What A Disgrace wrote: Sun Oct 15, 2023 2:42 am
I don't envy whoever they chose for the commentary. Imagine having to contend with David Kalat.
Imogen Sara Smith, Alan K. Rode, or Tim Lucas? it has to be one of the three, they're such Kino go-tos. but Kalat is king...I really can't see any circumstance where he wouldn't cover every aspect of a particular movie. will be tuning in soon
Yeah, the existing (excellent) FX Feeney and Rosenbaum/Naremore commentaries didn't stop ISS and Lucas from doing new ones on Touch of Evil (albeit on different versions of the film).
Of course, ISS already covered the "twin movie" Woman in the Window.
Kalat is often too digressive for my taste, but as I recall, the Scarlet Street commentary was one that kept my attention.
kekid wrote: Sun Oct 15, 2023 6:12 am
The existing Kino disc, based on Library of Congress Vault Negative, does not have any subtitles.
That is a non-starter for hard-of-hearing people.
I teach a class of over-50 students. I cannot show films that do not have HOH subtitles.
Hopefully the restored version will correct that.
Based on the subtitles KLSC has been commissioning for a lot of their recent titles, look forward to lots of typos and simple mistakes that would be avoided if the person transcribing bothered to even sort of follow along with the film
FEAR AND DESIRE (1952)
• This special edition will include both cuts of FEAR AND DESIRE and the short films, FLYING PADRE (1951), DAY OF THE FIGHT (1951) & THE SEAFARERS (1953), all newly restored in 4K and available for the first time in HDR Dolby Vision.
therewillbeblus wrote: Sun Oct 15, 2023 3:35 pm
I guess, in the same way it’s impressive that kids can figure out how to push adults’ buttons, but the overwhelming feeling is still irritation
Well a Kubrick 4K is still a Kubrick 4K at the very least so there’s that, and it makes more sense than a Boogens 4K at least.
Yeah, that's clearly the logic of the company picking up cheaper Kubricks to put out with guaranteed capital from acolytes picking them up. But you were specifically drawing a conscious contrast of priorities between Kubrick's early output and his later celebrated works, so that drove the response. Now that you're comparing outside of his oeuvre as a reason for being impressed, I'm unsure what your initial point was
therewillbeblus wrote: Sun Oct 15, 2023 4:04 pm
Yeah, that's clearly the logic of the company picking up cheaper Kubricks to put out with guaranteed capital from acolytes picking them up. But you were specifically drawing a conscious contrast of priorities between Kubrick's early output and his later celebrated works, so that drove the response. Now that you're comparing outside of his oeuvre as a reason for being impressed, I'm unsure what your initial point was
Excuse me, my point was simply that I was a bit disappointed that they chose those films to put on 4K but at the same time I get why and that it does make more sense than other films they’ve released. That second post was just me trying to look on the positive side of my initial disappointment of the announcement.
So far this is what is revealed from The Insider on the Paramount deal..
- Over 100 titles. Not ready to discuss anymore than that
- Did say Chinatown will probably be released by the studio for it's 50th anniversary
- Hud and Alfie seem likely from a question asked by a member at bluray.com forum
truly what is Criterion even offering us anymore? a fold out leaflet and exclusively archival extras? Kino may not have any written material, but they do add new extras for almost every release at this point. I was at first annoyed Lost in Translation went to Kino but honestly at this point its barely a loss
if anything it's Arrow you should root for to get any Paramount titles in the US. they gave Wyler's The Desperate Hours an incredible release, one of the biggest surprises of the year
It even gets to the point for me of hoping that Criterion do NOT have the remaining Lewtons because WAC have a great in house team that do impeccable encodes all the time in sharp contrast to Pixellogic and, now, the NexSpec guys. As dire as the film is, Arsenic and Old Lace would have been better served by WAC themselves.
