Criterion News and Discussion

Started by Gold Trumpet, January 16, 2003, 06:18:19 PM

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The Perineum Falcon

it bothers me, too. And I like both those things.

it just looks like poorly edited copywork.
We often went to the cinema, the screen would light up and we would tremble, but also, increasingly often, Madeleine and I were disappointed. The images had dated, they jittered, and Marilyn Monroe had gotten terribly old. We were sad, this wasn't the film we had dreamed of, this wasn't the total film that we all carried around inside us, this film that we would have wanted to make, or, more secretly, no doubt, that we would have wanted to live.

cinemanarchist

I love it, but I would love it more without the fold. I don't think it enhances the cover in any way.
My assholeness knows no bounds.

OrHowILearnedTo

Also don't care for the fold. Don't like the fonts either. Looks fan made.

socketlevel

the one last hit that spent you...

Ravi

I agree with socketlevel, down with the fold!

samsong

pretty disappointed with this one.  it's phoned in not just in concept but in execution--the image doesn't curl inward the way the text does.  the criterion covers of late have been pretty lazy, mostly just (admittedly well-chosen) stills from the film.  even the ones that flex a little more creativity tend to miss the mark in terms of conveying the essence of the film (ie walkabout).

OrHowILearnedTo


modage

Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Stefen

I'm tempted to get that AK 100 25 films by Kurosawa boxset. It would be like $8 a film.

Anyways, ????


Falling in love is the greatest joy in life. Followed closely by sneaking into a gated community late at night and firing a gun into the air.

Gold Trumpet

   


Paths of Glory
   *  New, restored high-definition digital transfer (with uncompressed monaural soundtrack on the Blu-ray edition)
    * New audio commentary by critic Gary Giddins
    * Television interview from 1979 with star Kirk Douglas
    * New video interviews with Kubrick's longtime executive producer Jan Harlan, Paths of Glory producer James B. Harris, and actress Christiane Kubrick
    * Excerpt from a French television program about real-life World War I executions similar to the events dramatized in Paths of Glory
    * Theatrical trailer
    * PLUS: An essay by Kubrick scholar James Naremore



House

    *  New, restored high-definition digital transfer (with uncompressed monaural soundtrack on the Blu-ray edition)
    * Constructing a House, a new video piece featuring interviews with director Nobuhiko Obayashi, story scenarist and daughter of the director Chigumi Obayashi, and screenwriter Chiho Katsura
    * Emotion, a 1966 experimental film by Obayashi
    * New video appreciation by director Ti West (House of the Devil)
    * Theatrical trailer
    * New and improved English subtitle translation
    * PLUS: An essay by Chuck Stephens



The Darjeeling Limited

    *  New high-definition digital transfer, supervised and approved by director Wes Anderson (with DTS-HD Master Audio on the Blu-ray edition)
    * Anderson's short film Hotel Chevalier (part one of The Darjeeling Limited), starring Natalie Portman, with commentary by Anderson
    * Audio commentary featuring Anderson and cowriters Jason Schwartzman and Roman Coppola
    * Behind-the-scenes documentary by Barry Braverman
    * Anderson and filmmaker James Ivory discussing the film's music
    * Anderson's American Express commercial
    * On-set footage shot by Coppola and actor Waris Ahluwalia
    * Audition footage, deleted and alternate scenes, and stills galleries
    * Original theatrical trailer
    * PLUS: A booklet featuring an essay by critic Richard Brody and original illustrations by Eric Anderson


The Perineum Falcon

You've forgotten one, GT:



    *  New, restored high-definition digital transfer (with uncompressed monaural soundtrack on the Blu-ray edition)
    * New visual essay by Bergman scholar Peter Cowie
    * Brief 1967 video interview with director Ingmar Bergman about the film
    * Rare English-language audio interview with Bergman, conducted by filmmakers Olivier Assayas and Stig Björkman
    * New and improved English subtitle translation
    * PLUS: A booklet featuring an essay by critic Geoff Andrew, a reprinted essay by Assayas, and an excerpt from Bergman's autobiography Images: My Life in Film
We often went to the cinema, the screen would light up and we would tremble, but also, increasingly often, Madeleine and I were disappointed. The images had dated, they jittered, and Marilyn Monroe had gotten terribly old. We were sad, this wasn't the film we had dreamed of, this wasn't the total film that we all carried around inside us, this film that we would have wanted to make, or, more secretly, no doubt, that we would have wanted to live.

Gold Trumpet


modage

I finally just bought Paths of Glory too!  Fuck, I'm 0-3 on waiting forever for a special edition, finally giving up and buying the regular one, and criterion announcing their verison within a few weeks.  Or maybe I'm 3-3.  The point is: fuck.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Gold Trumpet

I will try to better post rumors so people have an idea of what films are in the pipeline. Lots of Chaplin is coming soon so unless you have a need to have Chaplin asap, hold off for the Criterion editions. I will try to better look into what else is coming as well.

The Perineum Falcon

Quote from: Gold Trumpet on July 15, 2010, 03:35:49 PM
Lots of Chaplin is coming soon so unless you have a need to have Chaplin asap, hold off for the Criterion editions.
Yay! You just saved me a shit-ton of money.

Also, any rumor as to when Antichrist is coming out? I figured October was a shoe-in, but I guess this means November?
We often went to the cinema, the screen would light up and we would tremble, but also, increasingly often, Madeleine and I were disappointed. The images had dated, they jittered, and Marilyn Monroe had gotten terribly old. We were sad, this wasn't the film we had dreamed of, this wasn't the total film that we all carried around inside us, this film that we would have wanted to make, or, more secretly, no doubt, that we would have wanted to live.