Buildin the Criterion collection...

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drizzle
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Re: Buildin the Criterion collection...

Post by drizzle »

dude got most of them figured out here

I had a feeling D being just 'picnic at hanging rock' would be way too easy, turns out it's a bunch at once

http://criterioncast.com/art/wacky/wack ... 4-line-up/
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Re: Buildin the Criterion collection...

Post by aleph »

Interesting. The longshot guess for the red sun, Brighter Summer Day is just that- a longshot, but would be a major, major release if it panned out (which it won't)

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Re: Buildin the Criterion collection...

Post by Andvil »

Dan wrote:
Andvil wrote:Will Vinton's Claymation Christmas Celebration and/or Meet the Raisins???????
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nah, sticking with mine

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Re: Buildin the Criterion collection...

Post by ruraloutfitter »

aleph wrote:Interesting. The longshot guess for the red sun, Brighter Summer Day is just that- a longshot, but would be a major, major release if it panned out (which it won't)
yeah when i saw that my first instinct was A Brighter Summer Day. i still have a small glint of hope Criterion can work everything out for a 2014 release, a proper transfer in HD is necessary.

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Re: Buildin the Criterion collection...

Post by aleph »

^Ohshit, late pass, didn't even see this: http://criterioncast.com/news/edward-ya ... rical-run/

With a question mark, though

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Re: Buildin the Criterion collection...

Post by drizzle »

tbh I'd much rather have Red Sun
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Re: Buildin the Criterion collection...

Post by aleph »

True, a 4-hour early 60s history of Taiwan is not for every taste, give the people what they want

Give us both why can't they

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Re: Buildin the Criterion collection...

Post by drizzle »

the thing is, I'd watch a movie like BSD and likely enjoy it... but the replay value on a 4hr meditative slice of life is virtually non-existent. i'd rather see stuff like that in a theater

meanwhile, Red Sun is short and fast paced and easily accessible entertainment, I'll watch that dvd a bunch of times

so it's almost more a matter of practical application of the dvd than choosing between the movies themselves
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Re: Buildin the Criterion collection...

Post by ruraloutfitter »

to each his own but i can't agree with that logic, seeing as how the majority of Criterion films fit the former style versus the latter. 4 hours is definitely lengthy but it suits the movie perfectly and deserves to be watched uncut, as it evokes this bleak drawn-out feeling of the season...at least that's what i got from it.

the only circulating copy was from a bootleg laserdisc and the quality is atrocious, worse than VHS. the hardcoded subtitles dip below the frame several times so some segments are unclear. a proper master of arguably Yang's finest work next to Yi Yi is long overdue and i'd take it over Red Sun any day (in which a solid Japanese Blu-ray transfer already exists.)

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Re: Buildin the Criterion collection...

Post by drizzle »

You're absolutely right about BSD deserving of a proper restoration and it being a good fit alongside other Criterion offerings. But my reasons have nothing to do with any of that, only with the specific and very selfish notion of which DVD I would rather spend money on. I'd be glad if BSD got its shapeup and was released theatrically as Janus sometimes does, I'd def see it. But I wouldn't buy the dvd, simply because as I've learned from prior experience that I buy these types of movies, watch them once and very much appreciate them... and then they gather dust on the shelves for years to come because they require a specific mood and a large investment of time to revisit.

Owning a proper Red Sun dvd would simply offer me more practical value for my money. Especially if I don't have to pay the high prices and shipping via sites like yesasia (which is what the japanese bluray would entail)

Gotta admit that I'm insanely biased here too - Red Sun was one of the western (as in where it came from, not genre) movies I saw in the old country, for some odd reason it was insanely popular there and played on tv often. So I grew up with it; and independently of that Mifune and Bronson and Delon are all among my favorite actors, and the idea of combining a spaghetti western with a chambara would be the most bonerrific thing ever on paper if I haven't already seen the movie.

