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Fortisquince wrote:I apologize if this issue has been discussed at length in other threads, but *something* is up at Criterion, right? The dwindling of extras, the bare-bones releases, films that seem appropriate for mainline Blu-Ray releases being relegated to Eclipse, the sometimes underwhelming choices for mainline releases, the curious Blu-Ray upgrades. Has Criterion publicly addressed any of these issues or is this just a combination of several factors occurring simultaneously: A new business strategy, inability to attain rights to release films on Blu, delays from contributing parties, the fact that they've already released over 600 films? I wish I knew, but May is the first month in a long time that I won't be buying any new Criterions and now it looks like July will be the same.

I don't think they generally (ever?) would address this kind of thing publicly, and they have no obligation to. But I think if we're just being logical, it would make sense that budgets, the current economy, perhaps the still dwindling market of physical media purchasers, the fact that yes they have already released a whole lotta stuff would all have to be taken into account.

Yeah. There weren't really any new supplements to create for this month's releases, but they still have to master and produce seven different titles. Supplements do seem to have become a bit more like they were in the first half of Criterion's DVD days. Maybe they've discovered that the sparsely-supplemented discs (which are certainly much cheaper to produce) sell just about as well as the loaded ones. Hopefully there will still be a couple of new "my disc runneth over" sets like Night of the Hunter or Battle of Algiers before the year is out.

I do think the "Blu-ray or bust" crowd has had an influence in postponing some titles that would have been out as DVD-only releases a bit. Would we have got something like, say, The Fugitive Kind already if it had been required to also have a Blu counterpart?

I don't think that too many titles meant for the mainline have ended up in Eclipse. They simply can't release everything in the mainline. Eclipse has always been this way with little change, IMO.

Finch wrote:The Gremillion announcement makes the month though it begs the question why his films are resigned to Eclipse (not even a mainline DVD set with contextualising extras a la Sternberg? c'mon). Getting the Kaurismaki as well (one of his best as far as I'm concerned). I've not seen the Stillmans. Are they worth blindbuying or should I rent them first? (if it helps any, I love some of Woody Allen's late 70's/80's output (Manhattan, Hannah and her Sisters)

I'd say so. He's sort of the connective tissue between the Allen and Elaine May type movies and the modern Baumbach and Anderson ones. The films tend to be lean on the more dramatic side of things, but are still very funny. Rohmer is an other major ingredient.

Finch wrote:The Gremillion announcement makes the month though it begs the question why his films are resigned to Eclipse (not even a mainline DVD set with contextualising extras a la Sternberg? c'mon).

It is indeed a moment of mixed emotions. We should of course rejoice in these titles surfacing at all but there is such a motherlode of essays, documentary footage etc on the subject of film-making under the occupation that could have been mined and yet by unifying them thematically like this and then ignoring that potential seems a tad perverse. I'm also wondering whether the restoration of Lumiere has been made available for the transfer or Criterion are relying on a previous incarnation.

NABOB OF NOWHERE wrote:there is such a motherlode of essays, documentary footage etc on the subject of film-making under the occupation that could have been mined

Perhaps that will surface on the forthcoming Children of Paradise re-release.

Can anyone on Hulu confirm whether the versions of the Grémillon films streaming there are available in HD or not? If not, I think it would be safe to assume that there weren't adequate materials available for a Blu-ray release.

knives wrote:

Finch wrote:The Gremillion announcement makes the month though it begs the question why his films are resigned to Eclipse (not even a mainline DVD set with contextualising extras a la Sternberg? c'mon). Getting the Kaurismaki as well (one of his best as far as I'm concerned). I've not seen the Stillmans. Are they worth blindbuying or should I rent them first? (if it helps any, I love some of Woody Allen's late 70's/80's output (Manhattan, Hannah and her Sisters)

I'd say so. He's sort of the connective tissue between the Allen and Elaine May type movies and the modern Baumbach and Anderson ones. The films tend to be lean on the more dramatic side of things, but are still very funny. Rohmer is an other major ingredient.

I'd say not. I know this won't win me many friends around here, but I find it hard to think of a film with characters or dialogue more irritating than Metropolitan. While I did enjoy The Last Days of Disco a bit more, I wouldn't call it good.

I can see why they'd want to get the two Stillmans upgraded, with the first new Stillman film in ages out now. IMHO, however, they should really also get moving on some Bresson blu-rays to tie in with all the new and renewed interest in his work due to the retrospective (and because they haven't even done one of his films on blu yet). It really does feel like they're privileging '90s and 2000s stuff more and more.

For other upgrades, I thought we'd have seen announcements by now for Brazil, Wild Straberries, The Tin Drum, and Ikiru. Regarding the latter, it'll now be at least a full year between High and Low and the next Kurosawa upgrade, though I know Criterion has to follow Toho.

Matt wrote:

NABOB OF NOWHERE wrote:there is such a motherlode of essays, documentary footage etc on the subject of film-making under the occupation that could have been mined

Perhaps that will surface on the forthcoming Children of Paradise re-release.

We can of course hold out for that eventuality but Children isn't being marketed as a collection of 'Occupation films' like the Gremillons. Looking on the bright side of this particular marketing ploy we might be looking forward to 'Early Grem' and 'post war Grem' a la Kurosawa and Ozu.

swo17 wrote:Can anyone on Hulu confirm whether the versions of the Grémillon films streaming there are available in HD or not? If not, I think it would be safe to assume that there weren't adequate materials available for a Blu-ray release.

