Warner Brothers Archive Collection Blu-rays

[Finch]

Indicator and Radiance though

I love their Mexico Macabre set to death but I bought literally nothing else from Indicator this year. I don't want to blind buy Jean Rollin titles and am going to try watch The Night of the Hunted and Fascination first if I can find them anywhere with English subs.

[beamish14]

Indicator and Radiance though

I love their Mexico Macabre set to death but I bought literally nothing else from Indicator this year. I don't want to blind buy Jean Rollin titles and am going to try watch The Night of the Hunted and Fascination first if I can find them anywhere with English subs.

I haven’t bought anything from Indicator for a while because I want to get their long-gestating release of Dracula (1979) and not have to make multiple purchases

[swo17]

I love their Mexico Macabre set to death

With that plus the Ormond, Murphy, and Slaughter sets, I can forgive all the Kino redos

[senseabove]

The handful of Old Hollywood titles aside and fully recognizing that the sleaze undoubtedly foots their bill, this year's Indicator slate has felt like an extreme case of "On a long enough timeline, all labels trend toward Vinegar Syndrome."

[Maltic]

2023 WAC (I think)

The Strawberry Blonde
Rancho Notorious
Angel Face
Goodbye Mr. Chips
Land of the Pharaos
The Fastest Gun Alive
Wichita
Westward the Women
King Solomon's Mines
Border Incident
Queen Christina
Caged
Clash by Night

Couldn't ask for more from any label, really, especially given their high PQ/AQ standards

[beamish14]

2023 WAC (I think)

The Strawberry Blonde
Rancho Notorious
Angel Face
Goodbye Mr. Chips
Land of the Pharaos
The Fastest Gun Alive
Wichita
Westward the Women
King Solomon's Mines
Border Incident
Queen Christina
Caged
Clash by Night

Couldn't ask for more from any label, really, especially given their high PQ/AQ standards

That’s fine and all, but Vinegar Syndrome gave us Mod Fuck Explosion and Showgirls in 4K

[What A Disgrace]

Once-a-month labels like Deaf Crocodile, Kani Releasing, and Canadian International Pictures have been excellent this year, and there's still a whole quarter worth of releases from the VinSyn partners (Vinegar themselves have, I think, been a little classier with their choices than usual). The BFI just keeps chugging along with interesting titles, and there's at least one title from each quarter that has made me giddy with excitement (like their entire 4th quarter Blu-ray slate). Lots of great things from Second Run, as well.

[Finch]

I completely agree about Deaf Crocodile and Kani, and Radiance had a good first year.

Bringing it back to WAC, I was very happy to see Border Incident and Queen Christina this year, and Westward the Women was a nice discovery. There were a lot of strong titles like Caged, Strawberry Blonde and Angel Face, but the Mann and Mamoulian were the only ones I felt passionate enough about to own.

[andyli]

Technically WAC has become a once-per-month label as well this year (issuing everything at once on the last Tuesday of a month). I agree WAC quietly and constantly released lots of good stuff this year. I still have much catching-up to do with last year's output, but judging by the few I've seen from this year's, I feel it's getting better and better. The only quibble for me is the bonus material--can't help but think what if Criterion gets their hands on some of these titles.

[What A Disgrace]

WAC tends to release 4-5 movies a month.

[therewillbeblus]

I think it’s easier for people to get frustrated with this label for obvious reasons. While more rope may be afforded to other labels who are licensing from so many different studios, dealing with the pressure of rights lapsing, etc. and just can’t logistically prioritize what everyone wants on a timely basis, the difference is that WAC is working from their own catalog. So it might seem like more of a no-brained for Warner to release five great films on blu-ray each month, since they have a very specific selection to survey. I think they’ve had a good year too, but if, for example, Criterion only decided to focus on American WB titles, and we didn’t see Stage Door for years while nearly entire slates were a bunch of forgotten crap, that would play out as far more unacceptably negligent. It’s easier to give a pass for Criterion not prioritizing their licensed Desplechins when they’re spread so thin these days, between UHD and all their other charges.

[Peacock]

I’m not sure Criterion is the best example to use there. Criterion do sit on major titles for years/decades. UHD has made getting them out even slower as that takes a release slot or two each month now as well.

