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Coming Feb 13

That trailer looks great, but the Twilight Time review was not impressed with the transfer. Is there reason to expect this will be improved? That they are working from a different master?

I'm a bit confused.
TT's transfer (released in 2012) isn't coming from a 4K restoration?
(according to this here it does: http://forum.blu-ray.com/showthread.php?t=218262" onclick="window.open(this.href);return false;)

So, this article (in 2015) refers to that one, or a new one?
http://www.sonypictures.com/corp/press_ ... rgirl.html" onclick="window.open(this.href);return false;

There has been some TT titles claiming a 4k resto but the look of the BD certainly didnt back it up so who knows.

tenia wrote:There has been some TT titles claiming a 4k resto but the look of the BD certainly didnt back it up so who knows.

well, seeing the screenshots it did look to me like coming from a 4k restoration:
http://caps-a-holic.com/c.php?go=1&a=0& ... 65&i=4&l=0" onclick="window.open(this.href);return false;

That press release on the Sony site from last December says it's an "all new" restoration, so I at first assumed it has been restored again since the TT release. Not sure what the TT looks like in-motion, but that MoC trailer nevertheless looks great.

However, the Blu-ray.com review mentions Sony's Grover Crisp, who was mentioned in the press release about the 4K remaster as overseeing it. So unless they redid the restoration completely, could Eureka be using the same master as TT?

I can't actually find solid confirmation that the TT release was from a 4K remaster. Could it have been from a 2K job?

Just had a look at those caps and compared them to the MoC trailer. To my eye, the MoC looks better - slightly less intense grain, more consistent colours and detail. See what you think though...I find it odd that they wouldn't mention it being 4K if it is, though I've noticed other labels have shied away from the term in recent months (for some reason, probably when they don't have access to a newer/superior master).

EDIT: just noticed this bit in that press release...

The greater color range facilitated the recreation of a Technicolor look that is as authentic as possible, especially where original dye transfer prints were available as reference points. "We consider this new work to be our contribution to the 100th anniversary and celebration of Technicolor," notes Crisp. "Working with our colorist, Sheri Eisenberg, we strived to get the colors, with deep blacks and vibrant reds, right."

Seeing as Technicolor's centenary is this year, that would mean this definitely was a brand new restoration done since the TT disc came out, and from Crisp's statement I assume they wanted to correct the faults of the master TT had used before. So I'm also going to assume MoC are indeed using the brand new master - after all, I can't see Sony fobbing them off with an older master at this point (they would have no reason to). That would also explain why I can see no fault in that trailer!

I'm looking forward to seeing the film for the first time. Hayworth, Cukor and Kelly, and a three-strip technicolor musical. Very happpy with this announcement, and a brilliant cover.

It's an okay musical, with one great number (probably the best variation of the "friendship"' ode), so don't go into it expecting a masterpiece. Phil Silvers is actually the MVP here

I would say this is a pretty good to very good musical -- and that the trailer looks pretty spectacular compared to anything I've seen previously.

Is this film where Rita is looking for a pearl into an oyster, oysters they eat in a regular restaurant where they eat and dance ???

It is!

DVDBeaver

Probably the first time to see Twilight Time not have an Isolated Score while the MoC does.

I get the impression that Eureka and Powerhouse are fighting over Sony titles, with Powerhouse getting the upper hand in many cases. And judging by the way they treat their respective titles, Powerhouse is a bit more excited about it. Eureka / MoC's releases of Cover Girl and Man For All Seasons, hardly forgotten films for instance, are so light on supplements that they almost feel to be begrudgingly released, whereas Indicator went so far as to do a full length commentary on a third tier Sidney Lumet film.

What A Disgrace wrote:I get the impression that Eureka and Powerhouse are fighting over Sony titles, with Powerhouse getting the upper hand in many cases. And judging by the way they treat their respective titles, Powerhouse is a bit more excited about it. Eureka / MoC's releases of Cover Girl and Man For All Seasons, hardly forgotten films for instance, are so light on supplements that they almost feel to be begrudgingly released, whereas Indicator went so far as to do a full length commentary on a third tier Sidney Lumet film.

Whilst I can see where you're coming from, I feel you might be reading a bit too much into the speculative competition between the two labels. I still commend Eureka for including a booklet as standard for MoC titles, for example, which is just one of the differences in their approach. That's not to say I'm not massively impressed by Powerhouse's abilities in regards to compiling extras and producing new ones, as well as the quality of their own booklets - The Last Detail is bound to be on my end-of-year list, and it hasn't even arrived yet.

As for the perceived lack of extensive extras for Cover Girl, it may down to the response to the last musical they released, The Gang's All Here. I still haven't bought that one, and know some collectors are a little sniffy about musicals and are wary about shelling out right away for one (at the boutique prices, that is), even if it is Hayworth, Kelly and Vidor. Just speculation, but they may have been hesitant to produce any new video extras or commentaries based on that judgement alone.

Anyway, I think what you've got to bear in mind is that Powerhouse are a new label looking to make an impression, whilst Eureka are stalwarts of the UK market seeking to concentrate their efforts where necessary. Basically I think Powerhouse can take a few more chances at first, but will soon probably realise if they push their ambitions for titles that aren't selling as well as they'd figured, they may have to think a bit more modestly with some titles in future. I love Lumet, for example, but agree that it's not an essential work of his so haven't pre-ordered it (though may end up getting the booklet version before it goes OOP).

