Buildin the Criterion collection...

[drizzle]

promising sale here

http://shop.tcm.com/criterion-sale-up-t ... v=tcm_sale" onclick="window.open(this.href);return false;

[Tommy Bunz]

December releases. Will literally be the 4th time I've bought Time Bandits. They're also re-issuing The Night Porter, but they don't have the new box art up yet.

Julianne Moore gives a breakthrough performance as Carol White, a Los Angeles housewife in the late 1980s who comes down with a debilitating illness. After the doctors she sees can give her no clear diagnosis, she comes to believe that she has frighteningly extreme environmental allergies. A profoundly unsettling work from the great American director Todd Haynes, Safe functions on multiple levels: as a prescient commentary on self-help culture, as a metaphor for the AIDS crisis, as a drama about class and social estrangement, and as a horror film about what you cannot see. This revelatory drama was named the best film of the 1990s in a Village Voice poll of more than fifty critics.

In this fantastic voyage through time and space from Terry Gilliam, a boy named Kevin (Craig Warnock) escapes his gadget-obsessed parents to join a band of time-traveling dwarves. Armed with a map stolen from the Supreme Being (Ralph Richardson), they plunder treasure from Napoleon (Ian Holm) and Agamemnon (Sean Connery)—but Evil (David Warner) is watching their every move. Featuring a darkly playful script by Gilliam and Monty Python’s Michael Palin (who also appears in the film), Time Bandits is at once a giddy fairy tale, a revisionist history lesson, and a satire on technology gone awry.

Hugely popular in his home country of Japan, Keisuke Kinoshita worked tirelessly as a director for nearly half a century, making lyrical, sentimental films that often center on the inherent goodness of people, especially in times of distress. He began his directing career during a most challenging time for Japanese cinema: World War II, when the industry’s output was closely monitored by the state and often had to be purely propagandistic. This collection of Kinoshita’s first films—four made while the war was going on and one shortly after Japan’s surrender—demonstrates the way the filmmaker’s humanity and exquisite cinematic technique shone through, even in the darkest of times.

[aleph]

Nice. I caught all the Kinoshitas on Hulu, I'm hopeful that the Goshas won't be too far behind. Seen 5 of 6- Hunter in the Dark, Bandits Vs. Samurai Squadron, Oil Hell Murder, Heat Wave/Kagero and the really wild Death Shadows, so far all great. That'd make an Eclipse set too good to pass up.

[Spartan]

I hope The Night Porter is a brand new mastering. My copy looks like a fifth generation bootleg VHS tape.

[Tommy Bunz]

I hope The Night Porter is a brand new mastering. My copy looks like a fifth generation bootleg VHS tape.

saw you posted in this thread and was sure it was going to be something about Time Bandits

[Spartan]

Copped Arrow's blu-ray release of Time Bandits already.

[drizzle]

http://www.criterion.com/sale" onclick="window.open(this.href);return false;

[Tommy Bunz]

January.

Love this movie.

Tatsuya Nakadai and Toshiro Mifune star in the story of a wandering samurai who exists in a maelstrom of violence. A gifted swordsman plying his craft during the turbulent final days of shogunate rule in Japan, Ryunosuke (Nakadai) kills without remorse or mercy. It is a way of life that ultimately leads to madness. Kihachi Okamoto’s swordplay classic is the thrilling tale of a man who chooses to devote his life to evil.

In the early 1970s, Rainer Werner Fassbinder discovered the American melodramas of Douglas Sirk and was inspired by them to begin working in a new, more intensely emotional register. One of the earliest and best-loved films of this period in his career is The Bitter Tears of Petra von Kant, which balances a realistic depiction of tormented romance with staging that remains true to the director’s roots in experimental theater. This unforgettable, unforgiving dissection of the imbalanced relationship between a haughty fashion designer (Margit Carstensen) and a beautiful but icy ingenue (Hanna Schygulla)—based, in a sly gender reversal, on the writer-director’s own desperate obsession with a young actor—is a fully Fassbinder affair, featuring exquisitely claustrophobic cinematography by Michael Ballhaus and full-throttle performances by an all-female cast.

