|
|
![]() |
||||||||||||||||||||
|
Best Blu-ray Movie Deals
|
Best Blu-ray Movie Deals, See All the Deals » |
Top deals |
New deals
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
![]() $82.99 22 hrs ago
| ![]() $27.99 1 hr ago
| ![]() $22.95 5 hrs ago
| ![]() $34.99 3 hrs ago
| ![]() $74.99 | ![]() $101.99 1 day ago
| ![]() $99.99 | ![]() $35.94 15 hrs ago
| ![]() $23.60 15 hrs ago
| ![]() $32.99 3 hrs ago
| ![]() $24.96 | ![]() $29.95 |
![]() |
#4781 | |
Super Moderator
|
![]() Quote:
Purchase: 1 For consideration: 1 Not buying (due to the premium price): 3 |
|
![]() |
![]() |
#4782 | |
Blu-ray Guru
|
![]() Quote:
|
|
![]() |
![]() |
#4783 | |
Blu-ray Prince
|
![]() Quote:
|
|
![]() |
![]() |
#4784 |
Super Moderator
|
![]() |
![]() |
![]() |
#4785 |
Blu-ray Champion
|
![]()
Body Double is a must for DePalma fans. It's a much better film than The Fury and Blow Out if you own them. I would be very surprised if it makes it a month along with Sleepless....
|
![]() |
![]() |
#4786 |
Blu-ray Champion
|
![]() |
![]() |
![]() |
#4787 | |
Blu-ray Champion
|
![]() Quote:
|
|
![]() |
![]() |
#4789 | |
Blu-ray Knight
|
![]() Quote:
|
|
![]() |
![]() |
#4791 |
Blu-ray Prince
|
![]()
Personally, I feel Blow Out is amongst his very best. It's near untouchable (no pun intended). However, I live every second of Body Double, it's such an ingenious meta commentary on Hollywood. It's DePalma at his most shameless Hitchcockian emulating (specifically Rear Window), and all the more fun and intriguing for it.
|
![]() |
![]() |
#4793 | |
Fun City Editions Insider
|
![]()
Shot by the great John Alcott, whose credits, of course, include Kubrick's 2001 (additional photography), A CLOCKWORK ORANGE (lighting cameraman), BARRY LYNDON, and THE SHINING, in addition to Stuart Cooper's OVERLORD and THE DISAPPEARANCE, VICE SQUAD, FORT APACHE: THE BRONX, UNDER FIRE, BEASTMASTER, TERROR TRAIN, and others before his untimely death in '86.
Quote:
|
|
![]() |
![]() |
#4795 | |
Blu-ray Ninja
|
![]() Quote:
![]() |
|
![]() |
![]() |
#4796 |
Blu-ray Ninja
|
![]()
I totally disagree with that. Body Double has its fans -- but also its detractors. I personally can't stand it, but to each his own, and I like most of DePalma's '70s and '80s films. IMO it's nowhere near as good as Blow Out, and I don't like it as much as The Fury (and that one isn't great either).
|
![]() |
![]() |
#4797 | |
Fun City Editions Insider
|
![]() Quote:
But, again, I agree...it ain't gonna break any sales records. |
|
![]() |
![]() |
#4798 |
Senior Member
|
![]()
I'm a huge fan of most of De Palma's films from 1976-1987, excluding Wise Guys. I have 9 of his films in my collection and 8 are from that period. And I've upgraded to blu-ray 8 of those 9. Body Double will complete my De Palma collection.
For me, regarding TT and their pricing, it's pretty simple. If you like a movie enough to want to upgrade, you'll buy it. If you don't, you won't. I completely respect anyone's opinion who thinks that $35 (including shipping) for Body Double is way too much. Many others De Palma fans, including me, don't feel that way. Personally, all I've been doing the last 3 months is buying blu-ray upgrades of my existing dvds. And that's probably all I'll be doing for the rest of the year. Not adding any new titles to my collection. Upcoming upgrades include: Major Dundee, The Great Escape, The Verdict, Mad Max Beyond Thunderdome and, now, Body Double. I have only about 450 titles. About 310 of those are blu-rays, most were upgrades, some were new to my collection. This is probably less than half or a third of the titles that are owned by many who post on these forums. But I've decided that 450 movies is more than enough. Way more. Now, I just want to upgrade every dvd that I can to blu-ray. Of the 140 dvds I have, I would upgrade at least 100 of them. |
![]() |
![]() |
#4799 | |
Blu-ray Baron
|
![]() Quote:
![]() It's one of those films I always expect to be rediscovered but which never is: there's a small cult following for it in Europe based largely on its rarity rather than its quality. Determinedly arthouse despite its purely commercial pulp plot, The Disappearance - a film that disappeared from distribution for decades itself - isn't particularly good, yet there's still something there that keeps drawing you back every decade or so to see if it's got any better. It hasn't, yet there's still something haunting about this mood piece's chilly atmosphere and alienated emotional landscape. Shot in snowy Canada and England in late fall to take advantage of two sets of tax breaks, Donald Sutherland's the expert hitman too preoccupied with the disappearance of his wife (Sutherland's offscreen partner Francine Racette) to accept a 'shy' from his increasingly impatient bosses, who run their assassination bureau from a smart office like a management consultancy. There's more brooding on where their relationship may have fallen apart than thriller mechanics, with the coldness of the landscape spreading to the interiors and the characters. At times you feel this wants to be a slightly Boormanesque exercise in subverting the genre a la Point Blank, particularly in the opening assassination on an abandoned ship, but the idea's better than the execution. Still, Cooper assembles a good cast to keep things interesting: David Warner, an unseen voice of authority figures in Cooper's previous film Overlord, appears onscreen this time as a disillusioned assassination executive, a young John Hurt is the too eager assassin's apprentice Sutherland finds himself saddled with, Virginia McKenna is remarkably effective as the wife of the potential target who has long since lost her illusions about her marriage, Peter Bowles does a nice line in corporate slime, Christopher Plummer turns up for one effective confrontation and there's a chance to see co-producer David Hemmings in the days before his eyebrows became large enough to support their own weather system. It's definitely a film whose credits lead you to expect more - it's adapted from a novel by Derek Marlowe, always better at premise than plotting, with a screenplay by two-time Nic Roeg collaborator Paul Mayersberg with crisp, clinical cinematography by Kubrick favorite John Alcott - but while it repeatedly fails to deliver still leaves a few resonant echoes in its wake. Last edited by Aclea; 04-02-2013 at 07:07 PM. Reason: spelling |
|
![]() |
![]() |
#4800 |
Senior Member
|
![]()
I'm shocked to see Sleepless in Seattle getting licensed, but I guess Sony is mostly done with catalog. Love is a Many-Splendored Thing is not a surprise to me at all. Hopefully the original, non-noise-gated audio masters are used. I wouldn't get my hopes up on quality though, given that a recent Fox title starting Jennifer Jones, The Song of Bernadette, was sourced from a DVD era master. Leon Shamroy's CinemaScope photography was nominated for an Oscar and Alfred Newman's score won the Oscar that year (undeservingly in my opinion; it's irritatingly repetitious and is easily bested by Hugo Friedhofer's score for The Rains of Ranchipur and Bernard Herrmann's score for Prince of Players.) By the way, when will we be getting Prince of Players, Twilight Time?
Last edited by bluknight1; 04-02-2013 at 08:16 PM. |
![]() |
|
|
![]() |
![]() |
|
|