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News and Theory / Re: Film Restoration and Preservation
« Last post by eward on Today at 08:17:25 PM »
Commence joyful tearing out of hair!

I've long had a very poor DVD copy of it, but fortunately I got to see a 35 print at Anthology some time ago, and it's just one of the all-time great American films. Rips me apart.
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News and Theory / Re: Film Restoration and Preservation
« Last post by wilder on Today at 07:39:23 PM »
Speaking of...

Out of the Blue is getting a 4K restoration from Discovery Productions

Quote
Discovery Productions, Inc. (John Alan Simon and Elizabeth Karr) plans now to undertake a 4K digital restoration of this landmark film. - so that we can make it available to a whole new generation of cinema audiences.    Because Out Of The Blue exists only as a 35mm print, its audience has been limited to those who are fortunate enough to see it in a theatre like BFI, Cinemateque, Anthology Film Archives, The Roxie, Metrograph and other art house / indie cinemas.

As on the previous successful 35mm restoration, Robert Harris has been kind enough to offer his advice and expertise to us in this process - Robert is currently working with the Cinematheque on the much more difficult digital restoration of Abel Gance's Napoleon - and we are already benefiting from this learning curve.  Other of his restorations include Lawrence of Arabia and Rear Window.
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The Small Screen / Re: Who Is America?
« Last post by Jeremy Blackman on Today at 06:48:14 PM »
Watched Episode 1. It is exactly in line with previous Sacha Baron Cohen shows and films. The final segment (posted above) is an absolute masterpiece.

In the lead-up, I heard a lot of hand-wringing about SBC's methodology. These criticisms are nothing new, but they started to gain a new resonance with me. In a time when our grip on the truth is so tenuous, do we really need Sacha Baron Cohen weaponizing out-of-context moments and distorting reality even further? Maybe his type of art is now too destructive. Maybe it's not worth it anymore.

Then I watched the episode, and I had a new reaction: Actually this is great and I love it. And it's fine.

There's a lot of prime satire here. Does SBC reveal what's in these people's hearts? In some cases, yes. In other cases, no—he just reveals that they're willing to say anything when they believe some Israeli organization is honoring them. In the actual episode, the production team's deceptive tactics are not some closely-held secret. They are in full view. In the gun segment, SBC is perhaps more transparently deceptive than ever before. At one point, the show even basically deconstructs its own methodology (at 8 min in the clip above).

In the final stretch of the gun segment, it is made 100% clear to viewers that the participants are reading a script to the camera. That's the whole point of that part—that they're willing to pimp themselves and say literally anything for the sake of Israel and/or gun advocacy. The deception there is mostly done for the purposes of comedy and humiliation.

The other segments are essentially at the expense of SBC's character. The Bernie interview is actually kind of great for that reason. The dinner segment is basically prank comedy.

I wasn't entirely comfortable with the art segment until I read this.
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This Year In Film / Re: Sorry To Bother You
« Last post by pete on Today at 02:43:04 PM »
I shot those photographs!
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News and Theory / Re: Film Restoration and Preservation
« Last post by eward on Today at 02:21:19 PM »
I saw it at BAM a year or two ago on 35 and really enjoyed it, but I do recall a small handful of meandering stretches which flirted with boredom... Still an overall pretty wild experience and totally worth checking out as, if nothing else, a unique cultural artifact which really encapsulates the time/environment in which it was made, not to mention the notoriously drug and booze-addled creative mind from which it sprang. This news excites me! Now if Criterion would just get to Out of the Blue already....
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The Grapevine / First Man
« Last post by Kal on Today at 12:17:23 AM »
Damien Chazelle's new film "First Man" about the moon landing. I didn't love the pacing of the trailer, but visually it looks incredible and I actually enjoyed La La Land and Whiplash a lot, so I'm looking forward to this. Kyle Chandler can do no wrong in my book. Film will open the Venice International Film Festival.



