The November Barnes & Noble Criterion Collection sale is here, and I've got 10 more films I'd recommend adding to your physical media collection.
This time, I'm going beyond the usual Criterion essentials to highlight some personal favorites, overlooked gems, international cinema, classic Hollywood, and films that deserve a little more attention from collectors. From Douglas Sirk's breathtaking melodrama All That Heaven Allows to John Waters' outrageous Hairspray, these are films I genuinely love and believe are worth owning.
We'll revisit the brilliance of Ernst Lubitsch with three recommendations: Trouble in Paradise, Design for Living, and To Be or Not to Be. We'll also explore the dark holiday atmosphere of Blast of Silence for Noirvember, the timeless relevance of Louis Malle's Au Revoir les Enfants, and the hypnotic worlds of Luis Buñuel's Belle de Jour and Michelangelo Antonioni's Blow-Up.
And, of course, we can't leave out René Clément's Purple Noon, featuring an unforgettable Alain Delon performance.
In this episode, we're discussing:
- All That Heaven Allows (1955) – Douglas Sirk
- Hairspray (1988) – John Waters
- Blast of Silence (1961) – Allen Baron
- Au Revoir les Enfants (1987) – Louis Malle
- Belle de Jour (1967) – Luis Buñuel
- Purple Noon (1960) – René Clément
- Blow-Up (1966) – Michelangelo Antonioni
- Design for Living (1933) – Ernst Lubitsch
- Trouble in Paradise (1932) – Ernst Lubitsch
- To Be or Not to Be (1942) – Ernst Lubitsch
Plus, a bonus conversation about The Complete Stanley Kubrick box set and whether it's worth the investment for collectors.
Whether you're a longtime Criterion collector or just starting to build your Blu-ray and 4K library, hopefully you'll find something new to add to your November wishlist.
What are you picking up during the Barnes & Noble Criterion sale? Let me know which of these films you own, which ones you're considering, and whether you agree with my recommendations.
Follow The Physical Cut on Instagram: @thephysicalcutpod
Visit KRPodLab.com and leave a voicemail or share your thoughts on the episode.
00:00:00 --> 00:00:01 Because I know some of you hated my previous
00:00:01 --> 00:00:05 10 titles so much. I got 10 more for you. Let's
00:00:05 --> 00:00:26 do this. Welcome back to the Physical Cut where
00:00:26 --> 00:00:28 films that be on the stream. My name is Carlos
00:00:28 --> 00:00:31 and today I got 10 more Criterion titles that
00:00:31 --> 00:00:34 I highly recommend. Especially if you're starting
00:00:34 --> 00:00:36 off your collection. These are some of my favorites.
00:00:36 --> 00:00:40 We got stuff from 1930s all the way up to I think
00:00:40 --> 00:00:42 mid 90s. I'm not gonna lie. I don't think I went
00:00:42 --> 00:00:46 up to 2000. And this one I might surprise myself
00:00:46 --> 00:00:49 because I selected these titles. in the middle
00:00:49 --> 00:00:51 of the night. And I totally forgot what I have
00:00:51 --> 00:00:53 in my hand right now. So we are going to go through
00:00:53 --> 00:00:56 these one by one. Again, these are my recommendations.
00:00:56 --> 00:00:58 Respect them. You don't have to like them. Not
00:00:58 --> 00:01:00 everything has to be Citizen Kane. If you own
00:01:00 --> 00:01:02 Citizen Kane and you love it, great. But these
00:01:02 --> 00:01:05 are titles that are mostly overlooked by collectors.
00:01:06 --> 00:01:08 But let's do this. Let's see what we got. First
00:01:08 --> 00:01:10 of all, I want to start with one of my, I would
00:01:10 --> 00:01:14 say, autumn favorite. All That Heavens Allows.
00:01:14 --> 00:01:19 This is from 1955. I know some of you, if you're
00:01:19 --> 00:01:20 already a big Criterion collector, you probably
00:01:20 --> 00:01:24 own this one already. This is by Douglas Sirk.
00:01:24 --> 00:01:28 This is a beautiful, beautiful atmospheric film.
