It’s been a while since I’ve stumbled across these funny forays into the Criterion Collection‘s backroom.
Director Ben Wheatley gets to dig into the Blu-ray collection in this one. I haven’t seen his KILL LIST or HIGH RISE, but our cinematographer Shane Daly continues to champion KILL LIST for its unorthodox structure. It keeps rising up on in the queue (which gets reshuffled or over-stacked based upon recommendations… most recently Tarkovsky’s STALKER was added to one of the top spots… from way down in 50s).
I’m still a huge fan of Blu-ray over streaming because I don’t like the color and contrast reproduction in most streaming services — even Netflix’s 4K. They is still and unacceptable amount of compression that is greater than a Blu-ray’s compression.
And it’s fucking impossible to easily and accurately rewind a movie from a streaming platform, which is sort of critical when you’re looking at a film with a filmmaker’s eye.
You know I was somewhat trepidatious when I saw the first Marvel Studio’s ANT-MAN trailer, but after seeing the latest one it looks like this film might be more interesting that people seem to be giving it credit.
Of course, it’s stuck in the standard world, whereas what makes Ant-Man, The Atom, Yellowjacket and The Wasp interesting is when they shrink to molecular size and shunt into
Anyway, since ANT-MAN is an upcoming film, I thought it might be interesting to see what films Edgar Wright slips into his bag when he gets a chance to raid the Criterion Collection’s storage locker.
EYES WITHOUT FACE is a remarkably chilling film from that extra fertile period of European art house cinema the late 50s/early 60s.
DON’T LOOK NOW isn’t a horror, isn’t a thriller… it’s a shocker, and it’s so well made — photographically, editorially, performances.
THRONE OF BLOOD’s Japanese title is Spiderweb Castle? I never knew that… I wonder what the “real” title of the rest of Kurosawa’s films are… is RASHOMON even the actual title?
British filmmaker Mike Leigh has an incredible flexible process as a filmmaker that I think is unparalleled in cinema, at least modern cinema. His films penetrate into the human condition in a rare, charming and devastating way.
His name invokes a mood and can be used as adjective — beyond the confines of cinema… that is a feat that perhaps only Hitchcock has also achieved. LA DOLCE VITA certainly is a masterpiece… one of many for il Maestro.