Ultimately the ideal scenario is they put out both, and we all get our nut just the way we want it.
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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

drizzle, this Red Sun release is actually pretty solid

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

April:

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François Truffaut sensitively re-creates the trials of his own difficult childhood in The 400 Blows, the film that marked his emergence as one of Europe’s most brilliant auteurs and signaled the beginning of the French New Wave.
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Lars von Trier became an international sensation with this galvanizing realist fable about sex and spiritual transcendence. Emily Watson stuns, in an Oscar-nominated performance, as Bess, a simple, pious newlywed in a tiny Scottish village who gives herself up to a shocking form of martyrdom after her husband (Stellan Skarsgård) is paralyzed in an oil-rig accident. Breaking the Waves, both brazen and tender, profane and pure, is an examination of the expansiveness of faith and of its limits.
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Before he got up close and personal with Joan of Arc, the Danish cinema genius Carl Theodor Dreyer fashioned this finely detailed, ahead-of-its-time examination of domestic life. In this heartfelt story of a housewife who, with the help of a wily nanny, turns the tables on her tyrannical husband, Dreyer finds lightness and humor; it’s a deft comedy of revenge that was an enormous box-office success and is considered an early example of feminism on-screen. Constructed with the director’s customary meticulousness and stirring sense of justice, Master of the House is a jewel of silent cinema.
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Early in his career, Don Siegel made his mark with this sensational and high-octane but economically constructed drama set in a maximum-security penitentiary. Riot in Cell Block 11, the brainchild of producer extraordinaire Walter Wanger, is a ripped-from-the-headlines social-problem picture about prisoners’ rights that was inspired by a recent spate of uprisings in American prisons. In Siegel’s hands, the film is at once brash and humane, showcasing the hard-boiled visual flair and bold storytelling for which the director would become known and shot on location at Folsom State Prison, with real inmates and guards as extras.
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The ultimate Italian road comedy, Il sorpasso stars the unlikely pair of Vittorio Gassman and Jean-Louis Trintignant as, respectively, a waggish, free-wheeling bachelor and the bookish law student he takes on a madcap trip from Rome to rural Southern Italy. An unpredictable journey that careers from slapstick to tragedy, this film, directed by Dino Risi, is a wildly entertaining commentary on the pleasures and consequences of the good life. A holy grail of commedia all’italiana, Il sorpasso is so fresh and exciting that one can easily see why it has long been adored in Italy.

Breaking the Waves isn't my favorite Von Trier but I'll be happy to upgrade my dvd copy. Now if they'd only put out a blu of Element of Crime or acquire Dancer in the Dark I'd be thrilled.
Really excited to see that Siegel also.

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Re: Buildin the Criterion collection...

Post by drizzle »

am I the only one who immediately started quoting 'master of the house' ala the seinfeld ep when that dvd popped up
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Re: Buildin the Criterion collection...

Post by Andvil »

instantly pictured George singing it, then Lawrence Tierney

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

May Titles. HAWKS! (finally)