The geographical dead center of North America and the beloved birthplace of Guy Maddin, Winnipeg is the frosty and mysterious star of Maddin’s “docu-fantasia.” A work of memory and imagination, Maddin’s film burrows into what the filmmaker calls “the heart of the heart” of the continent, conjuring a city as delightful as it is fearsome, populated by sleepwalkers and hockey aficionados. Take part in Winnipeg’s annual epic scavenger hunt! Pay your respects to the racehorses forever frozen in the river! Help judge the yearly homoerotic Golden Boy pageant! What is real and what is fantasy is left up to the viewer to sort out in Maddin’s hypnotic, expertly conceived paean to that wonderful and terrifying place known as My Hometown.

This wild tale of wacky wedlock from Preston Sturges takes off like a rocket and never lets up. Joel McCrea and Claudette Colbert play Tom and Gerry, a married New York couple on the skids, financially and romantically. With Tom hot on her trail, Gerry takes off for Florida on a mission to solve the pair’s money troubles, which she accomplishes in a highly unorthodox manner. A mix of the witty and the utterly absurd, The Palm Beach Story is a high watermark of Sturges’s brand of physical comedy and verbal repartee, featuring sparkling performances from its leads as well as hilarious supporting turns from Rudy Vallee and Mary Astor as a brother and a sister ensnared in Tom and Gerry’s high jinks.

The release of Lucrecia Martel’s La ciénaga heralded the arrival of an astonishingly vital and original voice in Argentine cinema. With a radical take on narrative, disturbing yet beautiful cinematography, and a highly sophisticated use of on- and offscreen sound, Martel turns her tale of a decaying bourgeois family, whiling away the hours of one sweaty, sticky summer, into a cinematic marvel. This visceral take on class, nature, sexuality, and the ways political turmoil and social stagnation can manifest in human relationships is a drama of amazing tactility and one of the great contemporary film debuts.

[darkwingduck]

SWORD OF DOOM!!!

[Panama]

The Barnes and Noble criterion sale is on and popin

Just in case you didn't know

Nov 11 - Dec 1

[Tommy Bunz]

The Barnes and Noble criterion sale is on and popin

Just in case you didn't know

Nov 11 - Dec 1

Yup yup. Trying not to go overboard over Black Friday this year, but going to be really hard.

Coupons:

[jamrage]

Anyone got a membership number they want to let me use for those coupons? I would really appreciate it. PM me bros.

[Tommy Bunz]

If you still have my # from last year than you can use it again. If not let me know and I can send it to you again later, don't have my card on me now.

[Tommy Bunz]

I've made two trips so far, picked up

The Shooting/Ride in the Whirlwind
Blow Out
Heaven's Gate
Red River
My Darling Clementine
The Vanishing
Kiss Me Deadly
Ace in the Hole


There's a bunch of stuff that I want to pick up but will wait til next summer's sale for, mainly Eraserhead because the first pressing has an issue with the print and I don't feel like having to mail a brand new disc in to Criterion to get replaced.
Also since they are abandoning the dual-format releases I want to wait for the blu-ray only versions of some stuff just cause the dual-releases for a lot of movies are the bulky digipack versions, and I'm low on shelf space as it is.

[jamrage]

Yeah, I've still got it. Thanks.

[Tommy Bunz]

February. Stoked about Don't Look Now. Pretty sure Watership is the first animated film to join the collection. Not a fan though.

After a decade in the wilds of avant-garde and early video experimentation, Jean-Luc Godard returned to commercial cinema with this work of social commentary, star-driven and narrative while remaining defiantly intellectual and visually cutting-edge. Every Man for Himself, featuring a script by Jean-Claude Carrière and Anne-Marie Miéville, looks at the sexual and professional lives of three people—a television producer (Jacques Dutronc), his ex-girlfriend (Nathalie Baye), and a prostitute (Isabelle Huppert)—to create a meditative story about work, relationships, and the notion of freedom. Made twenty years into his career, the film was, according to Godard, a second debut.

Donald Sutherland and Julie Christie mesmerize as a married couple on an extended trip to Venice following a family tragedy. While in that elegantly decaying city, they have a series of inexplicable, terrifying, and increasingly dangerous experiences. A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural, as renowned for its innovative editing and haunting cinematography as its explicit eroticism and unforgettable denouement, one of the great endings in horror history.

This bittersweet work from Jean Renoir, based on a story by Guy de Maupassant, is a tenderly comic idyll about a city family’s picnic in the French countryside and the romancing of the mother and grown daughter by two local men. Conceived as part of a larger project that was never completed, shot in 1936, and released ten years later, the warmly humanist vignette A Day in the Country ranks among Renoir’s most lyrical films, with a love for nature imbuing its every beautiful frame.