00:01:28 --> 00:01:31 A perfect film to start November with. The autumn
00:01:31 --> 00:01:34 foliage, the changing of the seasons, the beautiful
00:01:34 --> 00:01:36 cinematography, and the transition into winter
00:01:36 --> 00:01:40 in this film. I honestly, I cannot recommend
00:01:40 --> 00:01:43 this enough. Sirk creates... something that almost
00:01:43 --> 00:01:46 feels like a painting i know a lot of you love
00:01:46 --> 00:01:49 talking about how barry lyndon looks like a painting
00:01:49 --> 00:01:52 this film looks like a painting but underneath
00:01:52 --> 00:01:55 all that beauty is a heartbreaking story about
00:01:55 --> 00:01:59 love loneliness and society's expectations so
00:01:59 --> 00:02:02 again this one i highly recommend all that heaven
00:02:02 --> 00:02:05 allows then we're gonna be moving on to john
00:02:05 --> 00:02:10 waters Hairspray 1988. This one is a recent release.
00:02:10 --> 00:02:15 If you heard my previous video on the criterion
00:02:15 --> 00:02:18 recommendations that I did in July, this one
00:02:18 --> 00:02:21 I mentioned towards the end, I didn't recommend
00:02:21 --> 00:02:23 it because I had not seen the transfer yet, but
00:02:23 --> 00:02:26 I did. And it looks beautiful guys. Honestly,
00:02:26 --> 00:02:29 it was done justice. This film just looks beautiful
00:02:29 --> 00:02:32 on 4k. I love John Waters, like I said. So this
00:02:32 --> 00:02:35 one is an easy recommendation for me. It's funny.
00:02:35 --> 00:02:37 It's outrageous, energetic, and apologetically
00:02:37 --> 00:02:41 itself. But beyond the camp, the music, there's
00:02:41 --> 00:02:45 a wonderful story about acceptance, challenging
00:02:45 --> 00:02:49 social expectations, which we kind of could use
00:02:49 --> 00:02:50 a little bit today. And I don't want to make
00:02:50 --> 00:02:53 this political, but this film surely is. And
00:02:53 --> 00:02:55 standing up against segregation, which again,
00:02:55 --> 00:02:57 something we could probably stand up to today.
00:02:57 --> 00:03:03 It's happening, guys. Serious commentary. Incredibly
00:03:03 --> 00:03:05 entertaining. And we see that throughout all
00:03:05 --> 00:03:09 his films. If you saw Desperate Living, that's
00:03:09 --> 00:03:11 also one that I recommend. It didn't make this
00:03:11 --> 00:03:13 list. Not because it's bad. It's just because
00:03:13 --> 00:03:15 I don't think it's for everyone. I feel like
00:03:15 --> 00:03:19 Hairspray might be something more audiences will
00:03:19 --> 00:03:21 love. And again, it just looks beautiful on 4K.
00:03:21 --> 00:03:24 Now, another one that I do love playing throughout
00:03:24 --> 00:03:28 November. And I know, what is it? November is
00:03:28 --> 00:03:32 coming up. is Blast of Silence. This is a great,
00:03:32 --> 00:03:35 a great Christmas movie. I know it sounds weird.
00:03:35 --> 00:03:38 A mob movie being a Christmas movie. We've heard
00:03:38 --> 00:03:43 worse. My Novar Nor -Nor -Vember. Nor -Vember.
00:03:43 --> 00:03:45 Sorry, I should have said there's a lot of things
00:03:45 --> 00:03:47 happening. You got Joktober, you have North Shave
00:03:47 --> 00:03:51 November, and you got NaNoWriNo. So there's a
00:03:51 --> 00:03:53 lot of things happening in November, including
00:03:53 --> 00:03:56 the Criterion sale, of course. But my Nor -Vember
00:03:56 --> 00:03:59 recommendation. Obviously has to be Blast of
00:03:59 --> 00:04:01 Silence. A lonely hitman navigating New York
00:04:01 --> 00:04:04 City during this Christmas season. Perfection.
00:04:04 --> 00:04:07 There's something wonderfully bleak about watching
00:04:07 --> 00:04:11 a film this dark against the backdrop of the
00:04:11 --> 00:04:13 holidays. I know we have Eyes Wide Shut. I guess
00:04:13 --> 00:04:16 that's the second dark movie that I could probably
00:04:16 --> 00:04:20 recommend that does have a Christmas background.
00:04:20 --> 00:04:23 But if you're looking for noir to complement
00:04:23 --> 00:04:26 the upcoming holidays. This is an excellent choice.
00:04:27 --> 00:04:31 I do love this. I do love the graphic novel that
00:04:31 --> 00:04:35 comes inside of this release is the details on
00:04:35 --> 00:04:37 this one. I don't see the details on this one.
