Criterion Blues Posted by Aaron West on March 19, 2015

Mar 19 Posted by aaronwest À PROPOS DE NICE, 1930 Jean Vigo’s debut film falls very much into his idea of “social cinema.” He was a leftist (specifically an anarchist with communistic leanings), which I’ll talk about in more detail later. He was driven to film as a means of...   read more

Criterion Blues Posted by Aaron West on March 15, 2015

Mar 15 Posted by aaronwest My dream to complete the collection (on Blu-Ray at least), just became much closer to becoming a reality. Criterion usually has a February Flash Sale. I had held off on purchasing anything additional off my wish list until that happened. When the month of February...   read more

Criterion Blues Posted by Aaron West on March 15, 2015

Mar 15 Posted by aaronwest My dream to complete the collection (on Blu-Ray at least), just became much closer to becoming a reality. Criterion usually has a February Flash Sale. I had held off on purchasing anything additional off my wish list until that happened. When the month of February...   read more

Criterion Blues Posted by Aaron West on March 15, 2015

Mar 15 Posted by aaronwest My dream to complete the collection (on Blu-Ray at least), just became much closer to becoming a reality. Criterion usually has a February Flash Sale. I had held off on purchasing anything additional off my wish list until that happened. When the month of February...   read more

Criterion Blues Posted by Aaron West on March 14, 2015

Mar 14 Posted by aaronwest I remember hearing about Don’t Look Now when I was a youngster. I probably even saw it, although it was at such a young age and was competing with a lot of schlocky horrors and thrillers, that I undoubtedly forgot it. Even though it was...   read more

Criterion Blues Posted by Aaron West on March 14, 2015

Mar 14 Posted by aaronwest I remember hearing about Don’t Look Now when I was a youngster. I probably even saw it, although it was at such a young age and was competing with a lot of schlocky horrors and thrillers, that I undoubtedly forgot it. Even though it was...   read more

Criterion Blues Posted by Aaron West on March 14, 2015

Mar 14 Posted by aaronwest I remember hearing about Don’t Look Now when I was a youngster. I probably even saw it, although it was at such a young age and was competing with a lot of schlocky horrors and thrillers, that I undoubtedly forgot it. Even though it was...   read more

Criterion Blues Posted by Aaron West on March 12, 2015

Mar 12 Posted by aaronwest I started blogging Criterions about midway through 2014, but previously bought and watched most, if not all of them. This is probably the first year where I saw the vast majority of all the year’s releases, including all of the supplements, although I didn’t blog...   read more

Criterion Blues Posted by Aaron West on March 12, 2015

Mar 12 Posted by aaronwest I started blogging Criterions about midway through 2014, but previously bought and watched most, if not all of them. This is probably the first year where I saw the vast majority of all the year’s releases, including all of the supplements, although I didn’t blog...   read more

Criterion Blues Posted by Aaron West on March 12, 2015

Mar 12 Posted by aaronwest I started blogging Criterions about midway through 2014, but previously bought and watched most, if not all of them. This is probably the first year where I saw the vast majority of all the year’s releases, including all of the supplements, although I didn’t blog...   read more

Criterion Blues Posted by Aaron West on March 8, 2015

Mar 8 Posted by aaronwest Even if Renoir’s A Day in the Country is barely over 40-minutes long, was unfinished and lost for 10 years before being edited for release, it is still one of the quintessential representations of 1930s French Poetic Realism. The setting out in the country and...   read more

Criterion Blues Posted by Aaron West on March 8, 2015

Mar 8 Posted by aaronwest Even if Renoir’s A Day in the Country is barely over 40-minutes long, was unfinished and lost for 10 years before being edited for release, it is still one of the quintessential representations of 1930s French Poetic Realism. The setting out in the country and...   read more

Criterion Blues Posted by Aaron West on March 8, 2015

Mar 8 Posted by aaronwest Even if Renoir’s A Day in the Country is barely over 40-minutes long, was unfinished and lost for 10 years before being edited for release, it is still one of the quintessential representations of 1930s French Poetic Realism. The setting out in the country and...   read more

Criterion Blues Posted by Aaron West on March 6, 2015

Mar 6 Posted by aaronwest Over the last few months, I’ve gradually dipped my toes outside of this humble abode and written some posts elsewhere. That will continue, so I’ve added a new section called Essays. This will include links to everything I write or collaborate with elsewhere on t   read more

Criterion Blues Posted by Aaron West on March 6, 2015

Mar 6 Posted by aaronwest Over the last few months, I’ve gradually dipped my toes outside of this humble abode and written some posts elsewhere. That will continue, so I’ve added a new section called Essays. This will include links to everything I write or collaborate with elsewhere on t   read more

Criterion Blues Posted by Aaron West on March 6, 2015

Mar 6 Posted by aaronwest Over the last few months, I’ve gradually dipped my toes outside of this humble abode and written some posts elsewhere. That will continue, so I’ve added a new section called Essays. This will include links to everything I write or collaborate with elsewhere on t   read more

Criterion Blues Posted by Aaron West on March 4, 2015

Mar 4 Posted by aaronwest Of the films that Seijun Suzuki would make for the Nikkatsu studio, Tokyo Drifter was one of the wildest, audacious, and visually stunning, yet it was also one of the most incongruous for both Suzuki and Nikkatsu. It was a bold visual statement that happened...   read more

Criterion Blues Posted by Aaron West on March 4, 2015

Mar 4 Posted by aaronwest Of the films that Seijun Suzuki would make for the Nikkatsu studio, Tokyo Drifter was one of the wildest, audacious, and visually stunning, yet it was also one of the most incongruous for both Suzuki and Nikkatsu. It was a bold visual statement that happened...   read more

Criterion Blues Posted by Aaron West on March 4, 2015

Mar 4 Posted by aaronwest Of the films that Seijun Suzuki would make for the Nikkatsu studio, Tokyo Drifter was one of the wildest, audacious, and visually stunning, yet it was also one of the most incongruous for both Suzuki and Nikkatsu. It was a bold visual statement that happened...   read more

Criterion Blues Posted by Aaron West on February 28, 2015

Feb 28 Posted by aaronwest 1986 was a good year. It gave us one of David Lynch’s finest, the best of the Alien franchise, and a lot of good smaller films. Some that flew under the radar back when they were released, like Manhunter and River’s Edge, have achieved cult...   read more