamed up with another studio on this release?????? I hope not.


EDIT:

I don't have an opinion on which is "better", but I enjoy Truffaut's films much more than Godard's

Last edited by Beta Man; 06-17-2010 at 04:41 PM.
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Old 06-17-2010, 04:45 PM   #11250
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Originally Posted by ccfixx View Post
From Criterion's FAQ page on their site...



So, if you really wanna pay $25 just for the blu-ray disc, then by all means, go for it. You'll still be stuck with your current DVD packaging, but you'd have a blu-ray to put inside it.

CC
Ah, thank you. I had a vague memory that they had a program but had forgotten that it was wothless as tits on a boar hog.
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Old 06-17-2010, 04:57 PM   #11251
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BREATHLESS
There was before Breathless, and there was after Breathless. Jean-Luc Godard (Band of Outsiders, Masculin féminin) burst onto the film scene in 1960 with this jazzy, free-form, and sexy homage to the American film genres that inspired him as a writer for Cahiers du cinéma. With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young stars Jean-Paul Belmondo (Classe tous risques, Pierrot le fou) and Jean Seberg (Saint Joan, Bonjour tristesse), Breathless helped launch the French New Wave and ensured that cinema would never be the same.

1960 • 90 minutes • Black & White • Monaural • In French with English subtitles • 1.33:1 aspect ratio

BLU-RAY SPECIAL EDITION FEATURES
• Restored high-definition digital transfer, approved by director of photography Raoul Coutard, with uncompressed monaural soundtrack
• Archival interviews with director Jean-Luc Godard and actors Jean-Paul Belmondo, Jean Seberg, and Jean-Pierre Melville
• Video interviews with Coutard, assistant director Pierre Rissient, and filmmaker D. A. Pennebaker
• Video essays: one on Jean Seberg and one on Breathless as film criticism
• Chambre 12, Hôtel du suède, an eighty-minute documentary about the making of Breathless
• Charlotte et son Jules, a 1959 short by Godard starring Belmondo
• French theatrical trailer
• PLUS: A booklet featuring writings by Godard and film historian Dudley Andrew, François Truffaut’s original film treatment, and Godard’s scenario

CAT. NO: CC1939BD
UPC: 7-15515-06371-5
ISBN: 978-1-60465-337-3
SRP: $39.95
STREET: 9/14/10

CHARADE
In this deliciously dark comedic thriller, a trio of crooks relentlessly pursue a young American, played by Audrey Hepburn (Roman Holiday, Breakfast at Tiffany’s), outfitted in gorgeous Givenchy, through Paris in an attempt to recover the fortune her dead husband stole from them. The only person she can trust is a suave, mysterious stranger, played by Cary Grant (Bringing Up Baby, North by Northwest). Director Stanley Donen (On the Town, Singin’ in the Rain, Two for the Road) goes splendidly Hitchcockian for Charade, a glittering emblem of sixties style and macabre wit.

1963 • 113 minutes • Color • Monaural • 1.85:1 aspect ratio

BLU-RAY SPECIAL EDITION FEATURES
• Restored high-definition digital transfer, with uncompressed monaural soundtrack
• Audio commentary featuring director Stanley Donen and screenwriter Peter Stone
• Original theatrical trailer
• PLUS: A booklet featuring an essay by film historian Bruce Eder

CAT. NO: CC1925BD
UPC: 7-15515-06171-1
ISBN: 978-1-60465-313-7
SRP: $39.95
STREET: 9/21/10

MERRY CHRISTMAS MR. LAWRENCE
In this captivating, exhilaratingly skewed World War II drama from Nagisa Oshima (In the Realm of the Senses, Empire of Passion), David Bowie (The Man Who Fell to Earth, Basquiat) regally embodies the character Celliers, a high-ranking British officer interned by the Japanese as a POW. Music star Ryuichi Sakamoto (who also composed this film’s hypnotic score) plays the camp commander, who becomes obsessed with the mysterious blond major, while Tom Conti (The Duellists; Reuben, Reuben) is British lieutenant colonel Mr. Lawrence, who tries to bridge the emotional and language divides between his captors and fellow prisoners. Also featuring actor-director Takeshi Kitano (Sonatine, Fireworks) in his first dramatic role, Merry Christmas Mr. Lawrence is a multilayered, brutal, at times erotic tale of culture clash that was one of Oshima’s greatest successes.