00:04:37 --> 00:04:40 This is just a Blu -ray, but nevertheless, it
00:04:40 --> 00:04:43 does look beautiful. I think a 4K of this should
00:04:43 --> 00:04:46 be up in the horizon sometime soon because it
00:04:46 --> 00:04:49 does need a 4K. I think this black and white
00:04:49 --> 00:04:52 film will look great on 4K. Now this one is a
00:04:52 --> 00:04:56 little more. I wouldn't say obscure, but probably
00:04:56 --> 00:04:59 less known in the Criterion Collection of wireless
00:04:59 --> 00:05:03 infants. This film, to be honest, a film that
00:05:03 --> 00:05:07 unfortunately hasn't lost its relevance. I don't
00:05:07 --> 00:05:09 know if that's a good thing or a bad thing. Its
00:05:09 --> 00:05:12 portrayal of intolerance, prejudice, and the
00:05:12 --> 00:05:15 consequences of hatred still resonate today.
00:05:16 --> 00:05:19 Just like Hairspray. What makes it especially
00:05:19 --> 00:05:24 powerful is how Mel, the director, tells a story
00:05:24 --> 00:05:27 through the innocence of childhood is devastating
00:05:27 --> 00:05:31 without ever feeling manipulative. It is a beautiful
00:05:31 --> 00:05:34 story about friendships. I highly recommend this
00:05:34 --> 00:05:37 film. This is from 1987. And I forgot to mention
00:05:37 --> 00:05:40 that Blast of Silence is a 1961. That one was
00:05:40 --> 00:05:42 directed by Ellen Barron. So I do apologize for
00:05:42 --> 00:05:44 that. I was trying to go a little bit too quick
00:05:44 --> 00:05:46 because sometimes these recommendation videos,
00:05:46 --> 00:05:48 I know you guys just want to see where you're
00:05:48 --> 00:05:50 going to be spending your money on. And this
00:05:50 --> 00:05:52 one is one that I highly recommend you spend
00:05:52 --> 00:05:54 your money on. especially for 20 bucks. And hell,
00:05:54 --> 00:05:57 even if you get it used for $10, I mean, I don't
00:05:57 --> 00:06:00 care. Just buy it. Just buy this beautiful film.
00:06:00 --> 00:06:03 Trust me, you're going to love it. And towards
00:06:03 --> 00:06:04 the end, if you don't shed a tear, you're probably
00:06:04 --> 00:06:07 on the wrong side. Now, this next one is probably
00:06:07 --> 00:06:11 by one of my favorite Spanish directors or Mexican.
00:06:11 --> 00:06:13 You can call them whatever you want. It's Luis
00:06:13 --> 00:06:20 Buñuel. This one is Belle du Jour, 1967. I know
00:06:20 --> 00:06:22 a lot of you know this film. This film is...
00:06:23 --> 00:06:28 Probably one of the most provocative, without
00:06:28 --> 00:06:31 being solo, if you know what I mean, that the
00:06:31 --> 00:06:35 Criterion Collection has. And this film, it is
00:06:35 --> 00:06:39 funny. It is sexy. What can I say? Benoit really
00:06:39 --> 00:06:43 does take, I would say conventional. He takes
00:06:43 --> 00:06:46 a conventional bourgeoisie marriage and just
00:06:46 --> 00:06:49 turns it into something surreal, provocative,
00:06:49 --> 00:06:52 and psychologically fascinating. It's a film
00:06:52 --> 00:06:56 about fantasy. We do. I think the only thing
00:06:56 --> 00:06:57 that puts me a little bit out of the film is
00:06:57 --> 00:07:00 all the fantasies in and out. Sometimes like
00:07:00 --> 00:07:02 if you're a little distracted, you're like, what
00:07:02 --> 00:07:04 the hell is going on? But that's Andy Buñuel
00:07:04 --> 00:07:07 film, really. It's a film about fantasy, desire,
00:07:07 --> 00:07:10 repression, and the distance between the life
00:07:10 --> 00:07:14 we present to the world and the one we keep ourselves.
00:07:14 --> 00:07:18 Now, the turn that this film takes from, again,
00:07:18 --> 00:07:20 it's just the beauty of this film, to be honest.
