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PostPosted: Tue Apr 21, 2015 4:28 pm 
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this has been a rumor for a long time, but glad to see its official

http://criterioncast.com/news/toshiya-f ... collection


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PostPosted: Tue Apr 21, 2015 5:04 pm 
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cool but i'd much rather get a criterion Lone wolf or THOSE FUCKING GOSHAS

it's annoying that they're releasing stuff that's never been a problem to find. i've had snowblood on dvd since like 2002 or something

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PostPosted: Tue Apr 21, 2015 5:47 pm 
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Yeah I have the animeigo dvds too but they're not the greatest quality.
They'll look way better with a new HD transfer so I'm still excited.
But yeah, they're fucking assholes for sitting on those Gosha's but they are available to watch on Hulu apparently.


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PostPosted: Tue Apr 21, 2015 5:48 pm 
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who the fuck has hulu though. hulu is the RC cola of streaming services.

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PostPosted: Wed Apr 22, 2015 2:41 pm 
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Hulu is worth it just for Criterion's shit. They've got over a hundred movies on there. A number of them were never released to Blu-Ray but stream in HD.


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PostPosted: Wed Apr 22, 2015 2:52 pm 
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I've had like 3 free trials on Hulu, sometimes they offer 2 week trials. Had my wife do a free trial too so we could get all caught up on Brooklyn Nine-Nine recently. Couldn't imagine keeping it monthly though, I just shut down my Netflix for the next several months as I haven't been using it a lot lately. I tend to rotate HBO and Netflix throughout the year, not worth it for me to pay for both year round. Whenever I take a few months off I come back and there's a gang of stuff for me to catch up on.

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PostPosted: Wed Apr 22, 2015 5:19 pm 
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Yeah they had a free weekend trial last year sometime and it had commercial interruptions or some shit and I couldn't do it.
I'll probably buy it for a month at some point just so I can catch a few things.


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PostPosted: Thu Apr 23, 2015 2:52 pm 
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No commercials in the movies.


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PostPosted: Mon May 18, 2015 7:21 pm 
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August

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Two-bit hustler Harry Fabian (Richard Widmark) longs for a life of ease and plenty. Trailed by an inglorious history of go-nowhere schemes, he tries to hatch a lucrative plan with a famous wrestler. But there is no easy money in this underworld of shifting alliances, bottomless graft, and pummeled flesh—and Fabian soon learns the horrible price of his ambition. Luminously shot in the streets of London while Hollywood blacklisters back home were closing in on director Jules Dassin, Night and the City, also starring Gene Tierney, is film noir of the first order, and one of Dassin’s crowning achievements.


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The legendary French filmmaker Agnès Varda, whose remarkable career began in the 1950s and has continued into the twenty-first century, produced some of her most provocative works while living on the West Coast of the United States. After temporarily relocating from France to California in the late sixties with her husband, Jacques Demy, so that he could make his first Hollywood film, Varda became entranced by the politics, youth culture, and sunshine of the San Francisco and Los Angeles areas, and created documentary explorations and fictional narratives—sometimes within the same film. She returned a decade later, and made more fascinating portraits of outsiderness. Her five revealing, entertaining California films, encompassing shorts and features, are collected in this set, which demonstrates that Varda was as deft an artist in unfamiliar terrain as she was on her own turf.


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An astounding array of talent came together for the big-screen adaptation of John Fowles’s novel The French Lieutenant’s Woman, a postmodern masterpiece that had been considered unfilmable. With an ingenious script by the Nobel Prize–winning playwright Harold Pinter, British New Wave trailblazer Karel Reisz transforms Fowles’s tale of scandalous romance into an arresting, hugely entertaining movie about cinema. In Pinter’s reimagining, Jeremy Irons and Meryl Streep star in parallel narratives, as a Victorian-era gentleman and the social outcast he risks everything to love, and as the contemporary actors cast in those roles and immersed in their own forbidden affair. The French Lieutenant’s Woman, shot by the consummate cinematographer Freddie Francis and scored by the venerated composer and conductor Carl Davis, is a beguiling, intellectually nimble feat of filmmaking, starring a pair of legendary actors in early leading roles.


