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I don't think I'll upgrade, as the DVD is pretty sharp, and I don't feel a need to see it made detailed enough that the differences in new and old material will become more apparent even if the differences aren't major.

Minkin wrote:And here's Bluray.com's review.

Mistakenly, Dr. Svet credits producer James Quinn with the cinematography in place of John Alcott, going on about how Quinn was a great collaborator of Kubrick's (the two never worked together).

Roger Ryan wrote:

Minkin wrote:And here's Bluray.com's review.

Mistakenly, Dr. Svet credits producer James Quinn with the cinematography in place of John Alcott, going on about how Quinn was a great collaborator of Kubrick's (the two never worked together).

Either you read it wrong or he fixed it:

Lensed by Stanley Kubrick's longtime cinematographer John Alcott, it can best be described as a brilliant meditative summation of what war feels like.

It was fixed...which is why I posted about the review in the first place, hoping it would alert someone at Bluray.com to the error. Sorry for the diversion; carry on.

It was just announced that Criterion is putting on a screening of Overlord as part of the Cannes Classics sidebar at the Cannes Film Festival next month.

An impressively subjective, symbolic War film with a fine texture of melancholy running through the film as it traces a meditation on the inevitability of one's own death in war. The film ends where it does, where it must, but the symbolic musings immediately preceding the ending suggest that there is more than one death at stake, such as the cliche death of innocence. the film is often as stilted as it is elegant. It's fascinating to watch, and the stunning cinematography is often far more compelling than the Bressonian performances. The integration of the narrative weaving back and forth subjectively with the documentary is brilliantly done. The editing throughout is exceptional and stunning, the film works best when it is a silent film, accompanied only by music and effects. Dialogue, unfortunately (but deliberately), is dead on arrival. That said, the Sound Effects work is often a degree too much, or too on the nose. Dialing the SFX back a hair would have made some of the material feel less like MOS stock footage. But when they get it right, it makes some of that MOS material feel as fresh and immediate as Alcott's work.

The extras look phenomenal, can't wait to go through them all.