The Criterion Collection

[shadedpain4]

Originally Posted by demonknight

So... Benjamin Button is boring as sin. How did this get a Best Picture nod?

I couldn't even make it to the end.

[Ray Jackson]

Originally Posted by fdm

The Rapture (1991)

Say whatever you want about the movie.

But that was Mimi Rogers in her glory days.

David Duchovny is a very lucky man.

...I get emotional below the waist just thinking about it.

[mja345]

Originally Posted by Ray Jackson

Say whatever you want about the movie.

But that was Mimi Rogers in her glory days.

David Duchovny is a very lucky man.

...I get emotional below the waist just thinking about it.

Check out "Full Body Massage", Ray. It was made a year or two after "The Rapture". It's basically a tribute to Mimi Rogers' breasts. That's one Nicolas Roeg film Criterion probably won't be adding to the collection.

[Ray Jackson]

Originally Posted by mja345

Check out "Full Body Massage", Ray. It was made a year or two after "The Rapture". It's basically a tribute to Mimi Rogers' breasts. That's one Nicolas Roeg film Criterion probably won't be adding to the collection.

If you don't think Full Body Massage already has a place of honor in my collection, then you know nothing about Raymond Tiberius Jackson.

I was obsessed with Mimi Rogers back in the 90s.

And by obsessed I mean...well...I don't think I can tell you that.

This being a family forum and all.

[kwillard37]

I came so close to sitting out the flash sale, but last minute I just had to go for it.

Inside Llewyn Davis
The Fisher King
Time Bandits
The Graduate

I love Inside Llewyn Davis, and I'm a Terry Gilliam fan, so I'm not worried about The Fisher King, or Time Bandits, But I'm slightly worried about seeing The Graduate for the first time. So much hype, I might've waited to long to watch it, you know? We'll see though. I'm sure it'll be worth the gamble.

[deepseababy]

Originally Posted by Polaroid

Isn't that stupidly expensive? Plus I spent all my money

Yeah, I'm curious to know more about US reshippers especially at times like these when I'm not in the US.

[Russ103]

Originally Posted by Polaroid

Isn't that stupidly expensive? Plus I spent all my money

I use one.

It's not that expensive, however I usually use them when I have different items from multiple sellers. I have an order from Criterion, Amazon, and one other place. They'll consolidate everything into one package for me. Works out cheaper than having 3 separate shipping fees.

[CelestialAgent]

Originally Posted by kwillard37

But I'm slightly worried about seeing The Graduate for the first time. So much hype, I might've waited to long to watch it, you know? We'll see though. I'm sure it'll be worth the gamble.

I've seen it three or four times and it still holds up as one of my favourite if not favourite film. It is indescribably amazing. The soundtrack; the performances; the cinematography. It deserves all the praise it has received.

[Al_The_Strange]

Originally Posted by demonknight

So... Benjamin Button is boring as sin. How did this get a Best Picture nod?

I used to dislike this film too. I was bothered by the same issues I see in lots of other arthouse films -- apparent lack of plot and conflict to drive the story.

I wound up getting the Blu-Ray anyway since it was inexpensive and I wanted to be a David Fincher completist. I wound up having a complete turnaround on the second viewing -- I found myself enchanted by the visuals, cinematography, and above all, the performances. I realized that the romance was touching and the life journey aspects were fairly invoking (I probably find it a little more effective in this film than in Forrest Gump and many other Criterion-grade titles). It's still not much of a plot, but I generally appreciate the film in other ways.

[SlickDamian]

Originally Posted by Al_The_Strange

I used to dislike this film too. I was bothered by the same issues I see in lots of other arthouse films -- apparent lack of plot and conflict to drive the story.

I wound up getting the Blu-Ray anyway since it was inexpensive and I wanted to be a David Fincher completist. I wound up having a complete turnaround on the second viewing -- I found myself enchanted by the visuals, cinematography, and above all, the performances. I realized that the romance was touching and the life journey aspects were fairly invoking (I probably find it a little more effective in this film than in Forrest Gump and many other Criterion-grade titles). It's still not much of a plot, but I generally appreciate the film in other ways.

I thought that it's a good film if you take it for what it is: a whimsical, fantasy story which reminds us of youth age.

[jshaide]

Any stabs at what we might see next from the Harold Lloyd collection?

[Wooden Lens]

Originally Posted by Al_The_Strange

I used to dislike this film too. I was bothered by the same issues I see in lots of other arthouse films -- apparent lack of plot and conflict to drive the story.

I wound up getting the Blu-Ray anyway since it was inexpensive and I wanted to be a David Fincher completist. I wound up having a complete turnaround on the second viewing -- I found myself enchanted by the visuals, cinematography, and above all, the performances. I realized that the romance was touching and the life journey aspects were fairly invoking (I probably find it a little more effective in this film than in Forrest Gump and many other Criterion-grade titles). It's still not much of a plot, but I generally appreciate the film in other ways.