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Brian De Palma ascended to the highest ranks of American suspense filmmaking with this virtuoso, explicit erotic thriller. At once tongue-in-cheek and scary as hell, Dressed to Kill revolves around the grisly murder of a woman in Manhattan, and what happens when her psychiatrist, her brainiac teenage son, and the prostitute who witnessed the crime try to piece together what happened while the killer remains at large. With its masterfully executed scenes of horror, voluptuous camera work, and passionate score, Dressed to Kill is a veritable symphony of terror, enhanced by vivid performances by Angie Dickinson, Michael Caine, and Nancy Allen.


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This loving farce from François Truffaut about the joys and turbulence of moviemaking is one of his most beloved films. Truffaut himself appears as the harried director of a frivolous melodrama, the shooting of which is plagued by the whims of a neurotic actor (Jean-Pierre Léaud); an aging but still forceful Italian diva (Valentina Cortese); and a British ingenue haunted by personal scandal (Jacqueline Bisset). An irreverent paean to the prosaic craft of cinema as well as a delightful human comedy about the pitfalls of love and sex, Day for Night is buoyed by robust performances and a sparkling score by the legendary Georges Delerue.


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Oscar winner Marion Cotillard received another nomination for her searing, deeply felt performance as a working-class woman desperate to hold on to her factory job, in this gripping film from master Belgian directors Jean-Pierre and Luc Dardenne. Cotillard is Sandra, a wife and mother who suffers from depression and discovers that, while she was home on sick leave, a majority of her coworkers voted in favor of her being fired rather than give up their annual bonuses. She then spends a Saturday and Sunday visiting them each in turn, to try to convince them to change their minds. From this simple premise, the Dardennes render a powerful, humanist drama about the importance of community in an increasingly impersonal world.


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PostPosted: Tue May 19, 2015 9:58 am 
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drizzle wrote:
who the fuck has hulu though. hulu is the RC cola of streaming services.


hulu is the shit bee. simulcast Japanese tv.

Fist Of The North Star on Fleek.


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PostPosted: Wed Jun 17, 2015 4:42 pm 
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Before he stunned the cinematic world with the epic The Decalogue and the Three Colors trilogy, the great Polish filmmaker Krzysztof Kieślowski made his first work of metaphysical genius, Blind Chance, a compelling drama about the difficulty of reconciling political ideals with personal happiness. This unforgettable film follows Witek (a magnetic Boguslaw Linda), a medical student with an uncertain future in Communist Poland; Kieślowski dramatizes Witek’s journey as a series of different possibilities, suggesting that chance rules our lives as much as choice. First suppressed and then censored by the Polish government, Blind Chance is here presented in its complete original form.


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A decade after he broke through with Breaker Morant, Australian director Bruce Beresford made another acclaimed film about the effects of colonialism on the individual. In a performance that earned him the Berlin Film Festival’s Silver Bear for best actor, Maynard Eziashi plays the title character, a Nigerian villager eager to work as a civil servant for the British authorities, including a sympathetic district officer (Pierce Brosnan), in the hopes that it will benefit him in the future. Instead, his ambition leads to his tragic downfall. Mister Johnson, based on a 1939 novel by Joyce Cary, is a graceful, heartfelt drama about the limits of idealism, affectingly acted and handsomely shot.


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An island off the New England coast, summer of 1965. Two twelve-year-olds, Sam and Suzy, fall in love, make a secret pact, and run away together into the wilderness. As local authorities try to hunt them down, a violent storm is brewing offshore . . . Wes Anderson’s Moonrise Kingdom stars Jared Gilman and Kara Hayward as the young couple on the run, Bruce Willis as Island Police Captain Sharp, Edward Norton as Khaki Scout troop leader Scout Master Ward, and Bill Murray and Frances McDormand as Suzy’s attorney parents, Walt and Laura Bishop. The cast also includes Tilda Swinton, Jason Schwartzman, and Bob Balaban. The magical soundtrack features the music of Benjamin Britten.


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At the turn of the twentieth century, three Australian army lieutenants are court-martialed for alleged war crimes committed while fighting in South Africa. With no time to prepare, an Australian major, appointed as defense attorney, must prove they were just following the rules of war and are being made into political pawns by the British imperial command. Director Bruce Beresford garnered international acclaim for this riveting drama set during a dark period in his country’s colonial history, and featuring passionate performances by Edward Woodward, Bryan Brown, and Jack Thompson; rugged cinematography by Donald McAlpine; and an Oscar-nominated script, based on true events.