1983 • 124 minutes • Color • Stereo • In English and Japanese with English subtitles • 1.78:1 aspect ratio

SPECIAL EDITION FEATURES
• New, restored high-definition master (with DTS-HD Master Audio on the Blu-ray edition)
• The Oshima Gang, an original making-of featurette
• New video interviews with producer Jeremy Thomas, screenwriter Paul Mayersberg, actor Tom Conti, and actor-composer Ryuichi Sakamoto
• Hasten Slowly, an hour-long documentary about author and adventurer Laurens van der Post, whose autobiographical novel is the basis for the film
• Original theatrical trailer
• PLUS: A booklet featuring an essay by film writer Chuck Stephens and a 1983 interview with director Nagisa Oshima by Japanese film writer Tadao Sato

CAT. NO: CC1929BD
UPC: 7-15515-06201-5
ISBN: 978-1-60465-316-8
SRP: $39.95
STREET: 9/28/10

THE THIN RED LINE
After directing two of the most extraordinary movies of the 1970s, Badlands and Days of Heaven, American artist Terrence Malick disappeared from the film world for twenty years, only to resurface in 1998 with this visionary adaptation of James Jones’s 1962 novel about the World War II battle for Guadalcanal. A big-budget, spectacularly mounted epic, The Thin Red Line is also one of the most deeply philosophical films ever released by a major Hollywood studio, a thought-provoking meditation on man, nature, and violence. Featuring a cast of contemporary cinema’s finest actors—Sean Penn (Dead Man Walking, Milk), Nick Nolte (The Prince of Tides, Affliction), Elias Koteas (Zodiac, The Curious Case of Benjamin Button), and Woody Harrelson (Natural Born Killers, The People vs. Larry Flynt) among them—The Thin Red Line is a kaleidoscopic evocation of the experience of combat that ranks as one of cinema’s greatest war films.

1998 • 170 minutes • Color • Surround • 2.35:1 aspect ratio

DIRECTOR-APPROVED SPECIAL EDITION FEATURES
• New, restored high-definition digital transfer, approved by director Terrence Malick and cinematographer John Toll (with DTS-HD Master Audio on the Blu-ray edition)
• New audio commentary featuring Toll, production designer Jack Fisk, and producer Grant Hill
• Outtakes from the film
• Video interviews with several of the film’s actors, including Jim Caviezel, Elias Koteas, and Sean Penn; composer Hans Zimmer; editors Billy Weber, Leslie Jones, and Saar Klein; and writer James Jones’s daughter Kaylie Jones
• New video interview with casting director Dianne Crittenden, featuring original audition footage
• World War II newsreels featuring footage from Guadalcanal
• Original theatrical trailer
• PLUS: A booklet featuring an essay by film critic David Sterritt and a 1963 essay by James Jones on war films

CAT. NO: CC1933BD
UPC: 7-15515-06241-1
ISBN: 978-1-60465-320-5
SRP: $39.95
PREBOOK: 8/31/10
STREET: 9/28/10

ECLIPSE SERIES 24: THE ACTUALITY DRAMAS OF ALLAN KING
Canadian director Allan King is one of cinema’s best-kept secrets. Over the course of fifty years, King shuttled between features and shorts, big-screen cinema and episodic television, comedy and drama, fiction and nonfiction. Within this remarkably varied career, it was with his cinema-verité-style documentaries—his “actuality dramas,” as he called them—that he left his greatest mark on film history. These startlingly intimate studies of lives in flux—emotionally troubled children, warring spouses, and the terminally ill—are riveting, at times emotionally overwhelming, and always depicted without narration or interviews. Humane, cathartic, and important, Allan King’s spontaneous portraits of the everyday demand to be seen.

FIVE-DVD BOX SET INCLUDES:

Warrendale
For his enthralling first feature, Allan King brought his cameras to a home for psychologically disturbed young people. Situated inside the facility like flies on the wall, we get full access to the wide spectrum of emotions displayed by twelve
fascinating children and the caregivers trying to nurture and guide them. The
page 1 of 2
stunning Warrendale won the Prix d’art et d’essai at Cannes and a special docu¬mentary award from the National Society of Film Critics.

