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Thanks for the feedback on international orders, everyone. I figured it was more of an attempt to cover themselves than an indication of some overarching problem.

Interestingly, it looks like some of the TT titles made it to a new run of printings, as All the Kings Men and Jane Eyre arrived today in clear cases instead of the original blue. Maybe still part of the 3000 total but not all printed at once?

They were asked about Mike Figgis' Liebestraum and Agnieszka Holland's Europa, Europa on Facebook, and said that they have no plans to release either. The latter has aired on MGM HD.

domino harvey wrote:Interestingly, it looks like some of the TT titles made it to a new run of printings, as All the Kings Men and Jane Eyre arrived today in clear cases instead of the original blue. Maybe still part of the 3000 total but not all printed at once?

My understanding is that they print in at least two waves for most titles.

I got a clear case for Bonjour Tristesse

Suddenly, Last Summer coming next year

For the titles they are replacing the old blue cases with transparent ones, are they also adding art works for the inside? I mean, are there reversible arts? Usually all their new releases come with back cover arts (expect for the ones released during their transition to clear cases). Especially, how do the inside look like for All the Kings Men and Jane Eyre?

Scratch that off the Criterion list of Columbia/Sonys.

TT has confirmed on HTF that Experiment in Terror is officially sold out, and Mysterious Island and Vampires are both down to only a handful of copies each at TT's website only.

Mysterious Island is gone, sold out everywhere.

La moglie più bella (The Most Beautiful Wife) (Damiano Damiani, 1970)

Release Date: August 16th, 2016.
Pre-order date: Wednesday, July 27th at 4 pm EST.

Special Features:

• Isolated Score Track
  Sicily, Ornella, the Mafia and Beyond
  Introduction by Director Damiano Damiani
  Original Theatrical Trailer

Booklet cover artwork:

Hardcore (Paul Schrader, 1979)

Release Date: August 16th, 2016.
Pre-order date: Wednesday, July 27th at 4 pm EST.

Special Features:

• Isolated Score Track
  Audio Commentary with Writer-Director Paul Schrader
  Audio Commentary with Film Historians Paul Scrabo, Lee Pfeiffer, and Eddy Friedfeld
  Original Theatrical Trailer

Booklet artwork:

Tony Rome (Gordon Douglas, 1967) / Lady in Cement (Gordon Douglas, 1968)

Release Date: August 16th, 2016.
Pre-order date: Wednesday, July 27th at 4 pm EST.

Special Features:

• Isolated Score Tracks
  Audio Commentary on Tony Rome with Film Historians Eddy Friedfeld, Anthony Latino, Lee Pfeiffer, and Paul Scrabo
  Lady in Cement TV Spots
  Original Theatrical Trailers

Booklet cover artwork:

Theatre of Blood (Douglas Hickox, 1964)

Release Date: August 16th, 2016.
Pre-order date: Wednesday, July 27th at 4 pm EST.

Special Features:

• Isolated Score Track
  Audio Commentary with Film Historians David Del Valle and Nick Redman
  Original Theatrical Trailer

Booklet cover artwork:

The Glory Guys (Arnold Laven, 1965)

Release Date: August 16th, 2016.
Pre-order date: Wednesday, July 27th at 4 pm EST.

Special Features:

• Isolated Score Track
  Audio Commentary with Film Historians Paul Seydor, Garner Simmons, and Nick Redman
  Passion & Poetry: Senta & Sam
  The James Wong Howe Story
  Promoting The Glory Guys
  Stills Gallery
  Original Theatrical Trailer

Booklet cover artwork:

Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 1974) - Encore Edition

Release Date: August 16th, 2016.
Pre-order date: Wednesday, July 27th at 4 pm EST.

Special Features:

• Isolated Score Track
  Audio Commentary with Assistant to the Director Katy Haber, and Film Historians Paul Seydor and Nick Redman - new to the Encore Edition
  Audio Commentary with Writer-Producer Gordon T. Dawson and Film Historian Nick Redman
  Audio Commentary with Film Historians Paul Seydor, Garner Simmons, David Weddle, and Nick Redman
  Passion & Poetry: Sam’s Favorite Film
  A Writer’s Journey: Garner Simmons with Sam Peckinpah in Mexico
  Promoting Alfredo Garcia
  6 TV Spots
  Original Theatrical Trailer

Booklet cover artwork:

Three commentaries?! Where's Kevin Smith's track?