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Martha Beck (Shirley Stoler) is sullen, overweight, and lonely. Desperate for affection, she joins Aunt Carrie’s Friendship Club and strikes up a correspondence with Ray Fernandez (Tony Lo Bianco), a charismatic smooth talker who could be the man of her dreams—or a degenerate con artist. Based on a shocking true story and filmed in documentary-style black and white by the confident and inspired first-time filmmaker Leonard Kastle, The Honeymoon Killers is a stark portrayal of the desperate lengths to which a lonely heart will go to find true love.


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Merchant Ivory Productions, led by director James Ivory and producer Ismail Merchant, became a household name with A Room with a View, the first of their extraordinary adaptations of E. M. Forster novels. A cherubic nineteen-year-old Helena Bonham Carter plays Lucy Honeychurch, a young, independent-minded, upper-class Edwardian woman who is trying to sort out her burgeoning romantic feelings, divided between an enigmatic free spirit (Julian Sands) she meets on vacation in Florence and the priggish bookworm (Daniel Day-Lewis) to whom she becomes engaged back in the more corseted Surrey. Funny, sexy, and sophisticated, this gargantuan art-house hit features a sublime supporting cast—including Simon Callow, Judi Dench, Denholm Elliott, Maggie Smith—and remains a touchstone of intelligent romantic cinema.


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PostPosted: Mon Jul 06, 2015 9:28 am 
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Barnes & Noble 50% off sale starts again tomorrow and runs til July 27th.


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PostPosted: Wed Jul 15, 2015 6:39 pm 
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OCTOBER!!!!!
So happy to finally see Mulholland Dr and The Brood after years of rumors. Brood cover sucks though.
And Kwaidan is 20 minutes longer than previously released cut. (although the original put me to sleep a bunch of times already, not sure how excited about that I am).

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River Phoenix and Keanu Reeves star in this haunting tale from Gus Van Sant, about two young street hustlers: Mike Waters, a sensitive narco­leptic who dreams of the mother who abandoned him, and Scott Favor, the wayward son of the mayor of Portland and the object of Mike’s desire. Navigating a volatile world of junkies, thieves, and johns, Mike takes Scott on a quest along the grungy streets and open highways of the Pacific Northwest, in search of an elusive place called home. Visually dazzling and thematically groundbreaking, My Own Private Idaho is a deeply moving look at unrequited love and life on society’s margins.


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A disturbed woman is receiving a radical form of psychotherapy at a remote, mysterious institute. Meanwhile, her five-year-old daughter, under the care of her estranged husband, is being terrorized by a group of demonic beings. How these two story lines connect is the shocking and grotesque secret of this bloody tale of monstrous parenthood from David Cronenberg, starring Oliver Reed and Samantha Eggar. With its combination of psychological and body horror, The Brood laid the groundwork for many of the director’s films to come, but it stands on its own as a personal, singularly scary vision.


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Italian cinema dream team Sophia Loren and Marcello Mastroianni are cast against glamorous type and deliver two of the finest performances of their careers in this moving, quietly subversive drama from Ettore Scola. Though it’s set in Rome on the historic day in 1938 when Benito Mussolini and the city first rolled out the red carpet for Adolf Hitler, the film takes place entirely in a working-class apartment building, where an unexpected friendship blossoms between a pair of people who haven’t joined the festivities: a conservative housewife and mother tending to her domestic duties and a liberal radio broadcaster awaiting deportation. Scola paints an exquisite portrait in sepia tones, a story of two individuals helpless in the face of fascism’s rise.


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After more than a decade of sober political dramas and social-minded period pieces, the great Japanese director Masaki Kobayashi shifted gears dramatically for this rapturously stylized quartet of ghost stories. Featuring colorfully surreal sets and luminous cinematography, these haunting tales of demonic comeuppance and spiritual trials, adapted from writer Lafcadio Hearn’s collections of Japanese folklore, are existentially frightening and meticulously crafted. This version of Kwaidan is the original three-hour cut, never before released in the United States.