1967 • 101 minutes • Black & White • Monaural • 1.33:1 aspect ratio

A Married Couple
Billy and Antoinette Edwards let it all hang out for Allan King and crew in this jaw-dropping documentary of a marriage gone haywire that “makes John Cassavetes’s Faces look like early Doris Day” (Time). Intense and hectic, frightening and funny, A Married Couple is ultimately about the eternal power struggle in romantic relationships, as well as entrenched gender roles on the cusp of change.

1969 • 96 minutes • Color • Monaural • 1.33:1 aspect ratio

Come On Children
In the early 1970s, ten teenagers (five boys and five girls) leave behind parents, school, and all other authority figures to live on a farm for ten weeks. What emerges in front of Allan King’s cameras is the fears, hopes, and alienation of a disillusioned generation. Come On Children is a swiftly paced, vivid rendering of one of the twentieth century’s most remarkable—and ultimately directionless—countercultures.

1972 • 95 minutes • Color • Monaural • 1.66:1 aspect ratio

Dying at Grace
An extraordinary, transformative experience, Allan King’s Dying at Grace is quite simply unprecedented: five terminally ill cancer patients allowed the director access to their final months and days inside the Toronto Grace Health Care Center. The result is an unflinching, enormously empathetic contemplation of death, featuring a handful of the most memorable people ever captured on film.

2003 • 143 minutes • Color • Monaural • 1.77:1 aspect ratio

Memory for Max, Claire, Ida and Company
Allan King brings us close to the people who reside and work in a home for geriatric care in this beautifully conceived, powerful documentary. For four months, King follows the daily routines of eight patients suffering from dementia and memory loss; the result is searing, compassionate drama that can bring to the viewer a greater understanding of his or her loved ones.

2005 • 112 minutes • Color • Monaural • 1.78:1 aspect ratio

TITLE: Eclipse Series 24: The Actuality Dramas of Allan King
CAT. NO: ECL109
UPC: 7-15515-06421-7
ISBN: 978-1-60465-342-7
SRP: $69.95
STREET: 9/21/10
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Old 06-17-2010, 05:00 PM   #11252
jhiggy23 jhiggy23 is offline
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Originally Posted by capnnarcolepsy View Post
So, Criterioncast have a pic up of what they are saying is the cover of "Thin Red Line". While the image could def be, its doesn't have any Criterion markings on it and even more awful is it has the bluray bar across the top. of course, its never gonna come out that way, but here's a link if you guys wanna see at least the image that might get used:

http://criterioncast.com/2010/06/17/...ction+Revealed


what i did enjoy most from that article is the link they provided to more of Kellerhouse's work. here's that link for your visual enjoyment:

http://www.kellerhouse.com/#/?item=WORK

That cover could not be more perfect. Why? Because of the tree branches aspect. The entire point of the film, which is lost on most ppl understandably (takes multiple viewings), is the duality of "nature," both human and that which is around us.
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Old 06-17-2010, 05:03 PM   #11253
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Originally Posted by surfdude12 View Post
I realy liked Wages also, but for whatever reason didn't sympathsize with the main characters as much as the director wanted me to, so it seemed to limit the level of suspense.

Revanche is great! And Playtime is an all-time favorite! Enjoy!
I haven't seen wages yet. 400 Blows is still, imo, the best film released yet on blu. I'm a big fan of The Third Man and Last Year at Marienbad as well. I don't care much for Howard's End, Wings of Desire, or Walkabout. Revanche I think is a very solid film and has great PQ, but it's not a film I would watch many more times.
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Old 06-17-2010, 05:16 PM   #11254
italy12 italy12 is offline
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Quote:
Originally Posted by surfdude12 View Post
I realy liked Wages also, but for whatever reason didn't sympathsize with the main characters as much as the director wanted me to, so it seemed to limit the level of suspense.

Revanche is great! And Playtime is an all-time favorite! Enjoy!
What did you like about Playtime? I heard it was kind of goofy...which makes no difference to me, but people have said it blatantly sucks.

I also heard that about Marienbad, but thought it to be a thought provoking masterpiece where I could discover new things with subsequent viewings.

Another movie I always enjoyed and would like to see given a CC treatment, although a Blu release by anyone would suffice (I think Universal owns it now as it was put out on DVD by one of their studios) is David Lynch's Lost Highway. It is a little easier to digest than Mulholland Drive (which I liked) and Inland Empire (during which I fell asleep), and never got quite the respect I think it deserved, IMO.