The final film from Yasujiro Ozu was also his last masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization. Though widower Shuhei (frequent Ozu leading man Chishu Ryu) has been living comfortably for years with his grown daughter, a series of events leads him to accept and encourage her marriage and departure from their home. As elegantly composed and achingly tender as any of the Japanese master’s films, An Autumn Afternoon is one of cinema’s fondest farewells.

With this passion project, screenwriter-producer-director Martin Rosen brilliantly achieved what was thought difficult, if not impossible: a faithful big-screen adaptation of Richard Adams’s classic British dystopian novel about a community of rabbits seeking safety and happiness after their warren comes under terrible threat. With its naturalistic hand-drawn animation, dreamily expressionistic touches, gorgeously bucolic background design, and elegant voice work from such superb English actors as John Hurt, Ralph Richardson, Richard Briers, and Denholm Elliott, Watership Down is an emotionally arresting, dark-toned allegory about freedom amid political turmoil.

Federico Fellini’s career achieved new levels of eccentricity and brilliance with this remarkable, controversial, extremely loose adaptation of Petronius’s classical Roman satire, written during the reign of Nero. An episodic barrage of sexual licentiousness, godless violence, and eye-catching grotesquerie, Fellini Satyricon follows the exploits of two pansexual young men—the handsome scholar Encolpius and his vulgar, insatiably lusty friend Ascyltus—as they move through a landscape of free-form pagan excess. Creating apparent chaos with exquisite control, Fellini constructs a weird old world that feels like science fiction.

[/quote]

[jamrage]

Went apeshit at Barnes & Noble (thanks Tommy!)

Grabbed:
Brazil
Being John Malkovich
F for Fake
Scanners
Sweet Smell of Success
La Haine
Following
Rififi
Seconds

[Tommy Bunz]

March:

François Truffaut followed up the international phenomenon Jules and Jim with this tense tale of infidelity. The unassuming Jean Desailly is perfectly cast as a celebrated literary scholar, seemingly happily married, who embarks on an affair with a gorgeous stewardess, played by Françoise Dorléac, who is captivated by his charm and reputation. As their romance gets serious, the film grows anxious, leading to a wallop of a conclusion. Truffaut made The Soft Skin at a time when he was immersing himself in the work of Alfred Hitchcock, and that master’s influence can be felt throughout this complex, insightful, underseen French New Wave treasure.

Hollywood actor turned idiosyncratic auteur Robert Montgomery directs and stars in this striking crime drama based on a novel by Dorothy B. Hughes. He plays a tough-talking former GI who comes to a small New Mexico town to shake down a gangster who killed his best friend; things quickly turn nasty. Ride the Pink Horse features standout supporting performances from Fred Clark, Wanda Hendrix, and especially Thomas Gomez, who became the first Hispanic actor to receive an Academy Award nomination for his role here. With its relentless pace, expressive cinematography by the great Russell Metty, and punchy, clever script by Charles Lederer and Ben Hecht, this is an overlooked treasure from the heyday of 1940s film noir.

With his trademark mixture of empathy and scrutiny, Errol Morris has changed the face of documentary filmmaking in the United States, and his career began with two remarkable tales of American eccentricity: Gates of Heaven and Vernon, Florida. The first uses two Southern California pet cemeteries as the bases for a profound and funny rumination on love, loss, and industry; the second travels to a languorous southern backwater and meets a handful of fascinating folks—a determined turkey hunter, a curious minister, a laconic policeman—engaged in individualistic, sometimes absurd pursuits. Morris consistently creates humane portraits of true candor, and these early works remain two of his greatest and most provocative films.

Among the most important documentaries ever made, The Thin Blue Line, by Errol Morris, erases the border between art and activism. A work of meticulous journalism and gripping drama, it recounts the disturbing tale of Randall Adams, a drifter who was charged with the murder of a Dallas police officer and sent to death row, despite overwhelming evidence that he did not commit the crime. Incorporating stylized reenactments, penetrating interviews, and haunting original music by Philip Glass, Morris uses cinema to build a case forensically while effortlessly entertaining his viewers. The Thin Blue Line effected real-world change, proving film’s power beyond the shadow of a doubt.

