March :



•New, restored 4K digital transfer, with uncompressed monaural soundtrack on the Blu-ray
•Audio commentary from 1997 featuring director John Frankenheimer
•New interview with actor Angela Lansbury
•New piece featuring filmmaker Errol Morris discussing his appreciation for The Manchurian Candidate
•Conversation between Frankenheimer, screenwriter George Axelrod, and actor Frank Sinatra from 1987
•New interview with historian Susan Carruthers about the Cold War brainwashing scare
•Trailer



•New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
•New interview with Richard Neupert, author of A History of the French New Wave Cinema
•Jacques Rivette’s 1956 short film Le coup du berger, featuring cameos by fellow French New Wave directors Claude Chabrol, Jean-Luc Godard, and François Truffaut
•New English subtitle translation
•PLUS: An essay by critic Luc Sante



•New 4K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
•New audio commentary featuring critic Tony Rayns
•New interview with actor Chen Chang
•Our Time, Our Story, a 113-minute documentary from 2002 about the New Taiwan Cinema movement, featuring interviews with Yang and filmmakers Hou Hsiao-hsien, Sylvia Chang, and Tsai Ming-liang, among others
•Videotaped performance of director Edward Yang’s 1992 play Likely Consequence
•New English subtitle translation
•PLUS: An essay by critic Godfrey Cheshire and a 1991 director’s statement by Yang



•New, restored 2K digital transfer, supervised by executive producer Harrod Blank, with uncompressed monaural soundtrack on the Blu-ray
•New interviews with Harrod Blank, musician Leon Russell, assistant editor Maureen Gosling, and artist Jim Franklin
•Behind-the-scenes material, shot and edited by Gosling
•Trailers
•More!
•PLUS: An essay by critic Kent Jones



•New, restored high-definition digital transfer (4K on the Blu-ray), with uncompressed monaural soundtrack on the Blu-ray
•Working with De Sica, a collection of interviews with screenwriter Suso Cecchi d’Amico, actor Enzo Staiola, and film scholar Callisto Cosulich
•Life as It Is, a program on the history of Italian neorealism, featuring scholar Mark Shiel
•Documentary from 2003 on screenwriter and longtime Vittorio De Sica collaborator Cesare Zavattini, directed by Carlo Lizzani
•Optional English-dubbed soundtrack
•PLUS: A book featuring essays by critic Godfrey Cheshire and filmmaker Charles Burnett, classic writing by Zavattini and critic André Bazin, and reminiscences by De Sica and his collaborators

MC is still missing a few extras from previous releases, but glad it has the mono.

Looking at the Arrow screencaps, their version seems awfully dark though. So I don't know what which version is the correct one? I have the Criterion version and I'm a little disappointed with the results too.

Hopefully, Criterion does a better job with the possible "Lone Wolf and Cub" blu-rays release that they hinted on their New Year drawing as the Animeigo Blu-ray version is DNR heavy.

Aren't the commentaries on both Lambs and Spinal Tap different on the Criterion vs MGM versions?

The reason to re-release the Criterion versions is to have a 16x9 transfer with the Criterion commentaries (if they wanted to make them really special, they could add the MGM commentaries).

And Robocop.

If you were able to get the UK edition (This Is Spinal Tap) withe little mini-amp that has tons of special features including the commentary during the menu screen, which is hysterical.

And Sid & Nancy

and Good Burger ...

I'm thrilled to see that A Poem is a Naked Person is on the release schedule. I was fortunate enough to attend a screening with Les Blank in attendance before he passed away. It's great that this film will now be widely available after being so hard to view for so many years.

I believe the DVDBeaver review says a perfect transfer would probably lie somewhere in-between the Arrow BD and the Criterion BD.

Contrast is ridiculously high on the Criterion release.

For years the Internet built this up as some horrific train wreck, but a couple years ago we queued it up on Netflix and.... it was really kinda fun.

yet hardly anyone is mentioning or complaining about it on Criterion's Facebook page

Which I find a bit strange as folks pick apart every BD release that comes out.

I recently watched a video of someone on Instagram throwing away their AnimEgo DVD in the trash, in favor of the Criterion BD.

I hope he had a chance to complete it. RIP

yeah hopefully he was able to contribute somewhat. I assume Criterion wouldnt mention his name if he didnt actually get the opportunity to have some part in the process.

I don't think Criterion sees releasing a disc identical to the MGM BD with the sole addition of a commentary track to be worth the effort. This is especially true when considering that the commentary is at least somewhat redundant given the 5 hours of special features on the current disc. Could the transfer be improved? Of course, but that's more or less MGM's call.

The color transfer on Criterion's DVD (ported from the Laserdisc) is very different than MGM's Blu-ray transfer. It has more of an overcast, muted look, whereas MGM's transfer is brighter and more colorful. I believe both were signed off by cinematographer Tak Fujimoto, who had different ideas for what the movie should look like at different points in his life.

I really believe that the filmmakers care less about this stuff than we, the fans, do.

Fellowship of the Ring with the green tint. Bram Stoker's Dracula. French Connection. The different color timings for Halloween. The weird lightsaber stuff it the Star Wars OT. Terminator being tealed and oranged.

They're either mucking stuff up themselves, or just glance at a new transfer and say "Eh. Good enough."

In some cases Criterion leased commentaries out like they did for Sony's Taxi Driver and MGM/Fox's release of Raging Bull.

I'm sure there are some cinematographers that care deeply about the films they work on. However, I'm more inclined to believe that the different result of separate efforts might be more due to what they've had to drink at lunch than some "different idea" as to how the film should look ...

I think they approach it at different points in their life and have different ideas about it. The level of control digital transfers allows now is pretty amazing. I wouldn't be surprised if they're still pretty invested in their films.

Only Angels Have Wings and Barcelona have phantom pages up.

That'll complete that Whit Stillman Criterion catalog. Very happy to see Barcelona finally make it to blu. Looks like they're even releasing his 3 films in a set.

Never seen the original Manchurian Candidate. Always wanted to. How good was the remake w/ Washington?

Fucking awful. The OG is awesome.