00:07:20 --> 00:07:24 This film is such. a beauty in itself if you
00:07:24 --> 00:07:28 love bunuel this is probably something i wouldn't
00:07:28 --> 00:07:31 say way out there from what he's done before
00:07:31 --> 00:07:37 but it is pretty it is pretty risque he does
00:07:37 --> 00:07:39 do a lot of risque things if you love bunuel
00:07:39 --> 00:07:41 you've probably seen a lot of stuff that he's
00:07:41 --> 00:07:44 done that are pretty risque but i think this
00:07:44 --> 00:07:48 one is probably one of his best films I would
00:07:48 --> 00:07:50 love to do an episode on Buñuel. So if anybody
00:07:50 --> 00:07:53 out there knows more about Buñuel than I do,
00:07:53 --> 00:07:55 because my knowledge is, as much as I love him,
00:07:55 --> 00:07:58 it's very limited to the films that I love. So
00:07:58 --> 00:08:00 if anybody wants to join me on a special episode
00:08:00 --> 00:08:03 on Buñuel, please hit me up. Now talking about
00:08:03 --> 00:08:09 sexy films, this one is probably one of the sexiest
00:08:09 --> 00:08:12 male performance you'll see in your lifetime.
00:08:12 --> 00:08:15 And I am talking about Purple Noon by Rene Clement.
00:08:16 --> 00:08:19 I believe the title in French is playing Soleil.
00:08:19 --> 00:08:23 I don't know. My French is, it lets me down a
00:08:23 --> 00:08:25 lot. This film, let's talk about Alain Delon.
00:08:25 --> 00:08:28 Alain Delon is such a beautiful, I mean, we don't,
00:08:28 --> 00:08:30 they don't come like this anymore. Maybe, maybe
00:08:30 --> 00:08:34 it is Alba and we don't have actors that look
00:08:34 --> 00:08:36 this good at what they do. To be honest, Les
00:08:36 --> 00:08:38 Samurai, I really recommend Les Samurai as well,
00:08:38 --> 00:08:40 but I kind of wanted to give something different.
00:08:41 --> 00:08:43 Let's talk about Alain Delon for just a second.
00:08:44 --> 00:08:47 is probably arguably one of the sexiest and most
00:08:47 --> 00:08:50 effortlessly magnetic male performances in cinema.
00:08:51 --> 00:08:53 And you can tell in this film, like you can really
00:08:53 --> 00:08:55 tell in this film, there's an incredible combination
00:08:55 --> 00:08:58 of charm, confidence, beauty, and menace. The
00:08:58 --> 00:09:00 same thing we see in Belle du Jour. Like, honestly,
00:09:00 --> 00:09:04 you kind of see that in both films. And his portrayal
00:09:04 --> 00:09:08 of Tom Ripley, let's be honest, higher, higher
00:09:08 --> 00:09:12 standard than Matt Damon's. Maybe that might
00:09:12 --> 00:09:13 be controversial, but if you haven't seen this
00:09:13 --> 00:09:16 film and you think the talented Mr. Ripley is
00:09:16 --> 00:09:19 good, wait till you see this one. Trust me, you're
00:09:19 --> 00:09:22 going to love it. Clement also creates a gorgeous,
00:09:23 --> 00:09:26 gorgeous Mediterranean atmosphere that makes
00:09:26 --> 00:09:31 the film even more intoxicating. Honestly, the
00:09:31 --> 00:09:34 cinematography and the colors, the beauty in
00:09:34 --> 00:09:36 the films just compare so well to Eric Romer.
00:09:37 --> 00:09:39 If you're an Eric Romer fan, you're going to
00:09:39 --> 00:09:41 love this film. Obviously, it doesn't have the...
00:09:41 --> 00:09:44 humanity that I would say that Eric puts in his
00:09:44 --> 00:09:48 characters, but it is highly entertaining. Honestly,
00:09:48 --> 00:09:50 I really love this film. I looked for it for
00:09:50 --> 00:09:54 a while and in one of the sales, I was able to
00:09:54 --> 00:09:57 find it because this film was always sold out.
