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Again, the music strikes an upbeat tone, suggesting that these children are getting on just fine. Page Transparency See More. In one, Baumbach discusses his attempts to surreptitiously shift the audience’s sympathy away from Charlie and toward Nicole and the influence of screwball comedy on some of Criterion has housed the disc in a unique six-panel digipak, which includes sleeves that hold replicas of the letters that Charlie and Nicole read in voiceover at the beginning of the film. The audio commentary straddles the line between old and new: While primarily consisting of Streisand’s original 1991 commentary, it also features updates from the actress-director recorded in 2019. A 20-minute interview with Whale biographer James Curtis situates the film within the director’s all-too-brief body of work, while an interview program entitled “Recognizing Race in Criterion not only lovingly restores a neglected classic, it offers an invaluable reference guide for lovers of the groundbreaking stage musical.Criterion’s release of Noah Baumbach’s latest is built to last.At first looking to handle their divorce without the involvement of lawyers, Charlie and Nicole hit a rough patch when the latter, who gave up a Hollywood career to move to New York and act in Charlie’s avant-garde plays, heads back to Los Angeles to shoot a television pilot, taking with her the couple’s young son, Henry (Azhy Robertson).

His terse inquiries elicit mostly friendly yet noncommittal responses, except for one man who threatens to smash his face in. In another scene, Nora mentions that she’s afraid and doesn’t want to open a door, knowing that it will lead to the murder that will seal her fate. Indeed, Charlie is so mild-mannered that Nicole’s vindictive behavior toward him comes to feel monstrous in its overreaction. What must-have burger topping makes it into your basket? About See All. Thank you to our first responders for the difficult job you do every day to protect and enhance our community. Default; Popularity; Average rating ; Newness; Price: Low to High; Price: High to Low; Categories. First Date (IV) Comedy, Crime, Mystery | Post-production. Only court astrologer Kamo no Yasunori (Junya Usami) can be counted on to properly advise the emperor by consulting the fabulous Chinese scroll known as the Golden Crow. Using a framing device in which the district attorney, John Grant (Alan Dinehart), who prosecuted Nora (Zita Johann) tells his sister, Edith (Claire du Brey), of the tragic circumstances that led to the young girl’s execution, In one flashback, Nora is suddenly disturbed when her beau, prospective Governor Dick Crawford (Paul Cavanagh), strokes her hair, only for a cut to Nora in prison revealing that her reaction stems from her hair being cut prior to her execution. There’s the little matter of a hitherto unseen family member who’s landed in the doghouse for an extended stay. The screen goes black. 44 people follow this. or. Just as earlier Charles couldn’t quite put his finger on the difference between beer and ale, even though “they’re nothing alike,” this scene likewise taps into the opposition between similarity and difference that runs throughout the film. Reds, greens, and blues have a renewed sense of agency that’s complemented by rich and beautiful darkness, intensifying the mystery of the special effects. The film’s color palette is generally muted, but a more diverse range of hues is on dynamic display in several sequences, such as when the characters dress up for Halloween or Adam Driver sings Sondheim inside a dimly lit piano bar. It’s bookended by footage of the outraged Sundance premiere attendee who thought the film should be “banned and burned.”“Meet Peggy Cleek” is a charming interview with Lauren Ashley Carter, who touches on the process of finding the emotional intensity her role required, that fateful Sundance premiere, and the odd accommodations during filming (a rundown boarding school complete with a tank of piranhas and frog living in one of the shower stalls). The package also includes a fairly slight booklet essay by critic Bruce Eder originally written for Criterion in 1994.Featuring a luscious new restoration and a bundle of extras, Criterion’s Blu-ray provides a comprehensive window into Streisand’s creative process.Criterion gives new life to Kiarostami’s lovely, understated rumination on existential quandaries.For the first 20 minutes or so, we have no idea what Mr. Badii might be after. While in town, the various divorcées on set encourage Nicole to lawyer up, and she takes a meeting with divorce attorney Nora Fanshaw (Laura Dern), a yuppie whose breezy chattiness can turn on a dime to cold-blooded strategic talk over how to win a court battle that Nicole doesn’t even want to be a part of.Nicole, so passive at the start of her meeting with Nora, is initially marginalized within the frame by cinematographer Robbie Ryan’s camera, isolated in a corner of the room in angled compositions that make her look smaller than she really is. The film’s painterly use of Eastman color nearly leaps from the screen in just about every frame, especially in wide shots where the richness of the colors and the extensive depth of field result in a dynamic vibrancy. Filters.

It isn’t right.”McKee directs with assured simplicity, scoring points with his lucid shot compositions, like a startling two-shot that links mother and daughter, calling to mind the split-screen hijinks of peak-period Brian De Palma, just as an extended 360-degree pan near film’s end, with the camera swirling deliriously around Chris and Peg, plays as a perverse nod to similar emotional crescendos in That is, until an explosive finale, triggered by young Peg’s home situation draws the attention of her overly solicitous geometry teacher (Carlee Baker), whose good intentions prompt an ill-conceived visit to chez Cleek. Then, in clearly degraded camcorder footage, we’re presented with the making of an earlier scene.