A Universal Pictures release, “First Man” stars Ryan Gosling as astronaut Neil Armstrong in the years leading up to the Apollo 11 moon-landing mission of 1969. Claire Foy (Netflix’s “The Crown”) also stars as Armstrong’s wife, Janet Shearon. Kyle Chandler, Jason Clarke, Corey Stoll, Ciaran Hinds, Christopher Abbott, and Patrick Fugit fill out the rest of the cast.
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Real-Life Soundtracks / Re: Now Playing
« Last post by Nails9 on Yesterday at 10:43:04 PM »
Any Macca Fans?
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DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on Yesterday at 07:20:49 PM »
August 20, 2018

Jackie Chan’s Police Story (1985) and Police Story 2 (1988) on limited edition blu-ray from Eureka (UK), from new 4K restorations



Police Story (1985) – Considered by Jackie Chan himself to be his best film in terms of pure action, Police Story stars Chan as "super cop" Chan Ka-Kui, who goes up against a notorious crime lord in a series of escalating set-pieces that resulted in many of Jackie's stunt team being hospitalised.

Police Story 2 (1988) – Demoted to traffic cop after the events of the first film, Chan Ka-Kui is reinstated to the detective unit when a deadly gang of explosive experts blow up a building and threaten to blow up more if their demands are not met. Featuring yet more bravura stunt work, and even more injuries to its cast and crew, Police Story 2 is to this day considered one of the best action films ever made.


Police Story 1 & 2 (1985-88) - Amazon UK






October 23, 2018

Terence Davies’ Distant Voices, Still Lives (1988) on blu-ray from Arrow, from a new 4K restoration



Loosely based on the director's own family and upbringing, Distant Voices, Still Lives presents an evocative account of working-class life in Liverpool, England during the 1940s and 50s. Births, marriages and deaths – and an expressive use of music – provide the underpinning for a film that is beautiful, heartbreaking, resonant but never sentimental.

Distant Voices, Still Lives (1988) - Amazon






September 10, 2018

Michael Lehmann’s Heathers (1988) on blu-ray from Arrow (UK), from an Arrow-exclusive 4K restoration from the original camera negative



At Westburg High, you're either a Heather or a nobody. And while Veronica Sawyer (Winona Ryder) might not be named Heather, she's a hands-down Heather in spirit, waging battles in the school's full-scale popularity war … but it's all getting to be a bit too much. Enter mysterious newcomer Jason (Christian Slater), who offers her the perfect -- albeit deadly -- solution to end the Heathers's social tyranny.

Heathers (1988) - Amazon UK






2018 TBD

Marijan Vajda's Bloodlust (1977) on blu-ray from Mondo Macabro



A deaf and dumb accountant suffers from a psychic trauma in his childhood. He is collecting puppets and mutilates female bodies in the mortuary. After his secret love died by an accident he starts to kill.






October 22, 2018

James Justice & Umberto Lenzi’s Nightmare Beach (1989) on blu-ray from 88 Films (UK)



Diablo is a biker gang leader executed for the murder of a young woman. A year after his death, it's time for Spring Break. Football players Skip and Ronnie head to the beach, where Skip meets Gail, the sister of the woman who was murdered a year ago. All the fun and glory of Spring Break, however, is about to turn into a living nightmare when a mysterious person in a biker outfit begins to kill people by electrocution. Could it be that Diablo has returned from the dead?

Nightmare Beach (1989) - Amazon UK






July 17, 2018

John Huston’s The Life and Times of Judge Roy Bean (1972) on blu-ray from Warner Archive



A no account outlaw establishes his own particular brand of law and order and builds a town on the edges of civilization in this farcical western. With the aid of an old law text and unpredictable notions Roy Bean distinguishes between lawbreakers and lawgivers by way of his pistols.

The Life and Times of Judge Roy Bean (1972) - Amazon






September 25, 2018

Felix E. Feist’s The Man Who Cheated Himself (1950) on blu-ay from Flicker Alley, from a new 4K restoration



A veteran homicide detective who has witnessed his socialite girlfriend kill her husband sees his inexperienced brother assigned to the case.

