To be fair, All the Beauty and the Bloodshed supposedly ends up on HBOMAX at some point in 2023 ( maybe, but who knows) for the first digital run. On another note I did not enjoy Triangle of Sadness but the fact it was fast tracked with one of the barest boned Criterion Collection special features is incredibly funny to me:
"• New 4K digital master, approved by director Ruben Östlund, with 5.1 surround DTS-HD Master Audio soundtrack
• In the 4K UHD edition: One 4K UHD disc of the film and one Blu-ray with the film and special features
• New interview with Östlund and filmmaker and actor Johan Jonason
• Two new programs: one about the film’s special effects and one about a challenging day on set
• Trailer
• English subtitles for the deaf and hard of hearing"
Yeah, Triangle of Sadness is certainly divisive. And I saw someone on Twitter calling the cover the worst Criterion has ever done. I probably wouldn't argue with that.
Possible question to ponder....are boutique genre (edit: distrubutors) beginning to eat some of Criterion's lunch? I'm much more keen to find out about what Severin and Vinegar Syndrome are up to these days.
I don't know about that. All of these labels have their place, and I'm find with a looser conception of what gets included in the collection. We tend to think of Criterion as The Canon, but if they want to cherry-pick the best of what an excellent distributor like Neon has to offer, that's just bringing more well-cared-for movies into the world.
Could just be reflective of my long relationship with Criterion and familiarity with their catalog. I swear, though, Severin hooks me over and over again with some truly exciting stuff. Curating without canonizing is seeming way more fun to me these days.
No matter how desperate Criterion becomes I doubt they'll ever do a BR pressing of El Santo films. That said VS scratches a very good niche depending on what you'd like to revisit and surprises with what they're remastering—they did a 4k/UHD remaster of Flesh for Frankenstein (3D too!) that's filled with features if your system can handle it; and there's upcoming BR/UHD releases of Chuck Norris' Sidekicks and Reese Witherspoon/Kiefer Sutherland vehicle Freeway. But if you want a real fidelity comparison you'd need a lot of time, TVs and effort.
I think I saw that thread too and the immediate counter-argument was an early double digit spine of Fishing with John Lurie. But I can never stay Internet Angry because the Lone Wolf and Cub Criterion box comes with hidden compartments.
Oh God, I just looked at the old Fishing with John cover. What makes it especially painful is that Lurie is a painter and probably could have created the artwork himself! (Great show, though.)
It's interesting that with these last two years of releases, Neon still doesn't seem to have any sort of the amount of rep that A24 does - wondering how much of that comes down to marketing? Certainly A24 kinda shot out of the gate building their reputation where as far as I can tell, Neon has never invested in that kind of activity to us people who don't get screeners.
A24 definitely has a "brand" identity that Neon doesn't have. It also has money to take bigger swings and finance its own productions. From what I can tell, Neon is mostly (entirely?) into acquisitions. But they have excellent taste. I wrote about last year's box in the intro, but they also had a Parasite/Portrait of a Lady on Fire year.
I wonder if there'll be more distributors who try to emulate the A24 brand playbook in the future - I have to assume there are advantages in creating real brand equity, from greasing the rails on competitive acquisitions to employee attraction and press coverage.
Historically have many companies in this category ever invested like this? I guess maybe Blumhouse is maybe the next closest thing (also in that they finance as well as distribute)?
1. Crimes of the Future - a brilliant, provocative, funny late-period work from a master
2. All the Beauty and the Bloodshed - devastating; breathes new life into a familiar doc form
3. The Quiet Girl - simple story told with grace, nuance, and verdant beauty
4. Fire of Love - someone on Lboxd succinctly dubbed it "The Life Volcanic," no notes!
5. Triangle of Sadness - shrugged at act one, laughed uproariously at two, admired three.
6. Moonage Daydream - enjoyed it as a theatrical experience, impressed by the editing and sound, but haven't thought much about it since.
7. Broker - not among my favorite Kore-eda pics; as you said, it's far too gentle for the material
8. Pleasure - agree with your gripe about it constructing a narrative and quasi-rivalry, but it would make a good pairing with Sean Baker's Starlet for a porn life double feature
9. Saint Omer - glad to see I'm not the only one who didn't take to this pic. well acted and compelling as courtroom testimony, but the dramatic stakes weren't there for me, particularly as they relate to the director surrogate
Kicking myself for overlooking Three Minutes: A Lengthening
Really, every movie on here is worth your time. (Even BEBA was well-reviewed, by and large, despite my reservations.) BROKER isn't my favorite of Kore-eda's by a long shot, but he's such a consistently thoughtful dramatist that he sets his own standard.
The only one I’ve yet to catch is Moonage because I completely missed the IMAX here in NYC and then lost track. My atmos sound bar at home will have to do, but I was disappointed in myself.
Oh, and thanks for reminding me Morgen did that amazing 30 for 30. Arguably the best one, and my forever fave. I also liked his Jane.
The NEON box is a gift I look forward to every year. I haven’t watched all the films in it yet, but I know which ones to prioritize now.