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A love story in the city of dreams . . .

Blonde Betty Elms (Naomi Watts) has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia (Laura Harring). Meanwhile, as the two set off to solve the second woman’s identity, filmmaker Adam Kesher (Justin Theroux) runs into ominous trouble while casting his latest project. David Lynch’s seductive and scary vision of Los Angeles’s dream factory is one of the true masterpieces of the new millennium, a tale of love, jealousy, and revenge like no other.


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PostPosted: Wed Jul 15, 2015 6:49 pm 
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yea that brood cover is terrible

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PostPosted: Wed Jul 15, 2015 7:24 pm 
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just got back from my first trip to B&N during the sale, picked up The Fisher King, Don't Look Now, Odd Man Out, Gate of Hell and Le Silence de la Mer.
Pretty solid haul.
Am going to go back at least one more time, they didn't have Ride The Pink Horse in stock today.


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PostPosted: Thu Jul 16, 2015 1:40 am 
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Any coupons for this sale?

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PostPosted: Thu Jul 16, 2015 10:01 am 
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just the regular ones that are always around

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Some members have been getting 15% off coupons by I haven't seen any.
This thread at DVDtalk is the best place to keep up to date:
http://forum.dvdtalk.com/dvd-bargains/5 ... a-452.html


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PostPosted: Thu Jul 16, 2015 8:12 pm 
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PostPosted: Mon Aug 17, 2015 6:02 pm 
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November. So glad Ikiru is finally getting a blu-ray upgrade.

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Remembered primarily for directing the classic crime drama Pépé le moko, Julien Duvivier was one of the finest filmmakers working in France in the 1930s. He made the transition from silents to talkies with ease, thanks to a formidable innate understanding of the cinematic medium, and he married his expressive camera work to a strikingly inventive use of sound with a singular dexterity. His deeply shadowed, fatalistic early sound films David Golder and La tête d’un homme anticipate the poetic realist style that would come to define the decade in French cinema, while the small-town family drama Poil de Carotte and the swooning tale of love and illusion Un carnet de bal showcase his stunning versatility. These four films—all featuring the great stage turned screen actor Harry Baur—are collected here, each evidence of an immense and often overlooked cinematic talent.


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One of the world’s most influential and provocative filmmakers, the Academy Award–winning Austrian director Michael Haneke diagnoses the social maladies of contemporary Europe with devastating precision and staggering artistry. His 2000 drama Code Unknown, the first of his many films made in France, may be his most inspired work. Composed almost entirely of brilliantly shot, single-take vignettes focusing on characters connected to one seemingly minor incident on a Paris street, Haneke’s film—with an outstanding international cast headlined by Juliette Binoche—is a revelatory take on racial inequality and the failure of communication in today’s increasingly diverse European landscape.


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Two decades after its original negatives were burned in a fire, Satyajit Ray’s breathtaking milestone of world cinema rises from the ashes in a meticulously reconstructed new restoration. The Apu Trilogy brought India into the golden age of international art-house film, following one indelible character, a free-spirited child in rural Bengal who matures into an adolescent urban student and finally a sensitive man of the world. These delicate masterworks—Pather Panchali (Song of the Little Road), Aparajito (The Unvanquished), and Apur Sansar (The World of Apu)—based on two books by Bibhutibhusan Banerjee, were shot over the course of five years, and each stands on its own as a tender, visually radiant journey. They are among the most achingly beautiful, richly humane movies ever made—essential works for any film lover.


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Truman Capote’s best seller, a breakthrough narrative account of real-life crime and punishment, became an equally chilling film in the hands of writer-director Richard Brooks. Cast for their unsettling resemblances to the killers they play, Robert Blake and Scott Wilson give authentic, unshowy performances as Perry Smith and Richard Hickock, who in 1959 murdered a family of four in Kansas during a botched robbery. Brooks brings a detached, documentary-like starkness to this uncompromising view of an American tragedy and its aftermath; at the same time, stylistically In Cold Blood is a filmmaking master class, with clinically precise editing, chiaroscuro black-and-white cinematography by the great Conrad L. Hall, and a menacing jazz score by Quincy Jones.


