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Criterion Blu-ray in August: The Dardenne Brothers, Anderson, Haigh, Fejos, Roddam
Titles include the Dardenne Brothers' Rosetta & La Promesse, Wes Anderson's The Royal Tenenbaums, Andrew Haigh's Weekend, Paul Fejos' Lonesome, and Franc Roddam's Quadrophenia.
Of those five films, only The Royal Tenenbaums is an existing Criterion title receiving a Blu-ray upgrade; the rest are new to the Collection and are also making their respective debuts onto the North American Blu-ray format.
David Fincher’s THE GAME Finally Coming to Criterion on September 25
Oh joy. The biggest cop out in motion picture history gets a Criterion.
Barnes & Noble is doing their 50% off Criterion sale again.
BARNES & NOBLE | Blu-ray
Criterion Blu-rays for $20!
Criterion Blu-ray in October: Kar-wai, Marston, Schlesinger, Polanski
IN THE MOOD FOR LOVE, HOLY ****!!!!!!!!!!!!!!!!!!!!!!!Titles include Wong Kar-wai's In the Mood for Love, Joshua Marston's The Forgiveness of Blood, John Schlesinger's Sunday Bloody Sunday, and Roman Polanski's Rosemary's Baby.
Ooooh, Mood for Love!
This reminds me of BoobyTrap, I miss her hanging around here. :(
We agreed on so much, not so much on her disliking Wong Kar-wai!
This is such a wonderfully romantic film that borrows from the French New Wave!
And Nat King Cole version of the Cuban son "Aquellos Ojos Verdes!"
BTW, Tell her, I said hello.
Criterion Blu-ray in November: Godard, Pasolini, Kurosawa, Cimino
That's a damn good slate.The Criterion Collection has announced four titles for Blu-ray release in November. On November 6th, the independent studio will release Rashomon (Akira Kurosawa, 1950). A week later, on November 13th, it will release Weekend (Jean-Luc Godard, 1967) and Trilogy of Life (Pier Paolo Pasolini, 1971-74). On November 20th, it will release Heaven's Gate (Michael Cimino, 1980).
Eclipse Series 37: When Horror Came to Shochiku - The Criterion Collection
Nice. I've seen Goke: Bodysnatcher From Hell and thought it was pretty funny.Following years of a certain radioactive rubber beast’s domination of the box office, many Japanese studios tried to replicate the formula with their own brands of monster movies. One of the most fascinating dives into that fiendish deep end was the short-lived one from Shochiku, a studio better known for its elegant dramas by the likes of Kenji Mizoguchi and Yasujiro Ozu. In 1967 and 1968, the company created four certifiably batty, low-budget fantasies, tales haunted by watery ghosts, plagued by angry insects, and stalked by aliens—including one in the form of a giant chicken-lizard. Shochiku’s outrageous and oozy horror period shows a studio leaping into the unknown, even if only for one brief, bloody moment.
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