....And thankfully that acclaimed "film historian" is on all three.

I'm not sure if Redman uses the designation out of vanity or out of some hope that it makes the product more saleable/credible, but you'd think you'd have to have a single book or serious article to your credit to call yourself a "historian." (Evidence for the saleable/credible theory: even though Lem Dobbs is an acclaimed screenwriter, Redman also describes him as a "historian" on Twilight Time jacket copy.)

I'm indifferent about Redman based on the few commentaries of his I've heard, but as for the "historian" designation -- who cares? Is it any more absurd than "film psychoanalyst"? Regardless of bona fides, it's just a title, and such titles can be achieved or applied arbitrarily or by self or others, or by means of mere rote instruction following (school).

I wouldn't want a self-assigned "M.D." operating on my heart, but for the arts (especially for the arts) it's a different matter altogether. The critical establishment/academia has always been threatened by autodidacts, despite the enormous value of their contributions to the fields of science-fiction, horror, comics, film, etc.

I mean, he's made several documentaries about Peckinpah- that doesn't seem like unreasonable grounds to call oneself a scholar, at least when it comes to Peckinpah specifically.

whaleallright wrote:I'm not sure if Redman uses the designation out of vanity or out of some hope that it makes the product more saleable/credible, but you'd think you'd have to have a single book or serious article to your credit to call yourself a "historian."

Redman's biggest claim to that designation is he directed the Becoming John Ford doc included in the Ford at Fox box. Between that and the Peckinpah docs he probably can get away with it, but that doesn't mean vanity and selling product don't enter into it.

firstlast wrote:I'm indifferent about Redman based on the few commentaries of his I've heard, but as for the "historian" designation -- who cares? Is it any more absurd than "film psychoanalyst"? Regardless of bona fides, it's just a title, and such titles can be achieved or applied arbitrarily or by self or others, or by means of mere rote instruction following (school).

I wouldn't want a self-assigned "M.D." operating on my heart, but for the arts (especially for the arts) it's a different matter altogether. The critical establishment/academia has always been threatened by autodidacts, despite the enormous value of their contributions to the fields of science-fiction, horror, comics, film, etc.

I've been perfectly happy to describe myself as a film historian for the better part of a decade now, mainly because it seems the most apt description for what I do - I've never been happy with "critic" or "reviewer", because I'm usually at least as and sometimes a fair bit more interested in a film's specific historical context.

I don't have any academic track record as a historian, or indeed any formal qualifications in film at all, but I wrote what must be a minimum of several hundred thousand words of BFI Screenonline (a huge online encyclopaedia of British film and television history), have written book chapters based on my own primary historical research (for instance, the chapter on Anthony Simmons in the BFI's Shadows of Progress: Documentary Film in Post-War Britain 1951-1977), and my longer DVD booklet essays often draw upon extensive historical research (this is particularly true of the Second Run essays for things like Szindbád, Man of Marble, A Blonde in Love and Goodbye, See You Tomorrow).

And I don't see how Nick Redman's numerous commentaries are any different in terms of qualifications - based on the few I've heard, they also draw extensively on primary research in a similar fashion.

whaleallright wrote:you'd think you'd have to have a single book or serious article to your credit to call yourself a "historian.

You overshoot this standard by a mile, Michael. The question is whether Redman could call himself a historian at the time of his first commentary. One could make a strong case that making multiple documentaries is commensurate to writing books or articles. But It's incestuous and perhaps a little crass that the label head is doing or being a participant in the great majority of his label's commentaries.

To be fair, he participated in commentaries before he started Twilight Time. I'm somewhere in the middle on this, as technically Redman is a film historian by virtue of his being able to talk at-length and with educative purposes on the various movies he discusses. But I agree that it sounds a bit suspect or insincere to label yourself with a fancy title such as "film historian" when "author" or even "Twilight Time label head" would work just as well and not give the impression of one using resume-padding language