But sure, some of the WB choices are odd. Do major silents really sell so much less units than some of their more obscure sound releases? I fear I already know the answer…

[Aunt Peg]

I’m not sure Criterion is the best example to use there. Criterion do sit on major titles for years/decades. UHD has made getting them out even slower as that takes a release slot or two each month now as well.

But sure, some of the WB choices are odd. Do major silents really sell so much less units than some of their more obscure sound releases? I fear I already know the answer…

I did read somewhere that one of the problems with the Warner's silent titles is the cost of the music to accompany the films.

[Peacock]

That just seems so crazy to me when you think of the Criterion Eclipse silents and all the Kinos. Maybe Carl Davis is too expensive or something but surely Bob Israel or someone is doable. Just not the Alloy Orchestra please!

[therewillbeblus]

I’m not sure Criterion is the best example to use there. Criterion do sit on major titles for years/decades. UHD has made getting them out even slower as that takes a release slot or two each month now as well.

I was using them as an example for precisely this reason. We do all get frustrated with Criterion for not releasing what we want, but the elisions and neglect feels more excusable or debatable because their hands are in so many cookie jars. That leads to all sorts of questions that have spawned split-off threads here about Criterion’s priorities, etc. but it’s a different thing than looking at a company like Warner and just saying ‘Why?’ in response to picks from the litter of a perceptively more homogenous catalog. Not saying it’s “right” to harp on them more, but I get why people do.

[ryannichols7]

that's kinda the issue with Criterion becoming the label to a lot of these studios and licensors, which is a bit frustrating as at this point, there aren't many labels (WAC is maybe the only one) who haven't surpassed them in turns of supplements. take the new Blast of Silence upgrade - that easily could've been a KLSC slipcover title with a new commentary track included. instead, Criterion is basically just recycling their same disc as before. there comes a time where a good/great transfer can't just be the only selling point. Criterion additionally charge a premium for their discs, which granted is likely to try and keep the license in perpetuity, but even on sale they're often more expensive than other US labels. you have Arrow and Indicator releasing their supplement-heavy boxes and releases in general over in the US now, and with Criterion in the UK the difference between the labels there is somewhat staggering. they're maybe the worst example to use here - it's unfortunate WB is only willing to play ball with them, as I think the UK labels would show a lot of love to their titles (I dream of MOC releases of the MGM silents). the Tod Browning boxset aside, which I think most of us could agree seem to be Criterion's best release in some time. I genuinely wonder often about the Criterion/WB relationship, and how the latter feels about CC sitting on titles for eons. we know almost for certainty that they have titles like Lone Star, Zabriskie Point, and that Freaks was sat on for a decade. then again - there's also only so much care at WB in 2023, with select folks like Feltenstein really helping the train move along

I have been pleased with WAC's output this year, and even if a lot of the titles aren't necessarily my thing, I appreciate that they've been churning out 4-6 titles every single month. I think each month has had something I want to buy too, which I can't say the same for Indicator (who I normally love, but indeed have been very on the "horror is what sells and we're giving the people what they want" tip in 2023) or many of the others. I have bought every Second Run and Radiance release, as I'm a completionist for both. the BFI have been outstanding, and Arrow have even had a solid year.

But sure, some of the WB choices are odd. Do major silents really sell so much less units than some of their more obscure sound releases? I fear I already know the answer…

I thought for sure these 90s titles they've announced the last few months were totally tossed off, but they evidently have their fans...I do find it hard to believe they'd sell that much more than the silents though. there's no way the scores can cost that much, can they?

[jheez]

I think if we want to see more silents, everyone should purchase Our Dancing Daughters, which is a pretty fun, energetic film and is worth seeing just to see such a spunky, young, charismatic Joan Crawford. You really see why she was such a star in her earlier years.

Back to a discussion from a few months ago, certainly Humoresque would sell more copies than Dance, Fools, Dance (as grateful as I am the latter is restored and available), no?

[Maltic]

With that plus the Ormond, Murphy, and Slaughter sets, I can forgive all the Kino redos

I, for one, don't mind the redos that much, but then I'm on the other side of the pond and often won't have bought the Kino release initially. The Indicator discs will be 2 or 3x less expensive, at least if you wait for the SE and so on. In general, I think we Europeans are better off in terms of labels/access, but the Kino sale is one thing I envy you guys.

