Criterion & Eclipse Cover Art & Packaging Babble-on Vol. 7

[swo17]

[bearcuborg]

Too bad Mother didn’t get an upgrade for the cover.

[domino harvey]

It’s just the theatrical poster with zero changes. A good practice when the original art work rules, but not here

[dwk]

Since all four of their Brooks releases use the theatrical posters, I assume that was his call.

[Beloved Aunt]

"two Falams by Kira Muratova"

[cdnchris]

Peeping Tom [4K]
Floating Weed/Story of Floating Weeds
Three Revolutionary Films by Ousmane Sembène
Anatomy of a Fall
Girlfight

[FrauBlucher]

Does anyone know who did the cover for Pat Garrett and Billy the Kid? It's not listed on the page

I contacted JM. His response is that it’s a collaboration with the in house art team and that’s why it’s not listed

[cdnchris]

Girlfight

And I'm blind: I completely missed that the branding and year are missing on the left-hand side of Girlfight's cover.

[mfunk9786]

Girlfight

And I'm blind: I completely missed that the branding and year are missing on the left-hand side of Girlfight's cover.

What the heck could be the explanation there?

[cdnchris]

I'd have to think it's a misprint that simply didn't get caught.

[cdnchris]

Haven't received Victims of Sin yet, but here are the rest:

Fear and Loathing in Las Vegas [4K] (Booklet)
Blue Velvet [4K] (Booklet)
Bound [4K]
Querelle
The Underground Railroad (Booklet and insert)

Transfer details:
Fear and Loathing in Las Vegas
Blue Velvet
Bound
Querelle

[low]

[Blutarsky]

A month of really solid covers. The only weak one might be The Long Good Friday but maybe I’m partial to the original theaterifal release art. All of Us Strangers and Teen Apocalypse Trilogy make up for it though, with the latter looking amazing from just the one picture alone.

[acroyear]

Nothing really great this month coverwise. All Of Us Strangers is the weakest of the bunch for me, which is compounded as the one release I was most in anticipation for. Generally speaking, I'm just not a fan of tiled image approach to designs.

[Walter Kurtz]

Araki's cinema is not my taste but at least the first two titles had a nice visual theme going. Until they totally f***ed up that theme with the Nowhere cover.

[afilmcionado]

Nothing really great this month coverwise. All Of Us Strangers is the weakest of the bunch for me, which is compounded as the one release I was most in anticipation for. Generally speaking, I'm just not a fan of tiled image approach to designs.

It looks like a worse attempt at the film’s teaser poster, which is sheer perfection.

[therewillbeblus]

The Long Good Friday is pretty awkward Hoskins pastel, the rest are fine

[ryannichols7]

wonder if Trent Reznor is gonna get royalties from the Araki packaging?

the Happiness typeface is perfect for that original image, which is also perfect and thankfully wasn't changed

[dwk]

Happiness was changed. Look closer at the right side of the cover and the original poster.

[Captain Paranoia]

I remember seeing this fan-made artwork once:
https://www.reddit.com/r/criterion/comm ... t_concept/

[cdnchris]

From last month: Victims of Sin

July:
Le samourai [4k UHD] (Booklet)
Pat Garrett and Billy the Kid [4K UHD]
Black God, White Devil
Perfect Days [4K UHD]
Risky Business [4K UHD] (Poster fold out with original artwork on one side)
Farewell My Concubine [4K UHD]

Restoration Details:
Black God, White Devil
Risky Business
Farewell My Concubine

There's a bug preventing the restoration details for Pat Garrett and Billy the Kid to be shown, but I'll provide them here:

50th Anniversary Release
Supervised and approved by editor and author Paul Seydor and <I>Pat Garrett and Billy the Kid</I> coeditor and colorist Roger Spottiswoode, the new 4K master was created from the 35 mm original camera negative and a 35 mm color reversal intermediate. The original monaural soundtrack was remastered from the two-inch DME magnetic track. This cut represents a continuation of work begun by Seydor for the special edition released on DVD by Warner Bros. in 2005. That version restored most of the scenes removed from the film's theatrical release, and featured additional tightening by Spottiswoode and fellow Pat Garrett and Billy the Kid editor Robert L. Wolfe, both frequent collaborators of Peckinpah's. The 50th Anniversary Release corrects the earlier version's color grading and sound mix, and includes "further changes we felt were necessary in order to come closer to what Peckinpah himself wanted," according to Seydor and Spottiswoode. Those include the reinstatement of "the scene in the script called 'Tuckerman's Hotel,' and a few lines of additional dialogue in other scenes. The only scene the anniversary release does not retain from the 2005 version is the "prostitute montage," which followed Garrett forcing Ruthie Lee to reveal where the Kid is. (The montage--which Spottisewoode and Katy Haber, Peckinpah's personal assistant, believe the director would have eventually removed had his work on the film continued--can be seen in the Final Preview Cut.)

Original Theatrical Release
The new 4K master was created from the 35 mm original camera negative. The original monaural soundtrack was remastered from the 35 mm DME magnetic track. After Peckinpah stopped working on the film, Spottiswoode and Wolfe took charge in editing, reluctantly removing scenes to bring the film down to the studio's desired length, while nonetheless hewing as closely as possible to Peckinpah's vision. The cut of the film that resulted, released in theaters in 1973, is available here for the first time since its release on VHS.

Final Preview Cut
The Final Preview Cut represents the last version of the film on which Peckinpah worked directly. This new 2K master was created from the 35 mm print from the collection of the Academy Film Archive. The original monaural soundtrack was remastered from the 35 mm magnetic track. Two preview cuts of Pat Garrett and Billy the Kid were shown within days of each other in May 1973, and the Final Preview Cut, released here for the first time, represents the second of those. Both preview versions were works in progress, with scenes missing and color grading and sound mixing incomplete, but the second one includes material missing from the first and an endnote authored and initiated by Peckinpah. "Following the second preview, MGM for commercial reasons demanded that the film be shortened considerably," according to Seydor and Spottiswoode. "Peckinpah refused to cooperate or participate in any further editing (though, contrary to rumor, he was never fired, never barred from the lot or the cutting rooms, and never prevented from continuing to work on the film had he chosen to)." Unrestored and minimally color-corrected, this presentation is intended to convey the feeling of watching the raw, rough-edged, and unfinished film.

All three versions of the film are presented in the aspect ratio of 2.35:1. The 50th Anniversary Release and the Original Theatrical Release are presented in Dolby Vision HDR (high dynamic range) on the the 4K Ultra HD discs and high-definition SDR (standard dynamic range) on the Blu-rays. The Final Preview Cut is presented in high-definition SDR.

[Finch]

[CSM126]

I like how Gummo is just the iconic promo image done over to look like AGGRODR1FT. Korine probably got a chuckle out of that. They’re all lovely covers though.

[Kracker]

geez, Happiness, Doom Generation and now Gummo? why is Criterion suddenly releasing all the edgy films from my teenage years.

Dammit, Really wishing they had kept the original cover for Pandora's Box, their best alternative was all this oversized typography?

Demon Pond is just masterful. Buying everything this month.

[Walter Kurtz]

why is Criterion suddenly releasing all the edgy films from my teenage years.

Because its almost closing time and you're (mostly) the only ones left in the bar.