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Bob Dylan is captured on-screen as he never would be again in this groundbreaking film from D. A. Pennebaker. The legendary documentarian finds Dylan in London during his 1965 tour, which would be his last as an acoustic artist and marked a turning point in his career. In this wildly entertaining vision of one of the twentieth century’s greatest artists thrust into the spotlight, Dylan is surrounded by teen fans; gets into heated philosophical jousts with journalists; and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price. Featuring some of Dylan’s most famous songs, including “Subterranean Homesick Blues,” “The Times They Are A-Changin’,” and “It’s All Over Now, Baby Blue,” Dont Look Back is a radically conceived and shot portrait of an American icon that has influenced decades of vérité behind-the-scenes documentaries.


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One of the greatest achievements by Akira Kurosawa, Ikiru presents the director at his most compassionate—affirming life through an exploration of death. Takashi Shimura (Rashomon) beautifully portrays Kanji Watanabe, an aging bureaucrat with stomach cancer who is impelled to find meaning in his final days. Presented in a radically conceived two-part structure and shot with a perceptive, humanistic clarity of vision, Ikiru is a multifaceted look at what it means to be alive.


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PostPosted: Wed Sep 16, 2015 6:18 pm 
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December. Burroughs doc is a surprise.

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Astonishing Alpine location photography and a young Robert Redford in one of his earliest starring roles are just two of the visual splendors of Downhill Racer, the visceral debut feature by Michael Ritchie. In a beautifully understated performance, Redford is David Chappellet, a ruthlessly ambitious skier competing for Olympic gold with an underdog American team in Europe, and Gene Hackman provides tough support as the coach who tries to temper the upstart’s narcissistic drive for glory. With a subtle screenplay by the acclaimed novelist James Salter, Downhill Racer is a vivid character portrait, buoyed by breathtakingly fast and furious imagery that places the viewer directly in the mind of the competitor.


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Takashi Murakami, one of the most popular artists in the world, made his directorial debut with Jellyfish Eyes, taking his boundless imagination to the screen in a tale that is about friendship and loyalty at the same time as it addresses humanity’s penchant for destruction. After moving to a country town with his mother following his father’s death, a young boy befriends a charming, flying, jellyfish-like sprite—only to discover that his schoolmates have similar friends, and that neither they nor the town itself are what they seem to be. Pointedly set in a post-Fukushima world, Murakami’s modest-budgeted special effects extravaganza boasts unforgettable creature designs and carries a message of cooperation and hope for all ages.


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Speedy was the last silent feature to star Harold Lloyd—and one of his very best. The slapstick legend reprises his “Glasses Character,” this time as a good-natured but scatterbrained New Yorker who can’t keep a job. He finally finds his true calling when he becomes determined to help save the city’s last horse-drawn trolley, which is operated by his sweetheart’s crusty grandfather. From its joyous visit to Coney Island to its incredible Babe Ruth cameo to its hair-raising climactic stunts on the city’s streets, Speedy is an out-of-control love letter to New York that will have you grinning from ear to ear.


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Made up of intimate, revelatory footage of the singular author and poet filmed over the course of five years, Howard Brookner’s 1983 documentary about William S. Burroughs was for decades mainly the stuff of legend; that changed when Aaron Brookner, the late director’s nephew, discovered a print of it in 2011 and spearheaded a restoration. Now viewers can enjoy the invigorating candidness of Burroughs: The Movie, a one-of-a-kind nonfiction portrait that was brought to life with the help of a remarkable crew of friends, including Jim Jarmusch and Tom DiCillo, and that features on-screen appearances by fellow artists of Burroughs’s including Allen Ginsberg, Herbert Huncke, Patti Smith, and Terry Southern.


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PostPosted: Mon Sep 28, 2015 1:51 pm 
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The Criterion Collection is celebrating reaching 300,000 fans on Facebook. If you log in on https://www.criterion.com/facebook_300k using your Facebook account, they'll give you a $10 credit.

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PostPosted: Mon Sep 28, 2015 1:53 pm 
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Awesome. Thanks for the heads up.