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Billy Wilder’s Ace in the Hole is one of the most scathing indictments of American culture ever produced by a Hollywood filmmaker. Kirk Douglas gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines. Wilder’s follow-up to Sunset Boulevard is an even darker vision, a no-holds-barred exposé of the American media’s appetite for sensation that has gotten only more relevant with time.
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Seamlessly interweaving archival war footage and a fictional narrative, this immersive account by Stuart Cooper of one twenty-year-old’s journey from basic training to the front lines of D-day brings to life all the terrors and isolation of war with jolting authenticity. Overlord, impressionistically shot by Stanley Kubrick’s longtime cinematographer John Alcott, is both a document of World War II and a dreamlike meditation on human smallness in a large, incomprehensible machine.
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Abbas Kiarostami has spent his incomparable movie career exploring the tiny spaces that separate illusion from reality and the simulated from the authentic. At first blush, his extraordinary, sly Like Someone in Love, which finds the Iranian director in Tokyo, may appear to be among his most straightforward films. Yet with this simple story of the growing bond between a young part-time call girl and a grandfatherly client, Kiarostami has constructed an enigmatic but crystalline investigation of affection and desire as complex as his masterful Close-up and Certified Copy in its engagement with the workings of the mercurial human heart.
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No matter what genre he worked in, Howard Hawks played by his own rules, and never was this more evident than in his first western, the rowdy and whip-smart Red River. In it, John Wayne found one of his greatest roles as an embittered, tyrannical Texas rancher whose tensions with his independent-minded adopted son, played by Montgomery Clift in a breakout performance, reach epic proportions during a cattle drive to Missouri, which is based on a real-life late nineteenth-century expedition. Yet Hawks is less interested in historical accuracy than in tweaking the codes of masculinity that propel the myths of the American West. The unerringly macho Wayne and the neurotic, boyish Clift make for an improbably perfect pair, held aloft by a quick-witted, multilayered screenplay and Hawks’s formidable direction.
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Internationally famous oceanographer Steve Zissou (Bill Murray) and his crew—Team Zissou—set sail on an expedition to hunt down the mysterious, elusive, possibly nonexistent Jaguar Shark that killed Zissou’s partner during the documentary filming of their latest adventure. They are joined on their voyage by a young airline copilot (Owen Wilson); a pregnant journalist (Cate Blanchett); and Zissou’s estranged wife, Eleanor (Anjelica Huston). Wes Anderson has assembled an all-star cast that also includes Willem Dafoe, Jeff Goldblum, Michael Gambon, Noah Taylor, Seu Jorge, and Bud Cort for this wildly original adventure comedy.

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Re: Buildin the Criterion collection...

Post by Pronay »

For the next twenty-four hours at Criterion.com, all in-stock Blu-rays and DVDs will be 50% off the suggested retail price (SRP), including our monumental Zatoichi box set and brand-new editions of It’s a Mad, Mad, Mad, Mad World, Fantastic Mr. Fox, and Blue Is the Warmest Color. Just enter the promotional code MADFOX on your shopping cart page to apply the discount.

expires noon feb 26th

picked up foreign correspondent, breathless, godzilla, the gold rush

free shipping over $50, so each was exactly $19.97 :cas:

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Re: Buildin the Criterion collection...

Post by Panama »

Copped Thief, Slacker, and Blow Out

Would have got Throne of Blood instead of Blow Out, but it was back ordered

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

June:

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This heartbreakingly beautiful indictment of 1950s American mores by Douglas Sirk follows the blossoming love between a well-off suburban widow (Jane Wyman) and her handsome and earthy younger gardener (Rock Hudson). After their romance prompts the scorn of her selfish children and snooty country club friends, she must decide whether to pursue her own happiness or carry on a lonely, hemmed-in existence for the sake of the approval of others. With the help of ace cinematographer Russell Metty, Sirk imbued nearly every shot with a vivid and distinct emotional tenor. A profoundly felt film about class and conformity in small-town America, All That Heaven Allows is a pinnacle of expressionistic Hollywood melodrama.
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The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L’avventura and La notte), L’eclisse (The Eclipse) tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon). Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his style in this return to the theme that preoccupied him the most: the difficulty of connection in an alienating modern world.
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A startling and courageous film, Peter Davis’s landmark 1974 documentary Hearts and Minds unflinchingly confronted the United States’ involvement in Vietnam at the height of the foment that surrounded it. Using a wealth of sources—from interviews to newsreels to footage of the conflict and the upheaval it occasioned on the home front—Davis constructs a powerfully affecting picture of the disastrous effects of war. Explosive, persuasive, and wrenching, Hearts and Minds is an overwhelming emotional experience and the most important nonfiction film ever made about this devastating period in history.
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This sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir on the map and helped usher in a new era of Australian cinema. Set at the turn of the twentieth century, Picnic at Hanging Rock concerns a small group of students from an all-female college and a chaperone, who vanish while on a St. Valentine’s Day outing. Less a mystery than a journey into the mystic, as well as an inquiry into issues of class and sexual repression in Australian society, Weir’s gorgeous, disquieting film is a work of poetic horror whose secrets haunt viewers to this day.
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This effortlessly cool crime caper, directed by Georges Franju, is a marvel of dexterous plotting and visual invention. Conceived as an homage to Louis Feuillade’s 1916 cult silent serial of the same name, Judex kicks off with the mysterious kidnapping of a corrupt banker by a shadowy crime fighter (American magician Channing Pollock) and spins out into a thrillingly complex web of deceptions. Combining stylish sixties modernism with silent-cinema touches and even a few unexpected sci-fi accents, Judex is a delightful bit of pulp fiction and a testament to the art of illusion.
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Meet the Beatles! Just one month after they exploded onto the U.S. scene with their Ed Sullivan Show appearance, John, Paul, George, and Ringo began working on a project that would bring their revolutionary talent to the big screen. A Hard Day’s Night, in which the bandmates play slapstick versions of themselves, captured the astonishing moment when they officially became the singular, irreverent idols of their generation and changed music forever. Directed with raucous, anything-goes verve by Richard Lester and featuring a slew of iconic pop anthems, including the title track, “Can’t Buy Me Love,” “I Should Have Known Better,” and “If I Fell,” A Hard Day’s Night, which reconceived the movie musical and exerted an incalculable influence on the music video, is one of the most deliriously entertaining movies of all time.

