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AidanKing wrote: Fri Jan 15, 2021 7:01 pm
I did contact Curzon Artificial Eye a while ago to inquire about the new direction and was advised, in a very considered and polite response to be fair, that whether a film would get a physical media release was entirely based on how many sales the company could project and that this approach was the result of the year on year decline in sales of DVDs and BluRays. They said they are still looking to release special editions when they feel it would be viable to do so, for example, Summer of 85 may be included in an Ozon Blu Ray set later this year.

AidanKing wrote: Mon Jan 18, 2021 3:15 pm I know it's no substitute for a decent BluRay, but 'Only the Animals' appears to be one of the films Curzon has sold on to Netflix in the UK.

AidanKing wrote: Fri Jan 15, 2021 7:01 pm Andrei Konchalovsky's Dear Comrades!, positively reviewed by Michael B, appears to be another streaming-only release.

I did contact Curzon Artificial Eye a while ago to inquire about the new direction and was advised, in a very considered and polite response to be fair, that whether a film would get a physical media release was entirely based on how many sales the company could project and that this approach was the result of the year on year decline in sales of DVDs and BluRays. They said they are still looking to release special editions when they feel it would be viable to do so, for example, Summer of 85 may be included in an Ozon Blu Ray set later this year.

Quite a few Curzon films have turned up on Netflix, for example, At Eternity's Gate, Vox Lux and The Whistlers, but not everything the company has released recently, so no Transit or Young Ahmed.

Calvin wrote: Fri Feb 19, 2021 7:01 am And the old set has been OOP for a while now. This one will have new extras but they've yet to say what they'll be.

The Bong set is more surprising; I think it's actually quite disrespectful to their customers to release it so soon after they released the Barking Dogs / Memories of Murder double pack.

rapta wrote: Fri Feb 19, 2021 10:38 pm Supposedly they'll be adding extras to the Andersson set as well.

stevohimself wrote: Sat Jul 17, 2021 1:40 pm Can anyone speak for the quality of their Andrei Rublev BR? Is the 185 min cut generally considered the definitive (or at least an acceptable) version? Thanks

L.A. wrote: Mon Jun 27, 2022 6:44 pm What are your opinions of Atom Egoyan’s The Sweet Hereafter (1997)?

therewillbeblus wrote: Mon Jun 27, 2022 7:12 pm

L.A. wrote: Mon Jun 27, 2022 6:44 pm What are your opinions of Atom Egoyan’s The Sweet Hereafter (1997)?

The film or the transfer?

therewillbeblus wrote: Mon Jun 27, 2022 8:41 pm I can't comment on the transfer but I think it's Atom Egoyan's last great film (other than Where the Truth Lies, but that's more subjective), and one that made a larger impact on me this time around, having binged his filmography across the last few weeks (this was the only Egoyan film that I had seen before two weeks ago). It's a deeply empathetic and yet restrained look at how we engage with grief and loss through fraudulent tangible 'solutions', the 'why' of our actions and non-actions less simplistically conclusive than the emotions are raw and internally logical. Ebert's meditation on the nebulous nature of why Sarah Polley does what she does is the heart of the film in many respects, particularly because even though we know or can insinuate the details surrounding the 'why', the dynamics are treated with the ineffable respect they deserve. At his best, this is what Egoyan does better than most filmmakers. It's an incredibly emotional film but also a cerebral one in its composite, where the more is unveiled and the longer I reflect upon it, I find Bruce Greenwood's character to be one of the most sympathetic and in many ways the most mature and altruistic vehicle in town. He's deceptively pitched as aggressively thwarting opportunities at catharsis and investigative cooperation for self-gain, but he also has experience with the lack of catharsis from these attempts to hold off on the grieving process compared to others in town, and so his perceived avoidance is actually a coercive willingness to engage on behalf of his peers who are not.

I don't love Egoyan as much as many here, but I'd say this is probably his third best movie after Exotica and The Adjuster, but that whole first period is solid at worst.