[ryannichols7]

With that plus the Ormond, Murphy, and Slaughter sets, I can forgive all the Kino redos

I, for one, don't mind the redos that much, but then I'm on the other side of the pond and often won't have bought the Kino release initially. The Indicator discs will be 2 or 3x less expensive, at least if you wait for the SE and so on. In general, I think we Europeans are better off in terms of labels/access, but the Kino sale is one thing I envy you guys.

you and I have shared the sentiment many times, as have others, but I'm pretty grateful for the Kino redos, a lot of these films deserve the love that Indicator gives them. Kino usually will keep a commentary exclusive or something - at $9.99 I don't mind the double dips at all, but I'm not someone who's super fussed about having multiple copies of a movie. take Broken Lullaby, a good-not-great film that was really boosted by the amount of context Indicator gave it in their edition. or Nora Fiore's terrific commentary on The Kiss Before the Mirror. I plan to go through the last "classic Hollywood" month they did soonish, and look forward to the triple shot of Tony Rayns, with some Nick Pinkerton, Glenn Kenny/Farran Smith Nehme, and Geoff Andrew included.

to tie this back into WAC - what I'd give to see a lavish edition of One Way Passage, a film that should be extremely better known, something I've been glad to see Criterion promoting via the channel recently. easily one of my favorite pre-code talkies yet and one of the best movies to be released this year, shame it only came with some cartoons! it deserved way more. I'm sure I could say the same for many of the other titles released this year (which I'll be going through soonish). I am certainly grateful to WAC for getting these out, and their very good standards in terms of quality, but sometimes I really am left wanting more than we get. some seriously great films come through this line and could use some more respect

[Maltic]

I am much more picky with the Kino releases which cost me $40 a piece (if I'm lucky with customs), and they put out so much stuff that a lot of it flies right past me. I only just realised Indicator's The Kiss Before the Mirror was a redo (great release though, as you say).

I did buy the Kino Broken Lullaby last year, so that's a little annoying. It has the same McBride commentary, though it wasn't one of his best, as I recall, maybe because he didn't like the movie.

[teddyleevin]

Completely flabbergasted again that they haven't jumped the gun on GOLD DIGGERS OF 1933

They did, over a year and a half ago. Hope that turned your day around!

Woops, thank you. I must have been thinking of something else. And yes… I own it. Well, then I’ll add to my wishlist MARIE ANTOINETTE. What else was I thinking of? But I must echo THE TALL TARGET, PETULIA, LISZTOMANIA, et al.

[beamish14]

Completely flabbergasted again that they haven't jumped the gun on GOLD DIGGERS OF 1933

They did, over a year and a half ago. Hope that turned your day around!

Woops, thank you. I must have been thinking of something else. And yes… I own it. Well, then I’ll add to my wishlist MARIE ANTOINETTE. What else was I thinking of? But I must echo THE TALL TARGET, PETULIA, LISZTOMANIA, et al.

I keep waiting for China 9, Liberty 37

[pianocrash]

Did anyone catch Last Summer on TCM recently? It was one of those rare titles with the DVR replay block, so I didn’t get to see it, but I was curious to see if it looked better than the mid-80’s VHS or the 16mm print I’ve watched

Last Summer (1969) looked pretty good to my eyes (DVD quality, at least), worlds better than, say, the last airing of The Heartbreak Kid, which I mention only because they seemed to have been framed & shot in similar aspect ratios/time periods/general taboo wariness of adulthood themes.

Now is probably a good time to watch Lifeguard, which I've been putting off since it began streaming on Paramount+ a few months ago (RIP summer 2023).

[Peacock]

I can’t find a member’s earlier comment about some WAC BD releases now being available in the UK online but I just wanted to confirm that they are also available in-store in HMV/Fopp. Not every title of course, but some.

[Dr Amicus]

I can’t find a member’s earlier comment about some WAC BD releases now being available in the UK online but I just wanted to confirm that they are also available in-store in HMV/Fopp. Not every title of course, but some.

That was me - we don't have an HMV or Fopp here in Guernsey (our HMV closed over 4 years ago) but nice to know. Perhaps not too surprising as earlier WAC releases did end up in the Premium Collection.

Anyway - online link here: https://shop.warnerbros.co.uk/collectio ... collection