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

July. SCANNERS!!!!!

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This incomparable story of crime and redemption from French master Robert Bresson follows Michel, a young pickpocket who spends his days working the streets, subway cars, and train stations of Paris. As his compulsive pursuit of the thrill of stealing grows, however, so does his fear that his luck is about to run out. A cornerstone in the career of this most economical and profoundly spiritual of filmmakers, Pickpocket is an elegantly crafted, tautly choreographed study of humanity in all its mischief and grace, the work of a director at the height of his powers.
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With Scanners, David Cronenberg plunges us into one of his most terrifying and thrilling sci-fi worlds. After a man with extraordinary—and frighteningly destructive—telepathic abilities is nabbed by agents from a mysterious rogue corporation, he discovers he is far from the only possessor of such strange powers, and that some of the other “scanners” have their minds set on world domination, while others are trying to stop them. A trademark Cronenberg combination of the visceral and the cerebral, this phenomenally gruesome and provocative film about the expanses and limits of the human brain was the Canadian director’s breakout hit in the United States.
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French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who either appear or are referenced across titles. Demy’s films—which range from musical to melodrama to fantasia—are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée, Catherine Deneuve, and Jeanne Moreau. The works collected here, made from the sixties to the eighties, touch the heart and mind in equal measure.
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In this elegantly unsettling murder mystery, Stellan Skarsgård plays an engimatic Swedish detective with a checkered past who arrives in a small town in northern Norway to investigate the death of a teenage girl. As he digs deeper into the heinous killing, his own demons and the tyrannical midnight sun begin to take a toll. Erik Skjoldbjærg’s chilling procedural anticipated the international hunger for Scandinavian noirs and serial killer fictions, and features one of Skarsgård’s greatest performances.
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After the shocking suicide of their friend, a group of thirtysomethings reunite for his funeral and end up spending a weekend together, reminiscing about their shared pasts as children of the sixties and confronting the uncertainty of their lives as adults of the eighties. Poignant and warmly humorous in equal measure, this 1983 baby boomer milestone made a star of writer-director Lawrence Kasdan and is perhaps the decade’s defining ensemble film, featuring memorable performances by Tom Berenger, Glenn Close, Jeff Goldblum, William Hurt, Kevin Kline, Mary Kay Place, Meg Tilly, and JoBeth Williams. And with its playlist of hit songs from the sixties, The Big Chill all but invented the consummately curated soundtrack.

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Re: Buildin the Criterion collection...

Post by Panama »

Scanners day fucking one, for me

And this comes out in the middle of the B&N sale too :cheers:

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

August:

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Also, Y Tu Tambien is finally getting put out after years of rumors. No box art yet.

