Tag: The Criterion Collection
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Blu-ray Review: Criterion Paints a PORTRAIT OF A LADY ON FIRE
Have we changed how we see, or has what we see changed? Every few years I see a film that was captured digitally, and I’m thrown back to the early days of the format, when the proto-Christopher Nolans of the world would tell any interviewer they could get their hands on that electronic media could…
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Blu-ray Review: Wes Anderson’s GRAND BUDAPEST HOTEL Is His Latest In The Criterion Collection
Why mess with tradition? And the disc is as masterfully directed as the film itself. Now posted on Screen Anarchy.
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Blu-ray Review: UNTIL THE END OF THE WORLD Marks The End Of A Movie Decade
A 1991 film about 1999 feels exactly right in 2019, as we round out a decade in which film changed — and died — and will live — forever.
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Blu-ray Review: Criterion’s ONE SINGS, THE OTHER DOESN’T, A Fitting Memorial To Agnes Varda
The director’s 1977 semi-musical ode to the power and pleasures of womanhood is perfectly supported by worthwhile features on the new Blu-ray.
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Blu-ray Review: MY BRILLIANT CAREER Is On Disc While The Criterion Channel Looms
Judy Davis is a boundary-breaking heroine in 1901 Australia in Gillian Armstrong’s debut feature.
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Blu-ray Review: Peer Into Cinema’s Great Missing Link With Criterion’s THE MAGNIFICENT AMBERSONS
It’s a season of Welles with THE OTHER SIDE OF THE WIND on Netflix and THE MAGNIFICENT AMBERSONS joining the Criterion Collection.
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Blu-ray Review: Criterion’s THE PRINCESS BRIDE Whiffs On New Features, But You’re Going To Buy It Anyway
If you’ve ever owned this film on disc before, you probably have some of this material. But you love this film, so shush.
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Blu-ray Review: Criterion’s ANDREI RUBLEV Is A Stacked Disc
“Live between divine forgiveness and your own torment.” I had a fantastic time going through Criterion’s new blu-ray of Tarkovsky’s ANDREI RUBLEV, which somehow manages to be both dreary and enlightening at the same time.
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Blu-ray Review: An All-Time Great Party Scene Graces Criterion’s COLD WATER Blu-ray
“The plot isn’t much and neither are the characterizations, and it’s not until the second act that the film really kicks into gear, by abandoning plot and characterization altogether and jacking straight into adolescent phantasmagoria.”