As I get older and my taste in cinema grows. I'm starting to not get too hung up on plot and story anymore. I'm realizing that if I took a fine tooth comb and picked through even some of the greatest films ever made I'd have problems with plot mechanics and character motivation... but then I'd be denying myself of some really wonderful art.

Lately I've been fascinated and drawn more towards mood, tone, intention. I can be transported by movies that to the average viewer might go 'nowhere' or is about 'nothing' but I feel completely different.

Most 'plots' and narratives have been done a million and one times. It's not so much what's happening, but how it's happening.

But that's just me

[mja345]

Originally Posted by Wooden Lens

As I get older and my taste in cinema grows. I'm starting to not get too hung up on plot and story anymore. I'm realizing that if I took a fine tooth comb and picked through even some of the greatest films ever made I'd have problems with plot mechanics and character motivation... but then I'd be denying myself of some really wonderful art.

Lately I've been fascinated and drawn more towards mood, tone, intention. I can be transported by movies that to the average viewer might go 'nowhere' or is about 'nothing' but I feel completely different.

Most 'plots' and narratives have been done a million and one times. It's not so much what's happening, but how it's happening.

But that's just me

I agree with this. There are certain types of people who are absolute torture to watch movies with. People who tend to take things very literally or people who think very much inside the box are two types that drive me crazy. I knew this clown in college who watched the movie "Commando" and announced to me and several other dudes, "Commando is the worst movie ever. So unrealistic." We all just laughed at this guy. No shit Sherlock, that's the entire point.

I also find that most people weaned on the modern Hollywood films are extremely flummoxed when there isn't a clear beginning, middle, and end to a film. A lot of people have not been exposed to more experimental cinema and are used to films always making sense in a very clear way. That's why I thought it was great when people were going insane when "Inherent Vice" came out last year. It is one of the few experimental films to come out of a major studio in a long, long time and people had no idea what to make of it. The film, like a David Lynch or Jodorowsky movie or "Last Year at Marienbad", was much more about the overall effect on the viewer as opposed to telling a coherent story.

There's always a place for a great narrative, but experimental cinema is something that is becoming more and more infrequent today.

[ThatOneGuy]

Originally Posted by kwillard37

But I'm slightly worried about seeing The Graduate for the first time. So much hype, I might've waited to long to watch it, you know? We'll see though. I'm sure it'll be worth the gamble.

I don't know you, you don't know me but I highly recommend that film to anyone who considers themselves a movie lover. It is truly a masterpiece of storytelling in both, verbally and visual storytelling. Not to mention it has one of the best soundtracks made for a film ever.

I was lucky that the first time I ever watched the film was for a Cinema Apperciation class so I had to really pay attention to it and I saw how amazing the film is. Amelie was another one that I fell in love with due to that class.

[JoeBuck]

Originally Posted by John Klein

I don't know you, you don't know me but I highly recommend that film to anyone who considers themselves a movie lover. It is truly a masterpiece of storytelling in both, verbally and visual storytelling. Not to mention it has one of the best soundtracks made for a film ever.

I was lucky that the first time I ever watched the film was for a Cinema Apperciation class so I had to really pay attention to it and I saw how amazing the film is. Amelie was another one that I fell in love with due to that class.

Agree wholeheartedly.
I liked it a lot the first time I saw it. Then one of my friends was playing it at a party with the sound off and I caught myself watching it and thinking of how great the direction really was.
Can't wait to watch my copy when it comes in.

[theater dreamer]

Originally Posted by jhiggy23

Very good thoughts on Nuremberg! I agree with you, to the extent that it can be agreed upon. I obviously cannot speak to German law, but the concept of a judge is largely the same across the world. A judge's job is to follow the law, in some cases or situations to be the finder of fact, and ultimately, his overriding purpose is to enforce the law. Ethics are certainly involved, as they are with any lawyer (in theory), but morality has no place in a courtroom. Literally, none.

When I was a prosecutor, one of the questions I, and many others, would ask in jury selection is whether the person was comfortable sitting in judgment of another, or whether he or she firmly subscribes to the belief that only God can judge. Reason for same is obvious--if the person refuses to judge another, he or she has no place on a jury because that person will be guided solely by their respective moral compass, and will not follow the law that is given to them.

I think the film does an excellent job of arguing that Lancaster was duty bound to follow the law and to not make moral decisions. However, his situation is different than many others, because he was directly facilitating mass murder. In that situation, the argument is that he should have taken a stand against it, or, simply fled. Easier said than done of course, as he likely would have been killed. But what's worse, dying for a cause or directly sending people to die solely due to their religion?

For me, Schell was the standout actor. However, the script was the true star, presenting compelling arguments on both sides.

Nuremberg was fascinating on many levels. Schell's performance was dynamic, and memorable, and yet, you also had the nuanced performance of Lancaster, and the heart-wrenching performance of Garland. There was a little bit of everything for those who revel in the art of acting. But I agree, the script was the ultimate triumph of the film. I found myself considering the arguments presented by both the prosecutor and the defense for days after watching.

