Twilight Time / Redwind

[pointless]

Stanley & Iris (Martin Ritt, 1990)

Release Date: January 17th, 2017.
Pre-order date: Wednesday, January 4th at 4 pm EST.

Twilight Time's 250th release.

Special Features:

• Isolated Music Track
  Audio Commentary with Film Historians Julie Kirgo and Nick Redman
  Original Theatrical Trailer

Booklet art:

[DeprongMori]

I'm kind of shocked that Our Man in Havana is getting its domestic release via Twilight Time. The new restoration played to sold out screenings at the Pacific Film Archive back in March. I figured this Carol Reed comedy would be a Criterion release for certain. I expect the UK release will likely be through BFI.

[Luke M]

I'd really like How To Steal a Million but now hoping it gets a UK release by Arrow/BFI/MoC. At this point, any time I see a movie I'm interested in get announced by Twilight Time I let out a quiet, "fuck".

[sir_luke]

How to Succeed has always been one of my favorite musicals along with Romance on the High Seas and High Society, and I've been waiting forever for it to come out on Blu. While I would have rather had *any* other label put it out, I knew it would be TT and have resigned myself to picking it up (and then selling it when it's released overseas somewhere).

[Rayon Vert]

Didn't think all that much of Our Man in Havana. Some good elements here and there but a minor work, and more often than not neither funny enough, or too broadly played.

[captveg]

I need to see six of those films, but of the three I have seen:

- Our Man in Havana -- I like it well enough, but it's a minor movie and not one I'll spend $30 on. I can see myself picking this one up during a future sale in a couple years.

- How to Steal a Million -- Just didn't enjoy it all that much. One viewing was servicable for me.

- Another Woman -- A fine movie, but again, not one I feel the need to own. It just doesn't have the rewatchable factor of other Allen films, IMO.


And the other six films to into my various rental lists (Netflix, Amazon, etc.)

[What A Disgrace]

Our Man In Havana sounds great. And also sounds like something that either MoC or Indicator would fight eachother over the rights to.

[nitin]

Surprised they didn't just pair You'll Never Get Rich with You Were Never Lovelier. Both are minor musicals and I doubt I'll upgrade.

They said on Facebook that they have the rights to the latter but music clearance issues are holding up a release.

[beamish13]

Our Man in Havana is indeed a fantastic film. Carol Reed's exceptional mastery of widescreen photography is on full display here, and
Guinness is terrific. One of a number of films from Sony's "Martini Movies" line that I thought would make great Criterion pick-ups, including
Richard Rush's Getting Straight, The Anderson Tapes and Gumshoe.

[Cronenfly]

I have little doubt someone in the UK will give the Reed a superior release, and I'd add Model Shop to that list of Martini Movies in need of rescue (as domino already did in the Indicator thread). The Anderson Tapes is already forthcoming from Indicator, FYI, which should be as close to Criterion treatment as that title gets (ditto The New Centurions, another Martini salvage job).

[pointless]

Two for the Road (Stanley Donen, 1967)

Release Date: January 17th, 2017.
Pre-order date: Wednesday, January 4th at 4 pm EST.

Special Features:

• Isolated Music Track
  Audio Commentary with Film Historians Julie Kirgo and Nick Redman
  Audio Commentary with Director Stanley Donen
  Fox Movietone Newsreel
  Original Theatrical Trailer

Booklet art:

[pointless]

Comes a Horseman (Alan J. Pakula, 1978)

Release Date: January 17th, 2017.
Pre-order date: Wednesday, January 4th at 4 pm EST.

Special Features:

• Isolated Music Track (with some effects)
  Original Theatrical Trailer

Booklet art:

[TIVOLI]

My order from 12/05 is listed as "pending". Has anyone else experienced recent shipping delays?

[captveg]

They literally have 2-3 employees filling all SAE orders. Long processing times have been common.

[TIVOLI]

Thanks for the information, captveg. I'll be patient.

[pointless]

The Mad Magician 3D (John Brahm, 1954)
Also Includes: Pardon My Backfire 3D (Jules White, 1953) and Spooks! 3D (Jules White, 1953)

Release Date: January 17th, 2017.
Pre-order date: Wednesday, January 4th at 4 pm EST.

Special Features:

• Isolated Music Track
  Audio Commentary with Film Historians David Del Valle and Steven Peros
  Master of Fright: Conjuring the Mad Magician
  Original Theatrical Trailer

Booklet art:

[pointless]

Join us at http://www.twilighttimemovies.com" onclick="window.open(this.href);return false; this afternoon at 4 pm EST for the opportunity to grab a copy of MURPHY'S LAW signed by the glamorous ANGEL TOMPKINS! When the promotion goes "live" just load up your cart with a minimum of $149.75 worth of TT product and the FREE signed copy will automatically be added - then proceed immediately to check out otherwise it will disappear -- these are expected to go fast - so don't delay - be there at 4 pm EST / 1 pm Pacific - sharp!

