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I spent up big and bought the Pathe boxset last year. The Pathe release is flawless. The restoration is a stunner, and Pathe’s encode is without blemish. It’s that encode I hope Criterion will use, without recourse to their now commonplace low pass filtering, DNR and other shockers.

I think we can be confident about an Indicator Bluray of this new 4K early next year. That doesn’t account for Region “A” of course. I frankly gave up on Criterion years ago, they should simply relinquish their option.

I have a rio of that 1080p from two years ago. It’s no more than an uprez IMO. As far as I’m aware the new 4K restoration was completed in 2023.

This will very clearly be the Weir-approved grain free shocker. Don’t bother.

I've played my 4K disc on an otherwise "A" and a "B" friendly player (oppo 203 and Panasonic 820.) The 4K disc plays on both players. What are you playing it on? Nobody anywhere has reported a region locked 4K UHD.

I don’t know what you’re talking about. The Italian Raro 4K disc is region free, SDR encode and has English subs. The 1080p disc is region coded “B”. Please get your information/advice right.

Back in 2018 when we launched the first Cinema Reborn retrospective in Sydney our plans to include the newly restored Cotton Club were thwarted by the copyright holder. Coppola responded very kindly by sending us his personal 35mm print of One from the Heart which we screened only once. It was...

Yes, I wouldn't have bought it otherwise.

Remy, I bought the Italian UHD earlier this year only after reading about the Japanese rightsholder’s intervention regrading the Ritrovato yellow biased color grade which they returned to neutral. In the process they determined to give the disc an SDR709 encode. Their fine tuned grading was...

Agreed and thanks greatly to your own terrific work on this restoration. Man who remake has always been a major league Hitchcock to me, more than the equal of Vertigo. As Glenn says in the Ebert review the core of the film is a marriage that might collapse, and indeed the scene of Stewart...

Although it’s not yet officially confirmed, the Lionsgate uses the same encode as the Studio Canal, along with DV grading. So it needs mentioning that while the restoration of this is absolutely superb, can’t be faulted, and it goes back to DP Raoul Coutard’s unsuccessful twelve year old...

They re both tken from the 2022 4K restoration which itself is superb. The problem arises from Canal’s encode which swings from flawless to dreadful. I would like to think Lionsgate did its own encode and didn’t flub the compression. If they do I’m double dipping.

The MoC was encoded by FIM so, whatever else that other review dite says it will by optimal.

I’ve seen several premiere screenings of the Ritrovato restorations in DCP at Bologna over the years where conversations often turned to the original cranking speed. The universal feeling is it was 20 fps from Three Ages onwards. As for natural movement can you cite an instance in the features...

Robert these were all done through Ritrovato and given the diverse sources and cranking speeds of early materials and Rohauer era Safety revisits I think they were working on 20 fps. It varies from film to film but Keaton himself wanted “natural” movement through all his movies. I think there’s...

Others have already answered but to add: if they stick with FIM encode they can’t go wrong. I’ve been buying Criterion’s UHDs since go and some these are wonderful _ Red Shoes, Devil in a Blue Dress, others. But here’s one - I’ve never been happy with their Kane. It’s low light base and grading...

Canal’s encode was done by David Mc And it’s flawless. The thought of Criterion getting an encode from Pixellogic does not fill me with joy.

Yes, I thought do too. I played some of the DVD and so is it.

Mark, I started re watching the Indicator box, beginning with Tall T In the vague hope those 1080p transfers from Sony would still be OK. I gave up with Tall T (my own fave also). Everything you could imagine was not right with them, especially grain and colordensity. We used to show 35mm Tech...

Georgie Baby explains on the last podcast that the interpos, which they were using in tandem with the OCN had been trimmed of multiple frames at numerous points so it simply wasn’t synchronous. I mean, make of it what you will.

The battle of the Flappers _ Anna May and Gilda Gray fight it out for the favors of sex bomb (not), Wilmot the niteclub’s owner. I hope the Milestone disc keeps the Neil Brand score. And they preserve the BFI’s tinting scheme.

Fnac posted my order two days early on the 12th. Now on its last leg to NZ So I’ll have it to re-view on the weekend. As is the new 4K Conformist from Italian Amazon. It just struck me that both works which will arrive virtually together are each adaptations from Moravia.

I don’t know who’s doing the encode and grade but at least Weir himself is not involved with the release. So at least no ”recalibrated“ DVNR. This was all a striaght shoot on Eastman, prints from Atlab in Sydney. It should be a diddle. I prefer this Weir to Picnic in fact, it’s much more daring...

Whoops! I have the disc on my wall.As you well know, I’m a big Decoin fan, too! Never get old Mark!

Clouzot’s second feature, made for Continental, the OccupationGerman Film combine that ironically kept the French movie industry alive. Clouzot ran afoul of them next year in 43 with The Raven which they - quite correctly_ realized was a savage satire of France under Occupation and the vile...

These titles now scheduled for preorder, due release in Australia July19. No other territories so far. This link: https://www.ezydvd.com.au/blu-ray/Rio-Bravo-4K-UHD/dp/6227601

Late to the party. I like it less than Will or Mark. I feel it should have at least been given some basic cleanup prior to doing the encode. I’m not usually a drama queen about emulsion/print damage but this is my second fave B&W Hitch and I wanted better. This and Secret Agent both need...

I think this is the first great Dreyer masterpiece that bookends with Gerturd 40 years later In a very clear way the twp movies are almost identical. But Michael/Mikael is entirely set in a totally gay Weimar milieu which stretches itself out here and there to the immigre salon world of Berlin...

Maybe Canal has a phantom trailer composer/editor beavering away in the shadows. Whoever they are they did a fabulous job with this. It's definitely Delerue-esque, but it's been timed to just contain the length of the trailer with rises and surges at all the big grabby visual points. It's...

Just ordered from fnac, despatching June 14. Not yet cleared on the three relevant amazon sites. Fnac is expensive for express international but frankly worth it. When this is one of your ten greatest films of all time. Listening again the music for this trailer has big brass and double bass...