To be fair, All the Beauty and the Bloodshed supposedly ends up on HBOMAX at some point in 2023 ( maybe, but who knows) for the first digital run. On another note I did not enjoy Triangle of Sadness but the fact it was fast tracked with one of the barest boned Criterion Collection special features is incredibly funny to me:
"• New 4K digital master, approved by director Ruben Östlund, with 5.1 surround DTS-HD Master Audio soundtrack
• In the 4K UHD edition: One 4K UHD disc of the film and one Blu-ray with the film and special features
• New interview with Östlund and filmmaker and actor Johan Jonason
• Two new programs: one about the film’s special effects and one about a challenging day on set
• Trailer
• English subtitles for the deaf and hard of hearing"
Yeah, Triangle of Sadness is certainly divisive. And I saw someone on Twitter calling the cover the worst Criterion has ever done. I probably wouldn't argue with that.
Possible question to ponder....are boutique genre (edit: distrubutors) beginning to eat some of Criterion's lunch? I'm much more keen to find out about what Severin and Vinegar Syndrome are up to these days.
I don't know about that. All of these labels have their place, and I'm find with a looser conception of what gets included in the collection. We tend to think of Criterion as The Canon, but if they want to cherry-pick the best of what an excellent distributor like Neon has to offer, that's just bringing more well-cared-for movies into the world.
Could just be reflective of my long relationship with Criterion and familiarity with their catalog. I swear, though, Severin hooks me over and over again with some truly exciting stuff. Curating without canonizing is seeming way more fun to me these days.
No matter how desperate Criterion becomes I doubt they'll ever do a BR pressing of El Santo films. That said VS scratches a very good niche depending on what you'd like to revisit and surprises with what they're remastering—they did a 4k/UHD remaster of Flesh for Frankenstein (3D too!) that's filled with features if your system can handle it; and there's upcoming BR/UHD releases of Chuck Norris' Sidekicks and Reese Witherspoon/Kiefer Sutherland vehicle Freeway. But if you want a real fidelity comparison you'd need a lot of time, TVs and effort.
I think I saw that thread too and the immediate counter-argument was an early double digit spine of Fishing with John Lurie. But I can never stay Internet Angry because the Lone Wolf and Cub Criterion box comes with hidden compartments.
Oh God, I just looked at the old Fishing with John cover. What makes it especially painful is that Lurie is a painter and probably could have created the artwork himself! (Great show, though.)
Love this writeup and idea for a feature.
It's interesting that with these last two years of releases, Neon still doesn't seem to have any sort of the amount of rep that A24 does - wondering how much of that comes down to marketing? Certainly A24 kinda shot out of the gate building their reputation where as far as I can tell, Neon has never invested in that kind of activity to us people who don't get screeners.
A24 definitely has a "brand" identity that Neon doesn't have. It also has money to take bigger swings and finance its own productions. From what I can tell, Neon is mostly (entirely?) into acquisitions. But they have excellent taste. I wrote about last year's box in the intro, but they also had a Parasite/Portrait of a Lady on Fire year.
I wonder if there'll be more distributors who try to emulate the A24 brand playbook in the future - I have to assume there are advantages in creating real brand equity, from greasing the rails on competitive acquisitions to employee attraction and press coverage.
Historically have many companies in this category ever invested like this? I guess maybe Blumhouse is maybe the next closest thing (also in that they finance as well as distribute)?
I think it needs to be noted that Neon's ties to Tim League may have cost it some cred during the Harry Knowles/Devin Faraci debacles.
How much, I have no idea, but I know I personally ask myself if I really want to see a movie when I see the logo attached.
is Fire of Love already gone from Hulu?
Whoa. It was there yesterday when I created the link but it looks like it's gone now. Still up on Disney+ if you have it.
Of what I've seen from their 2022 slate:
1. Crimes of the Future - a brilliant, provocative, funny late-period work from a master
2. All the Beauty and the Bloodshed - devastating; breathes new life into a familiar doc form
3. The Quiet Girl - simple story told with grace, nuance, and verdant beauty
4. Fire of Love - someone on Lboxd succinctly dubbed it "The Life Volcanic," no notes!
5. Triangle of Sadness - shrugged at act one, laughed uproariously at two, admired three.
6. Moonage Daydream - enjoyed it as a theatrical experience, impressed by the editing and sound, but haven't thought much about it since.
7. Broker - not among my favorite Kore-eda pics; as you said, it's far too gentle for the material
8. Pleasure - agree with your gripe about it constructing a narrative and quasi-rivalry, but it would make a good pairing with Sean Baker's Starlet for a porn life double feature
9. Saint Omer - glad to see I'm not the only one who didn't take to this pic. well acted and compelling as courtroom testimony, but the dramatic stakes weren't there for me, particularly as they relate to the director surrogate
Kicking myself for overlooking Three Minutes: A Lengthening
This rules. Thank you.
Great list, Scott. I still need to see Broker, however All the Beauty... was one of my faves of the year.
Really, every movie on here is worth your time. (Even BEBA was well-reviewed, by and large, despite my reservations.) BROKER isn't my favorite of Kore-eda's by a long shot, but he's such a consistently thoughtful dramatist that he sets his own standard.
The only one I’ve yet to catch is Moonage because I completely missed the IMAX here in NYC and then lost track. My atmos sound bar at home will have to do, but I was disappointed in myself.
Oh, and thanks for reminding me Morgen did that amazing 30 for 30. Arguably the best one, and my forever fave. I also liked his Jane.
I really regret not getting to All the Beauty but the end of the year was just a mess between snowstorms, illnesses, and the general business of life.
HBO picked up the rights for All the Beauty, so it will presumably stream on HBO Max in the near-ish future, but no date has been given yet.