I suppose it's just bad timing for Eureka that Powerhouse have cropped up just as they struck a deal with Sony, though it's probably no coincidence either. Both deals happened directly after Criterion appeared on the scene (UK-wise).

Whilst I agree that Eureka are probably miffed Powerhouse have some titles they could've potentially acquired - let's be honest, most of them - it could have been a case of Sony offering certain titles to each label, and it's obvious Powerhouse missed out on some too: notably Fright Night, but also The Man from Laramie, Cover Girl, A Man for All Seasons, Two Rode Together, and possibly The Entity as well. I'm not sure they're fighting over them, or it's more a case of "who remembered to ask for what?".

Who knows though...until recently, I thought Eureka might have Carpenter's Starman based on comments from Powerhouse (when I asked them several times), and yet recently they contradicted this by implying they do now have it. Dunno how the negotiations are handled, but I was under the impression they'd signed off 40-odd titles at first and would then sign off for more once sales figures came in to be reviewed by Sony, so perhaps it's part of their secondary deal. Which begs the question, why did Eureka ignore that one?

Also, we can't say that Eureka's BD releases have always been heavy on extras. Most of them have always been on the light side, and the heavily loaded releases are more the exceptions than the norm.


You can take for instance the followings (all from around 2014, so they should pre-date any Sony related discussions) : Blacula, Youth of the Beast, I Clowns, The Thief of Bagdad, Too Late Blues, Rapture, Madame Dubarry, Harold & Maude, The War Lord, White Dog, Hands Over The City, Il Bidone... In a lesser way, The Gang's All Here and Roma are not particularly loaded, and many other releases are either mostly relying on older material (Boomerang, Ace in the Hole), licencing material from other releases/labels (Violent Saturday, Les misérables, Intolerance) or simply getting standard material can have been licenced and used on basically every re(-re) release of the concerned movies (Wake in Fright).

It's nothing new. I always thought (maybe unfairly) that when Eureka went to BD at full speed, they weren't the most impressive in terms of extras and their DVDs editorial content was more impressive.

In the present case, it could very well be a question of costs recoupment and material availability. We will never know but maybe an other label wouldn't have fared better extra features wise.


These points aside, I guess it would best for all the labels who have access now to Sony's catalogue to simply pick the movies that fits most in their editorial line-ups. Sure, some movies can fit multiple labels but in the end, I guess that there should be enough movies in there for every label to find something they're happy with instead of fighting over the same movie (though I suppose it's bound to happen, especially on high-potential titles).

What A Disgrace wrote:I get the impression that Eureka and Powerhouse are fighting over Sony titles, with Powerhouse getting the upper hand in many cases. And judging by the way they treat their respective titles, Powerhouse is a bit more excited about it. Eureka / MoC's releases of Cover Girl and Man For All Seasons, hardly forgotten films for instance, are so light on supplements that they almost feel to be begrudgingly released, whereas Indicator went so far as to do a full length commentary on a third tier Sidney Lumet film.

and yet they've done almost nothing with The Big Heat.

What? There's a commentary, three video pieces, booklet and other bits and pieces.

Almost all of it from the TT release though was I assume the point

aewb wrote:

What A Disgrace wrote:I get the impression that Eureka and Powerhouse are fighting over Sony titles, with Powerhouse getting the upper hand in many cases. And judging by the way they treat their respective titles, Powerhouse is a bit more excited about it. Eureka / MoC's releases of Cover Girl and Man For All Seasons, hardly forgotten films for instance, are so light on supplements that they almost feel to be begrudgingly released, whereas Indicator went so far as to do a full length commentary on a third tier Sidney Lumet film.

and yet they've done almost nothing with The Big Heat.

They got Tony Rayns. That's enough for it to surpass the Twilight Time and Wild Side releases, and they may add one or two things yet (these may not be final specs). That's ignoring the booklet as well...

aewb wrote:

What A Disgrace wrote:I get the impression that Eureka and Powerhouse are fighting over Sony titles, with Powerhouse getting the upper hand in many cases. And judging by the way they treat their respective titles, Powerhouse is a bit more excited about it. Eureka / MoC's releases of Cover Girl and Man For All Seasons, hardly forgotten films for instance, are so light on supplements that they almost feel to be begrudgingly released, whereas Indicator went so far as to do a full length commentary on a third tier Sidney Lumet film.

and yet they've done almost nothing with The Big Heat.

They did carry over the extras from the Twilight Time edition, plus the Tony Rayns material, which is more than nothing, and certainly more than MoC's Man For All Seasons, which does not carry over the Twilight Time commentary.

What A Disgrace wrote:more than MoC's Man For All Seasons, which does not carry over the Twilight Time commentary.

Clearly, Indicator has much more power when it comes to licence material made by TT for their releases. I'm not sure but I don't think many have managed to do so before (if any at all).

Could be MOC didn't want it-- they hosted an exclusive commentary for Rapture from Redman, they clearly have a relationship

tenia wrote:

What A Disgrace wrote:more than MoC's Man For All Seasons, which does not carry over the Twilight Time commentary.

Clearly, Indicator has much more power when it comes to licence material made by TT for their releases.

Although Indicator's release of Guess Who's Coming To Dinner does not have the commentary from the Twilight Time disc. Can't find the link, but I recall specifically seeing Indicator say somewhere something along the lines of "they were not allowed to license it" (they did not go into details).

The MoC has a different (and much superior) master than the TT:
https://www.caps-a-holic.com/c.php?d1=9 ... 690&c=1532