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PostPosted: Tue Oct 06, 2015 12:15 pm 
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50% off flash sale

https://www.criterion.com/sale


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PostPosted: Fri Oct 16, 2015 5:37 pm 
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WOOOOOOOO

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PostPosted: Fri Oct 16, 2015 5:59 pm 
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whole slate looks bananas b, 4k Ikiru WHAT

https://www.criterion.com/library/expan ... lease_date

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PostPosted: Fri Oct 16, 2015 6:43 pm 
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Yeah getting the Snowbloods in bluray is awesome, great to see the Coen's finally join the collection too, although I'd wish they were putting out Barton Fink (which still hasn't gotten a bluray release somehow).


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PostPosted: Sun Nov 08, 2015 3:56 pm 
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50% off Barnes & Noble sale starts Tuesday.

Anyone got some of the coupons that save you extra $?

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PostPosted: Mon Nov 09, 2015 12:04 pm 
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Just the same ones as always. Haven't read anywhere about any special ones coming out during the sale.

$5 off $50 purchase
http://www.barnesandnoble.com/promos/bn ... id=3000004

$8 off $40
http://www.barnesandnoble.com/promos/bn ... id=3000003


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PostPosted: Mon Nov 16, 2015 7:35 pm 
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One of the most beloved American films of all time, The Graduate earned Mike Nichols a best director Oscar, brought the music of Simon & Garfunkel to a wider audience, and introduced the world to a young actor named Dustin Hoffman. Benjamin Braddock (Hoffman) has just finished college and is already lost in a sea of confusion and barely contained angst when he becomes sexually involved with the middle-aged mother (Anne Bancroft) of the young woman he’s dating (Katharine Ross). Visually imaginative and impeccably acted, with a clever, endlessly quotable script by Buck Henry (based on the novel by Charles Webb), The Graduate had the kind of cultural impact that comes along only once in a generation.


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This prismatic portrait of the days and nights of a party girl in sixties Rome is a revelation. On the surface, I Knew Her Well, directed by Antonio Pietrangeli, plays like an inversion of La dolce vita with a woman at its center, following the gorgeous, seemingly liberated Adriana (Divorce Italian Style’s Stefania Sandrelli) as she dallies with a wide variety of men, attends parties, goes to modeling gigs, and circulates among the rich and famous. Despite its often light tone, though, the film is a stealth portrait of a suffocating culture that regularly dehumanizes people, especially women. A seriocomic character study that never strays from its complicated central figure while keeping us at an emotional remove, I Knew Her Well is one of the most overlooked films of the sixties, by turns hilarious, tragic, and altogether jaw-dropping.


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Genius provocateur Nagisa Oshima (In the Realm of the Senses), an influential figure in the Japanese New Wave of the 1960s, made one of his most startling political statements with the compelling pitch-black satire Death by Hanging. In this macabre farce, a Korean man is sentenced to death in Japan but survives his execution, sending the authorities into a panic about what to do next. At once disturbing and oddly amusing, Oshima’s constantly surprising film is a subversive and surreal indictment of both capital punishment and the treatment of Korean immigrants in his country.


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Charlie Chaplin was already an international star when he decided to break out of the short-film format and make his first full-length feature. The Kid doesn’t merely show Chaplin at a turning point, when he proved that he was a serious film director—it remains an expressive masterwork of silent cinema. In it, he stars as his lovable Tramp character, this time raising an orphan (a remarkable young Jackie Coogan) he has rescued from the streets. Chaplin and Coogan make a miraculous pair in this nimble marriage of sentiment and slapstick, a film that is, as its opening title card states, “a picture with a smile—and perhaps, a tear.”


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This monumental mid-nineteenth-century epic from Jan Troell (Here Is Your Life) charts, over the course of two films, a poor Swedish farming family’s voyage to America and their efforts to put down roots in this beautiful but forbidding new world. Movie legends Max Von Sydow (The Seventh Seal) and Liv Ullmann (Persona) give remarkably authentic performances as Karl-Oskar and Kristina, a couple who meet with one physical and emotional trial after another on their arduous journey. The precise, minute detail with which Troell depicts the couple’s story—which is also the story of countless other people who sought better lives across the Atlantic—is a wonder to behold. Engrossing every step of the way, the duo of The Emigrants and The New Land makes for perhaps the greatest screen drama about the settling of America.


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PostPosted: Mon Nov 30, 2015 2:05 am 
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