Lumiere d'Ete and Le Ciel est a Vous are HD. Remorques is SD.

Gregory wrote:It really does feel like they're privileging '90s and 2000s stuff more and more.

Which are easier to get to be HD ready, in general.

I remember being surprised when Last Days of Disco was announced that a late nineties film Wasn't released in bluray at the time.

Finch wrote:I've not seen the Stillmans. Are they worth blindbuying or should I rent them first? (if it helps any, I love some of Woody Allen's late 70's/80's output (Manhattan, Hannah and her Sisters)

I'd say definitely rent them first. To me, they're like homeopathic Woody Allen (or, even more of a stretch, Eric Rohmer) films. The Last Days of Disco seemed to me like a dull radio play accompanied by the most perfunctory visuals imaginable. All I can see is the straining for wryness, but not a jot of actual humour (you know, the kind that makes you laugh). The Garrison-Keillor-goes-uptown effect.

But, Stillman nevertheless attracts more than his fair share of rabid adoration, so I'm sure somebody here will argue the opposite. (Domino? I don't recall whether or not he's a Stillman-booster, but since our tastes in humour seem to enjoy some kind of cosmic point symmetry relationship, he might be the one to ask.)

So, yeah, for me this is an incredibly dull month. Thank le ciel for Gremillon.

Two subpar months in a row, unless you love Spalding Gray and feel a burning need to get Stillman on Blu.

I don't find their Blu upgrade choices that curious; I can see the rationale behind almost all of them. But the paucity of new mainline releases this month is discouraging.

Also recommend renting the Stillmans first, especially Last Days of Disco.

Gregory wrote:they should really also get moving on some Bresson blu-rays to tie in with all the new and renewed interest in his work due to the retrospective (and because they haven't even done one of his films on blu yet). It really does feel like they're privileging '90s and 2000s stuff more and more.

I'd really like to see some Blu-Rays of Bresson, were it possible -- I might even buy a Blu-Ray player for such a development -- and I wonder how widespread that anticipation is. Surely it exceeds any fresh looks at Stillman because of "Damsels" that would motivate Blu re-issues of his work.

Unrelated: what's the latest on when we'll see "Weekend"? I've been suffering crushing disappointments on this for the last six months.

zedz wrote:But, Stillman nevertheless attracts more than his fair share of rabid adoration, so I'm sure somebody here will argue the opposite. (Domino? I don't recall whether or not he's a Stillman-booster, but since our tastes in humour seem to enjoy some kind of cosmic point symmetry relationship, he might be the one to ask.)

Oh my yes, I think he's brilliant and his films are all quite funny, but I have long been fond of this kind of unapologetic portrayal of the wealthy and carefree. If you can be charmed by trust fund kids who speak in unfiltered witticism bought with the finest liberal arts education money could buy (and the attitude to go with 'em), these are for you. If not, you'll know pretty quickly.

Thanks for all the responses, folks. Think I'll give them a rental first (had too many instances of buyers remorse after blind buying already this year).

Stillman is divisive. Personally I love both Metropolitan and Last Days, but based on your apprehension alone I would endorse the rental decision. His manner is particular and in your face, not unlike Wes Anderson's. He's essentially a love/hate filmmaker, though Barcelona dipped into mediocrity for me and I have yet to see Damsels in Distress.

That said, the July releases are pretty boring. Nothing to ramble on about.

Month after month I have resisted the impulse to express my disappointment with Criterion's choices this year. Some may call such a post suitable for "Why don't they release only what I want". I see it as better suited to "Why don't they occasionally release what I want'. Given what they are sitting on, it is hard to see why they are producing one lackluster month after another.

I am sure they have their reasons, but I don't know what they are. All I can say is, they should not frustrate their core consumers to attract new ones.

Perhaps next month will be two box sets.

I think I hear torches and pitchforks clanking..

Me i'm watching CREATION OF THE HUMANOIDS for the umpteenth time. Bugger Stillman and the thing with the furniture. . .

No pitchforks for me, Hollis Frampton is still next Tuesday last I checked.

david hare wrote:The Grem box will be the first Criterion (related) thing I've been interested enough to pay for since Anatomy of a Murder last year.

Anatomy was released less than two months ago. I'll agree that so far this has been the lousiest year for Criterion that I can remember, but for me, the Marker blus, the Gorins, The Gold Rush, Frampton, Harold and Maude, The Last Temptation of Christ, The 39 Steps, the Lean set, and The Organizer are all essentials too. If you don't have the versions from other regions, you could easily add the Czech set and the blus of Late Spring and World On a Wire to that list. Certified Copy too. Even if you have the UK release, Criterion includes The Report.

Even if it's not your thing, the sprawling Godzilla release must be one of the biggest (and best selling) ever. I picked it up, and will likely get other fun stuff like Being John Malkovich, Samurai Trilogy, and Le Havre.

I guess my point is that even though the first half of 2012 seems to have kinda sucked (especially the last two months, which makes it seem worse than it is), Criterion still released A LOT more discs that I wanted during those six months than anyone else did. They've got lots of major boxed sets in the works and several titles that have never been released on disc in the U.S. The second half of the year can only be better.

SpiderBaby wrote:No pitchforks for me, Hollis Frampton is still next Tuesday last I checked.

The pitchforks I meant are the masses leaping to cc's defense versus Dave's honest and valid comment. Like the vengeful townsfolk of Vasaria at the ends of Uni Horror classics.