There is a part of me that regrets my decision not to go into law. I love the practice of it, and more so, the history. There is something quite romantic, and noble, about standing in front of a jury, seeking justice for those who might otherwise never have it. Yet, there is something to be said for defending those accused of a crime, insuring that their rights are respected.

[jayembee]

Originally Posted by Wooden Lens

As I get older and my taste in cinema grows. I'm starting to not get too hung up on plot and story anymore. I'm realizing that if I took a fine tooth comb and picked through even some of the greatest films ever made I'd have problems with plot mechanics and character motivation... but then I'd be denying myself of some really wonderful art.

Even Citizen Kane. The entire narrative of the film is built on the understanding that the last word Kane uttered before he died was "Rosebud". At the beginning of the film, Kane is sitting in a dark room when he whispers "Rosebud", drops the snow-globe, and dies. It's after this happens that the door opens, and his nurse finds him dead.

It's clear that there was no one else in the room when Kane died, and it's unlikely that the nurse was able to hear Kane's whisper from outside a closed door. So the question is, if he was alone in the room when he died, how does anyone know what his last word was?

[Wooden Lens]

Originally Posted by jayembee

Even Citizen Kane. The entire narrative of the film is built on the understanding that the last word Kane uttered before he died was "Rosebud". At the beginning of the film, Kane is sitting in a dark room when he whispers "Rosebud", drops the snow-globe, and dies. It's after this happens that the door opens, and his nurse finds him dead.

It's clear that there was no one else in the room when Kane died, and it's unlikely that the nurse was able to hear Kane's whisper from outside a closed door. So the question is, if he was alone in the room when he died, how does anyone know what his last word was?

Well, duh! This is clearly a great cash grab for Warner Bros! We need a Prometheus-esque Origin story for the Nurse and how she got to (or didn't get to that room!!).

Mad Max: Fury Road is a film that I've heard from countless people (where did they come from) is totally plotless and boring... and... ugh I can't go on. If you can't appreciate the way Miller is telling a very meticulously structured story in the form of a Rube Goldberg style action momentum then I don't know what to say.

[theater dreamer]

Wonderfully written, Michael. Bravo! As I got towards the end, I thought to myself, "he needs to channel Kennedy". And you did! Holy cow, man. You brought it home!

The only thing your post lacked was a commercial with a pouty Sarah McLachlan, sitting on a couch, appealing to our humanity. Perhaps we should hire her for, say, a 30 second spot? We could stick a kid wearing a "I'm Jon Mulvaney" t-shirt on the floor in front of her, Sarah wistfully running her fingers through the kid's hair, as he looks at the camera, with a tear streaming down his cheek, saying "ich bein ein Criterioner."

Originally Posted by jmclick

I need to teach you ART (Advanced Rationalization Techniques). Work with me here, okay?

It can be argued that Criterion holds these flash sales to move inventory and generate income. Some of these profits are re-invested into future Criterion releases that film aficionados worldwide are anxiously praying for. In some cases, these film buffs have been waiting for years for titles that have been slowly inching their way down the Criterion development pipeline.

By participating in these sales and liberating funds that can be used to hasten these highly anticipated releases along, you are, in essence, providing humanitarian relief to those who wait. You are easing their suffering, working to quench their terrible thirst for cinematic nourishment. Therefore, placing an order is not a selfish act! On the contrary, it is a noble act of service, the embodiment of the kindness, consideration, and charity that exemplify the best and purest love that human beings are capable of extending to one another.

As a great American once said, "Ask not if you have ordered too much; ask instead if you have ordered too little."

[Russ103]

Originally Posted by Al_The_Strange

I used to dislike this film too. I was bothered by the same issues I see in lots of other arthouse films -- apparent lack of plot and conflict to drive the story.

I wound up getting the Blu-Ray anyway since it was inexpensive and I wanted to be a David Fincher completist. I wound up having a complete turnaround on the second viewing -- I found myself enchanted by the visuals, cinematography, and above all, the performances. I realized that the romance was touching and the life journey aspects were fairly invoking (I probably find it a little more effective in this film than in Forrest Gump and many other Criterion-grade titles). It's still not much of a plot, but I generally appreciate the film in other ways.

The plot of the film is why it took me so long to watch that very film. And noticing it encroached 3 hours? I had it in my head it would have been the bore-fest to end all bore-fest's.

I was wrong.

I grabbed the Criterion only a couple of months ago - same reason - it hit a low price and I wanted to be a Fincher completist. When I felt in the right mind-state to sit through it (which I finally realised is the key ingredient to me enjoying anything these days), I popped it in, and was engrossed from start to finish. Glad I did. It fascinated me.

I started kicking myself for not seeing it sooner, but realised had I seen it at another time, in a completely different head space, I could very well have loathed its existence.

As Wooden Lens touches on above, the less I nitpick on plot, and the more I allow myself to just experience what someone is trying to show/tell me through their art - even if I don't understand it - I find I'm not only enjoying the films more and more, but that it's opening me up to films I may never have considered watching.

Sucks on my wallet, but it;s expanding my comfort zone ... and I'm enjoying it.