This existential wail of a drama from Ingmar Bergman concerns two sisters, Karin (Ingrid Thulin) and Maria (Liv Ullmann), keeping vigil for a third, Agnes (Harriet Andersson), who is dying of cancer and can find solace only in the arms of a beatific nurse (Kari Sylwan). An intensely felt film that may be Bergman’s most striking formal experiment, Cries and Whispers (which won an Oscar for the extraordinary color photography of Sven Nykvist) is a powerful depiction of human behavior in the face of death, positioned on the borders between reality and nightmare, tranquillity and terror.

Two ordinary inner-city Chicago kids dare to reach for the impossible—professional basketball glory—in this epic chronicle of hope and faith. Filmed over a five-year period, Hoop Dreams, by Steve James, Frederick Marx, and Peter Gilbert follows young Arthur Agee and William Gates as they navigate the complex, competitive world of scholastic athletics while dealing with the intense pressures of their home lives and neighborhoods. This landmark film, which documents the journeys of two remarkable families, continues to educate and inspire viewers, and it is widely considered one of the great works of American nonfiction cinema.

Pretty happy about some more noir, would love if they'd get the rest of the films Robert Montgomery directed.

[Funky Butler]

Ride the pink horse is sick

definitely be nice to upgrade my shitty vhs

[Tommy Bunz]

killer April. Been wanting that Reed and that Melville for forever

Tired of churning out lightweight comedies, Hollywood director John L. Sullivan (Joel McCrea) decides to make O Brother, Where Art Thou?—a serious, socially responsible film about human suffering. After his producers point out that he knows nothing of hardship, Sullivan hits the road disguised as a hobo. En route to enlightenment, he meets a lovely but no-nonsense young woman (Veronica Lake)—and more trouble than he ever dreamed of. This comic masterpiece by Preston Sturges is among the finest Hollywood satires and a high-water mark in the career of one of the industry’s most revered funnymen.

Taking place largely over the course of one tense night, Carol Reed’s psychological noir, set in an unnamed Belfast, stars James Mason as a revolutionary ex-con leading a robbery that goes horribly wrong. Injured and hunted by the police, he seeks refuge throughout the city, while the woman he loves (Kathleen Ryan) searches for him among the shadows. Reed and cinematographer Robert Krasker (who would collaborate again on The Fallen Idol and The Third Man) create images of stunning depth for this intense, spiritual depiction of a man’s ultimate confrontation with himself.

This entrancing first color feature from Jean Renoir—shot entirely on location in India—is a visual tour de force. Based on the novel by Rumer Godden, the film eloquently contrasts the growing pains of three young women with the immutability of the holy Bengal River, around which their daily lives unfold. Enriched by Renoir’s subtle understanding of and appreciation for India and its people, The River gracefully explores the fragile connections between transitory emotions and steadfast creation.

The great Japanese filmmaker Yasujiro Ozu is best known for the stately, meditative domestic dramas he made after World War II. But during his first decade at Shochiku studios, where he dabbled in many genres, he put out a trio of precisely rendered, magnificently shot and edited silent crime films about the hopes, dreams, and loves of small-time crooks. Heavily influenced in narrative and visual style by the American films that Ozu adored, these movies are revelatory early examples of his cinematic genius, accompanied here by new piano scores by Neil Brand.

Jean-Pierre Melville began his superb filmmaking career with this powerful adaptation of an influential underground novel written during the Nazi occupation of France. An idealistic, naive German officer is assigned to the home of a middle-aged man and his grown niece; their response to his presence—their only form of resistance—is complete silence. Constructed with elegant minimalism and shot, by the legendary Henri Decaë, with hushed eloquence, Le silence de la mer is a fascinating tale of moral ambiguity that points the way toward Melville’s later films about resistance and the occupation (Léon Morin, Priest; Army of Shadows) yet remains a singularly eerie masterwork in its own right.

^really glad they decided to stick with the original poster art

[Tommy Bunz]

May:

Bette Midler exploded onto the screen with her take-no-prisoners performance in this quintessential film about fame and addiction from director Mark Rydell. Midler is the rock-and-roll singer Mary Rose Foster (known as the Rose to her legions of fans), whose romantic relationships and mental health are continuously imperiled by the demands of life on the road. Incisively scripted by Bo Goldman and beautifully shot by Vilmos Zsigmond (with assistance on the dazzling concert scenes by a host of other world-class cinematographers, including Conrad L. Hall, László Kovács, Owen Roizman, and Haskell Wexler), this is a sensitively drawn and emotionally overwhelming melodrama that made the popular singer into a movie star as well.