In the hard-boiled film noir tradition, reminiscent of the work of James L. Cain, greed, unstoppable sexual attraction, and betrayal set off a doomed course in which a femme fatale leads a once upstanding citizen down a dark path. The first independent production of Phoenix Films, the company run by Jack M. Warner, son of Warner Bros. Studios mogul Jack L., and a highlight in the lengthy career of director Felix E. Feist (Deluge), The Man Who Cheated Himself does not cheat on thrills.


The Man Who Cheated Himself (1950) - Amazon



November 13, 2018

James Bridges’ Bright Lights, Big City (1988) on blu-ray from MVD Visual. Shot by Gordon Willis.



A disillusioned young writer living in New York City turns to drugs and drinking to block out the memories of his dead mother and estranged wife.

Bright Lights, Big City (1988) - Amazon



2018 TBD

Jean Cocteau’s Les Parents Terribles aka The Storm Within (1948) on blu-ray from Cohen Media Group, from a new 2K restoration



In this heartbreaking drama based on Cocteau's highly successful stage play, a mother (Josette Day) smothers her grown son with boyish love. When the son (played by Cocteau regular Jean Marais) meets a girl and leaves the family circle, the mother flies into a rage. But when the boy tells his father, it sets off another drama - she is none other than the girl the father has been secretly seeing. Tragedy strikes in this time-honored tale of fledglings leaving the family nest.






2018 TBD

Kevin Rafferty’s The Atomic Cafe on blu-ray from Kino, from a new 4K restoration



Armageddon has never been so darkly funny as in The Atomic Cafe. This 1982 cult classic juxtaposes Cold War history, propaganda, music and culture, seamlessly crafted from government-produced educational and training films, newsreels and advertisements. Taken together, these sources cheerily instruct the public on how to live in the Atomic Age, how to survive a nuclear attack (!) ... and how to fight and win a nuclear war. As a U.S. Army training film advises, "Viewed from a safe distance, the atomic bomb is one of the most beautiful sights ever seen by man.

On its 20-year anniversary, and not a moment too soon, THE ATOMIC CAFE is back to provide us with a much-needed release of comic energy. A dark comedy in the truest sense, this timeless classic took the nation by storm when it first debuted in 1982. Atomic Cafe is a brilliant compilation of archival film clips beginning with the first atomic bomb detonation in the New Mexico desert. The footage, much of it produced as government propaganda, follows the story of the bomb through the two atomic attacks on Japan that ended World War II to the bomb's central role in the cold war. Shown along with the famous "duck and cover" Civil Defense films are lesser-known clips, many of which possess a bizarre black humor when seen today, and it's easy to see why this film, which was produced in the early 1980s, became a cult classic.







September 18, 2018

Graham Baker’s Impulse (1984) on blu-ray from Kino, from a 4K remaster



When Jennifer (Tilly) and her boyfriend Stuart (Matheson) return to her idyllic hometown, they discover that all boundaries of civility seem to have eroded. Mystified by the actions of normally kind townspeople who are suddenly driven to extremes of irrational-and violent-behavior, Jennifer and Stuart attempt to get to the bottom of the increasingly life-threatening chaos...before it destroys them!


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This Year In Film / Re: Sorry To Bother You
« Last post by WorldForgot on Yesterday at 06:36:30 PM »
This movie was bonkers. Tune-Yards fans should seek it out for the music, especially!

My audience was audibly "what?"-ing from the first few minutes, as soon as they saw the in-universe TV programs. Without saying too much, I think the first act introduces enough elements of elevated-satire to ease you into its anything-goes mindset. The photograph + elevator in particular. Cash howls at the world and it responds in kind. It doesn't quite know exactly how to carry its own momentum, pacing is for sure all over the place, as if Robert Downey Sr. had smoked out Lindsay Anderson, but much clumsier than either of their films, in a way I found endearing.
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The Small Screen / Re: Who Is America?
« Last post by Jeremy Blackman on Yesterday at 03:36:41 PM »



He's still got it.
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