-Dave
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Old 06-17-2010, 05:27 PM   #11255
surfdude12 surfdude12 is offline
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Originally Posted by italy12 View Post
What did you like about Playtime? I heard it was kind of goofy...which makes no difference to me, but people have said it blatantly sucks.
Like many Criterions, its not for everyone, only those willing to put forth the effort/patience and go into it open-minded. Some people have those inner voices that go off 5 minutes into a movie with "this movie sux coz theres no explosions or fights yet" . Definitely not good Criterion-candidates.

With Playtime, its so good that I can't put it in words. The message is beyond words, but if I had to put it in words it would be: the evolution of human society from a warm/friendly atmosphere (pre-industrialization) to a cold/detached atmosphere (the film just showing the latter, but the main characters reaction to it is evident of the evolution IMO). The guy in the film just walks around the city but this message is evident throughout. The use of big metallic buildings and big glass windows on structures also seems metaphoric, symbolizing social as well as physical barriers between people.

I also thought Marienbad was a true masterpiece.

Last edited by surfdude12; 06-17-2010 at 05:29 PM.
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Old 06-17-2010, 05:30 PM   #11256
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Please tell me cover art listed on the press releases that Home Theater Forum posted is incorrect. I am hoping it was for advertising purposes only and not how the actual cover art will look. (Speaking of that tacky BLUE Border top of the case look)

http://www.hometheaterforum.com/foru...harade-blu-ray

http://www.hometheaterforum.com/foru...d-line-blu-ray

http://www.hometheaterforum.com/foru...wrence-blu-ray

Last edited by PowellPressburger; 06-17-2010 at 05:35 PM.
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Old 06-17-2010, 05:37 PM   #11257
Beta Man Beta Man is offline
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Quote:
Originally Posted by PowellPressburger View Post
Please tell me cover art listed on the press releases that Home Theater Forum posted is incorrect. I am hoping it was for advertising purposes only and not how the actual cover art will look. (Speaking of that tacky BLUE Border top of the case look)

http://www.hometheaterforum.com/foru...harade-blu-ray

http://www.hometheaterforum.com/foru...d-line-blu-ray

http://www.hometheaterforum.com/foru...wrence-blu-ray

That's not how Charade and Merry Christmas Mr. Lawrence look on Criterion's website, and so far everything I have from them is "As Pictured" on their website, so I don't image them changing that now...... changing the packaging is one thing..... but I would expect them to represent the change on the website....
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Old 06-17-2010, 05:39 PM   #11258
Volume11 Volume11 is offline
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Quote:
Originally Posted by PowellPressburger View Post
Please tell me cover art listed on the press releases that Home Theater Forum posted is incorrect. I am hoping it was for advertising purposes only and not how the actual cover art will look. (Speaking of that tacky BLUE Border top of the case look)

http://www.hometheaterforum.com/foru...harade-blu-ray

http://www.hometheaterforum.com/foru...d-line-blu-ray

http://www.hometheaterforum.com/foru...wrence-blu-ray
The cover art itself is fine, its the addition of the Blu Ray logo bar that is killing me and throwing off the artwork. I wouldn't put it past Criterion to randomly add slipcovers to the regular blu amaray cases...

Doubt it will happen, though. I would guess the blu bar is just a generic addition done for all to see.
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Old 06-17-2010, 05:47 PM   #11259
ccfixx ccfixx is offline
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You "packaging guys" (yes, I'm looking at you P&P right now, along with a handful of others) are the cream of the crop. It's amusing... yet, still a bit pathetic.

I love how it's always something with some people every month. I guess I'm the only one in the forum that goes through life with a "I could care less about such trivial things" attitude. It's a lot less stressful, I've found.

Anyway, I'm 99.9% sure that the blu-ray border along the top of the artwork is only for the press releases to differentiate between their DVD & blu-rays for retailers. It'll be okay, guys. And please don't hate me for picking on you every now and then. It doesn't matter what I say, anyway, right... just like everyone else.

CC
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Old 06-17-2010, 05:48 PM   #11260
SpiderBaby SpiderBaby is offline
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The Thin Red Line cover I think is not complete yet (The Criterion bar is kind of shown on the left but no wacky C), for right now it's not bad, but the worst of the Sept releases by far.
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