Charlie Chaplin’s masterful drama about the twilight of a former vaudeville star is among the writer-director’s most touching films. Chaplin plays Calvero, a once beloved musical-comedy performer, now a washed-up alcoholic who lives in a small London flat. A glimmer of hope arrives when he meets a beautiful but melancholy ballerina (Claire Bloom) who lives downstairs. An elegant mix of the comic and the tragic, this poignant film also features Buster Keaton in an extended cameo, marking the only time the two silent comedy icons appeared together on-screen. Made at a time when Chaplin was under attack by the American press and far right, Limelight was barely distributed in the United States upon its initial release, but it is now considered one of his essential and most personal works.

Leo McCarey’s Make Way for Tomorrow is one of the great unsung Hollywood masterpieces, an enormously moving Depression-era depiction of the frustrations of family, aging, and the generation gap. Beulah Bondi and Victor Moore headline a cast of incomparable character actors, starring as an elderly couple who must move in with their grown children after the bank takes their home, yet end up separated and subject to their offspring’s selfish whims. An inspiration for Yasujiro Ozu’s Tokyo Story, this is among American cinema’s purest tearjerkers, all the way to its unflinching ending, which McCarey refused to change despite studio pressure.

Costa-Gavras puts the United States’ involvement in South American politics under the microscope in this arresting thriller. An urban guerilla group, outraged at the counterinsurgency and torture training clandestinely organized by the CIA in their country (unnamed in the film), abducts a U.S. official (Yves Montand) to bargain for the release of political prisoners; soon the kidnapping becomes a media sensation, leading to violence. Cowritten by Franco Solinas (The Battle of Algiers), the electrifying State of Siege piercingly critiques the American government for helping institute foreign dictatorships while also asking difficult questions about the efficacy of radical violent acts to oppose such regimes.

New German Cinema icon Rainer Werner Fassbinder kicked off a new phase of his young career when he made the startling The Merchant of Four Seasons. In this despairing yet mordantly funny film, Fassbinder charts the decline of a self-destructive former policeman and war veteran struggling to make ends meet for his family by working as a fruit vendor. Fassbinder had skyrocketed to renown on the acclaim of a series of trenchant, quickly made early films, but for this one he took more time and forged a new style—featuring a more complexly woven script and narrative structure and more sophisticated use of the camera, and influenced by the work of his recently discovered idol, Douglas Sirk. The result is a meticulously made, unforgiving social satire.

The master of the political thriller, Costa-Gavras, became an instant phenomenon after the mammoth success of Z, and he quickly followed it with the perhaps even more riveting The Confession. Based on a harrowing true story, the film stars Yves Montand as an influential Czechoslovak dignitary who, in the early fifties, was abducted, imprisoned, and interrogated by fellow members of his country’s Communist ruling party—their intentions vague, their methods terrifying. Also starring Simone Signoret and Gabriele Ferzetti, Costa-Gavras’s film is an unflinching depiction of a troubled historical period and the miasma of twentieth-century politics.

The Confession was a recent newletter hint, pretty surprising/awesome to get two Costa-Gavras movies in the same month.

[Panama]

Thanks for posting...I don't know shit about any of these movies

[drizzle]

apparently a new sale going on, code is SPRING

[Tommy Bunz]

ha, just came in here to post that. Time to stock up.

[Tommy Bunz]

Sucks you can't use the code for pre-orders. Really wanted Odd Man Out & Ride The Pink Horse.

[drizzle]

Fuck Pink Horse is THE one I wanted here

[Tommy Bunz]

June:

In Louis Malle’s captivating and philosophical My Dinner with André, actor and playwright Wallace Shawn sits down with friend and theater director André Gregory at an Upper West Side restaurant, and the two proceed into an alternately whimsical and despairing confessional on love, death, money, and all the superstition in between. Playing variations on their own New York–honed personas, Shawn and Gregory, who also wrote the screenplay, dive in with introspective, intellectual gusto, and Malle captures it all with a delicate, artful detachment. A fascinating freeze-frame of cosmopolitan culture, My Dinner with André remains a unique work in cinema history.

Twenty years after their brilliant cinema-theater experiment Vanya on 42nd Street, Wallace Shawn and André Gregory reunited to produce another idiosyncratic big-screen version of a classic play, this time Henrik Ibsen’s Bygmester Solness (Master Builder Solness). Brought pristinely to the screen by Jonathan Demme, this is a compellingly abstract reimagining; it features Shawn (who also wrote the adaptation) as a visionary but tyrannical middle-aged architect haunted by figures from his past, most acutely an attractive, vivacious young woman (the breathtaking newcomer Lisa Joyce) who has appeared on his doorstep. Also featuring standout supporting performances from Julie Hagerty, Larry Pine, and Gregory, A Master Builder, like Vanya, is the result of many years of rehearsals, a living, breathing, constantly shifting work that unites theater, film, and dream.