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Re: Buildin the Criterion collection...

Post by Hayzoos »

Any news on when Moonrise Kingdom is coming to Criterion?
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Re: Buildin the Criterion collection...

Post by Dan »

Criterion is ending its dual format edition packaging in September. Going back to separate Blu-ray and DVD cases.

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

September. Awesome Month. One of the best ghost movies ever in The Innocents and David Lynch finally joins the collection. Eraserhead also has 6 of his short films newly remastered.
I've never seen Polanski's Macbeth but the rapist makes great films, will have to cop that one too.

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David Lynch’s 1977 debut feature, Eraserhead, is both a lasting cult sensation and a work of extraordinary craft and beauty. With its mesmerizing black-and-white photography by Frederick Elmes, evocative sound design, and unforgettably enigmatic performance by Jack Nance, this visionary nocturnal odyssey remains one of American cinema’s darkest dreams.
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Roman Polanski imbues his unflinchingly violent adaptation of William Shakespeare’s tragedy of ruthless ambition and murder in medieval Scotland with grit and dramatic intensity. Jon Finch and Francesca Annis are charged with fury and sex appeal as a decorated warrior rising in the ranks and his driven wife, scheming together to take the throne by any means. Coadapted by Polanski and the great theater critic and dramaturge Kenneth Tynan, and shot against a series of stunning, stark British Isle landscapes, this version of Macbeth is among the most atmospheric and authentic of all Shakespeare films.
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This genuinely frightening, exquisitely made supernatural gothic stars Deborah Kerr as an emotionally fragile governess who comes to suspect that there is something very, very wrong with her precocious new charges. A psychosexually intensified adaptation of Henry James’s classic The Turn of the Screw, cowritten by Truman Capote and directed by Jack Clayton, The Innocents is a triumph of narrative economy and technical expressiveness, from its chilling sound design to the stygian depths of its widescreen cinematography by Freddie Francis.
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In this provocative Academy Award winner from French director Serge Bourgignon, a psychologically damaged war veteran and a neglected child begin a startlingly intimate friendship—one that ultimately ignites the suspicion and anger of his friends and neighbors in suburban Paris. Bourguignon’s film makes thoughtful, humane drama out of potentially incendiary subject matter, and with the help of the sensitive cinematography of Henri Decaë and a delicate score by Maurice Jarre, Sundays and Cybèle becomes a stirring contemplation of an alliance between two troubled souls
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The wildly prolific German filmmaker Rainer Werner Fassbinder paid homage to his cinematic hero Douglas Sirk with this update of that filmmaker’s 1955 All That Heaven Allows. A lonely widow (Brigitte Mira) meets a much younger Arab worker (El Hedi ben Salem) in a bar during a rainstorm. They fall in love, to their own surprise—and to the outright shock of their families, colleagues, and drinking buddies. In Ali: Fear Eats the Soul, Fassbinder expertly uses the emotional power of classic Hollywood melodrama to expose the racial tensions underlying contemporary German culture.

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

Hayzoos wrote:Any news on when Moonrise Kingdom is coming to Criterion?

It took two years for the Criterion of The Darjeeling Limited to come out after the original dvd release.
It about four years for us to get a Criterion of Fantastic Mr. Fox.
So my guess it we'll probably see Moonrise join the collection next year at some point.

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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

FYI the Barnes and Noble 50% off sale is running til July 28

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Re: Buildin the Criterion collection...

Post by michaelE »

Anyone got any b&n coupons?

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Re: Buildin the Criterion collection...

Post by Hayzoos »

Moonrise Kingdom blu ray prices are dropping so I'm assuming that means it's coming to Criterion soon
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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

Just realized I never posted the October releases. B&N sale ends Monday btw.

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Tommy Bunz
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Re: Buildin the Criterion collection...

Post by Tommy Bunz »

November. Thrilled they are finally putting out their Hellman's, especially since they are releasing them together. Now put out those fucking Gosha's!

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