[domino harvey]

Comes a Horseman (Alan J. Pakula, 1978)

Release Date: January 17th, 2017.
Pre-order date: Wednesday, January 4th at 4 pm EST.

Special Features:

• Isolated Music Track (with some effects)
  Original Theatrical Trailer

Just posted in our TT blu-ray catalogue section:

COMES A HORSEMAN (1978).

A NOTE ABOUT THE TRANSFER: while Twilight Time believes Comes a Horseman to be a fine, and generally overlooked hidden treasure from the 1970s, and worthy of a second look by Blu-ray aficionados, we recognize it has not survived in the greatest of shape. We hope that those of you who care enough to buy a copy will forgive the unusually high (for a TT release) level of “speckling” (minus density) and general debris that mar the work of master cinematographer, Gordon Willis, in this hi-def presentation. We have rejected many other titles and transfers for similar reasons, but after some consideration decided this film was too important to let go. In light of this fact, we are offering it at a reduced price to encourage those on the fence about it. TT strives always to strike a balance between a duty to preserve the legacy of film history, as well as presenting the very best version of a film in hi-def as possible under the circumstances.

This movie is a piece of shit and they're delusional to claim a false legacy for it, but at least it's cheaper for those who want a bad film to look bad (where's rennault?)

[hearthesilence]

Comes a Horseman (Alan J. Pakula, 1978)

A NOTE ABOUT THE TRANSFER: while Twilight Time recognizes that Comes a Horseman has not survived in the greatest of shape, the movie is a piece of shit. TT strives to preserve the legacy of film history, be it a gem or a turd, and in light of this fact, we are offering it at a reduced price.

Fixed.

[knives]

I actually like the movie as a little soap opera.

[oh yeah]

I haven't seen the movie, but I love Pakula's early-mid 70s work, and I'm always keen to see something else from him anywhere near as good as those. Even if it's not that, I imagine Willis's work alone makes it worth a view?

Is any post-'76 Pakula flick even any good, though? Besides Presumed Innocent, which is okay. I often hear Rollover touted as somehow prophetic or incisive in its politics, and Pelican Brief at least seems like a decent piece of entertainment. Not sure about the rest, however. His career appears to be a giant case of missed opportunity, talent oddly squandered. I'm certain that the genius of Klute and Parallax does not lie only with Willis, that Pakula in particular had a great gift with actors which imbued every role -- from the stars down to the smallest bit-player -- with an electricity, a pathos, or a humanity that made every scene memorable. A bit like a more compassionate, New Hollywood Hitchcock, in the way he coaxed these eccentric, very memorable little parts from his actors, the same way Hitchcock gives you the rubber plant-watering hotel-keeper.

[domino harvey]

No, Comes a Horseman is a huge zero of a movie. I know, I was once like you and thought it had to have value given the pedigree in front of and behind the camera, but nah. Re: later Pakula, Rollover is racist garbage (though prescient and of its time, so of some contextual value maybe-- it is handily the worst Pakula film I've seen), Pelican Brief is a lowkey but pretty good Grisham adaptation that doubles as a pre-YouTube supercut of Julia Roberts running, and Starting Over, scripted by James L Brooks, is hilarious and wonderful (and I am contractually obligated to bring up that Candice Bergen has the funniest seduction scene in film history)

[oh yeah]

No, Comes a Horseman is a huge zero of a movie. I know, I was once like you and thought it had to have value given the pedigree in front of and behind the camera, but nah. Re: later Pakula, Rollover is racist garbage (though prescient and of its time, so of some contextual value maybe-- it is handily the worst Pakula film I've seen), Pelican Brief is a lowkey but pretty good Grisham adaptation that doubles as a pre-YouTube supercut of Julia Roberts running, and Starting Over, scripted by James L Brooks, is hilarious and wonderful (and I am contractually obligated to bring up that Candice Bergen has the funniest seduction scene in film history)

Thanks, I'll definitely seek out Starting Over. (And probably Rollover, too, just because I've heard so much hushed, enthused chatter about it that I can't resist). Pakula's gift with actors makes me think a Pakula comedy could be pretty successful.

I recall Steven Bach's Final Cut opening with an amusing anecdote about basically how depressing it was, as an exec at UA, to witness the dreary anti-reaction to the first few showings of Horseman. And on further thought the idea of a Pakula Western has always seemed inherently "off" to me, which is why my hopes for the film always rested on Willis's shoulders.

Since we all seem to agree Pakula's a talented director, does anyone have a theory as to what happened to him? Most of the great New Hollywood auteurs dropped off in the 80s/90s, sure, but most at least managed a couple great films after the decline, if not an outright "comeback" a la Altman. Why not Pakula? Did his tastes just lead him astray, perhaps? (In addition to the usual difficulty of getting an intelligent adult-targeted picture made, post-Heaven's Gate.)

[swo17]

I second Starting Over's wonderfulness.

[knives]

I second Starting Over's wonderfulness.

I'll third. My favorite Pakula on some days.