When André Gregory and Wallace Shawn—theater directors, writers, actors, and longtime friends—sat down for a stimulating meal in 1981’s My Dinner with André, they not only ended up with one of cinema’s unlikeliest iconic scenarios but launched a film collaboration that would continue to pay creative dividends for decades. The subsequent projects they made together for the screen—1994’s Vanya on 42nd Street, a passionate read-through of Anton Chekhov’s Uncle Vanya, and 2014’s striking Henrik Ibsen interpretation A Master Builder—are penetrating works that exist on the edge of theater and film, and that both emerged out of many years of rehearsals with loyal troupes of actors. Gregory and Shawn’s unique contributions to the cinematic landscape are shape-shifting, challenging, and entertaining works about the process of creation.

The astonishing The Bridge, by Bernhard Wicki, was the first major antiwar film to come out of Germany after World War II, as well as the nation’s first postwar film to be widely shown internationally, even securing an Oscar nomination. Set near the end of the war, it follows a group of teenage boys in a small town as they contend with everyday matters like school, girls, and parents, before enlisting as soldiers and being forced to defend their home turf in a confused, terrifying battle. This expressively shot, emotionally bruising drama dared to humanize young German soldiers at a historically tender moment, and proved influential for the coming generation of New German Cinema auteurs.

A fairy tale grounded in poignant reality, the magnificent, Manhattan-set The Fisher King, by Terry Gilliam, features Jeff Bridges and Robin Williams in two of their most brilliant roles. Bridges plays a former radio shock jock reconstructing his life after a scandal, and Williams is a homeless man on a quest for the Holy Grail—which he believes to be hidden somewhere on the Upper West Side. Unknowingly linked by their pasts, the two men aid each other on a fanciful journey to redemption. This singular American odyssey features a witty script by Richard La Gravenese, evocative cinematography by Roger Pratt, and superb supporting performances by Amanda Plummer and an Oscar-winning Mercedes Ruehl, all harnessed by Gilliam into a humane, funny modern-day myth.

Following Jack Nicholson’s breakout supporting turn in Easy Rider, director Bob Rafelson devised a powerful leading role for the new star in the searing character study Five Easy Pieces. Nicholson plays the now iconic cad Bobby Dupea, a shiftless thirtysomething oil rigger and former piano prodigy immune to any sense of responsibility, who returns to his upper-middle-class childhood home, blue-collar girlfriend (Karen Black, in an Oscar-nominated role) in tow, to see his estranged ailing father. Moving in its simplicity and gritty in its textures, Five Easy Pieces is a lasting example of early 1970s American alienation.

A girl on the verge of womanhood finds herself in a sensual fantasyland of vampires, witchcraft, and other threats in this eerie and mystical movie daydream. Valerie and Her Week of Wonders serves up an endlessly looping, nonlinear fairy tale, set in a quasi-medieval landscape. Ravishingly shot, enchantingly scored, and spilling over with surreal fancies, this enticing phantasmagoria from director Jaromil Jireš is among the most beautiful oddities of the Czechoslovak New Wave.

Fisher King is 2nd tier Gilliam to me but still really glad to have it in the collection.
The Bridge and Valerie and Her Week of Wonders both look great.
Curious if they are now going to release the rest of the BBS box set individually or if 5 Easy Pieces is an exception.

[battlecatmeowstab212]

So, I'm recently getting back into the Criterion game and I was wondering, now that a superior version of Salo's been back in circulation for a few years, which out-of-print Criterion DVDs and Blu-Rays sell for the most money these days? I've heard The Killer and Hard Boiled are still very rare, and that The Third Man on Blu-Ray's among the most sought-after right now, and that Blood for Dracula is quickly becoming more and more elusive. Any big ones I'm overlooking?

[Spartan]

Valerie and Her Week of Wonders is an amazing film.

[Tommy Bunz]

July

The Killers


Hiroshima Mon Amour


Here is Your Life


The Black Stallion


My Beautiful Laundrette


+ Moonrise Kingdom but they don't have the box art up yet.