00:09:57 --> 00:09:59 Every time I went to Barnes & Noble, this film
00:09:59 --> 00:10:01 was always sold out and I finally found it at
00:10:01 --> 00:10:04 Barnes & Noble and there was only one copy left
00:10:04 --> 00:10:06 and I think somebody had ordered it and they
00:10:06 --> 00:10:08 forgot to pick it up. And they were putting it
00:10:08 --> 00:10:11 back on the floor and I snatched it. So again,
00:10:11 --> 00:10:13 if you can get purple noon, I highly recommend
00:10:13 --> 00:10:17 this one. Now this one, I did do a Reddit survey
00:10:17 --> 00:10:23 and that is blow up. Blow up is from 1966 by
00:10:23 --> 00:10:28 Michael Angelo Antonini. Honestly, I just love
00:10:28 --> 00:10:31 this film for me. And this again might be controversial
00:10:31 --> 00:10:33 and I'm probably going to lose a few listeners
00:10:33 --> 00:10:37 after I make this comment way better. in my personal
00:10:37 --> 00:10:41 opinion than blowout but the reason that i like
00:10:41 --> 00:10:44 this one is because i do love the costuming in
00:10:44 --> 00:10:47 this one this one is such a beautiful addition
00:10:47 --> 00:10:50 to be honest it comes with a thick booklet to
00:10:50 --> 00:10:53 be specific it's a digipak it has a gorgeous
00:10:53 --> 00:10:56 book i'm going to be dropping a reel on this
00:10:56 --> 00:10:58 later on so you guys can go ahead and check that
00:10:58 --> 00:11:01 out but if you don't own blow up and you love
00:11:01 --> 00:11:04 blowout i would say that do a side -to -side
00:11:04 --> 00:11:07 comparison I took some notes here, but I get
00:11:07 --> 00:11:10 too excited about Blowout that I usually never
00:11:10 --> 00:11:13 follow my notes when I'm talking. But it's one
00:11:13 --> 00:11:15 of those films that stays with you just because
00:11:15 --> 00:11:19 it refuses to give you all the answers. And sometimes
00:11:19 --> 00:11:21 I like films like that. Not always, but when
00:11:21 --> 00:11:24 they get it right, they get it right. Antonini
00:11:24 --> 00:11:28 really explores photography, obsession, perception,
00:11:28 --> 00:11:32 and the uncertainty of what we're actually seeing.
00:11:32 --> 00:11:35 Same way that Blowout does with Hearing. and
00:11:35 --> 00:11:37 audio which again that's probably the best thing
00:11:37 --> 00:11:40 that blowout does and the sound design in that
00:11:40 --> 00:11:43 film is just outstanding especially with that
00:11:43 --> 00:11:47 4k it sounds even better it's really just a fascinating
00:11:47 --> 00:11:51 snapshot of 1960s london which i love and a film
00:11:51 --> 00:11:54 that invites repeat viewings and just because
00:11:54 --> 00:11:57 of the beauty of the film to be honest vanessa
00:11:57 --> 00:12:00 redgrave really gives such a beautiful performance
00:12:00 --> 00:12:02 in this film she's still one of the best let's
00:12:02 --> 00:12:06 be honest now These next three films, I'm going
00:12:06 --> 00:12:10 to recommend them one by one, but they're a trilogy
00:12:10 --> 00:12:12 for me. It's not really a trilogy. It's just
00:12:12 --> 00:12:16 the way that I recommend them to me. And these
00:12:16 --> 00:12:20 are Ernst Lubitsch, our homie Ernst. I have three
00:12:20 --> 00:12:22 films here that I highly recommend, and you probably
00:12:22 --> 00:12:26 heard me talk about them a few times now. One
00:12:26 --> 00:12:30 of them is Designed for Living, or what I like
00:12:30 --> 00:12:32 to call The Truffle Movie. It's not really a
00:12:32 --> 00:12:35 truffle, but... It does give that vibe. It's
00:12:35 --> 00:12:38 probably one of the most daring Lubitsch films
00:12:38 --> 00:12:40 in the collection. Its approach to relationship,
00:12:41 --> 00:12:46 romance, and unconventional arrangements feels
00:12:46 --> 00:12:49 surprisingly modern. Another example of why Lubitsch
00:12:49 --> 00:12:54 was far ahead of his time. This is from 1930s,
00:12:54 --> 00:12:57 like 1933 to be exact. The fact that this is,
00:12:57 --> 00:13:00 I think that's when near the time they started
00:13:00 --> 00:13:05 making films in. was sound the talkies back in
00:13:05 --> 00:13:08 the day the fact that he took that risk at that
00:13:08 --> 00:13:11 time if you love a good comedy especially if
00:13:11 --> 00:13:14 you love that what you will call it a mismatch
00:13:14 --> 00:13:17 and in and out of love in and out of relationship
00:13:17 --> 00:13:20 kind of stuff this is the best film to watch
00:13:20 --> 00:13:22 it's not a necessarily a noir but it's black
00:13:22 --> 00:13:25 and white who cares just put it up in november
00:13:25 --> 00:13:29 now this other one i picked up during the July
00:13:29 --> 00:13:30 sale. I thought I wasn't going to like it, but
00:13:30 --> 00:13:33 I ended up loving this film. That is Trouble
00:13:33 --> 00:13:36 in Paradise. This is from 1932. He really just
00:13:36 --> 00:13:38 cranked them out, did he? He just cranked them
00:13:38 --> 00:13:43 out one right after the other. This film is hilarious.
00:13:43 --> 00:13:46 It does compare a little bit to Neil Simon, whom
00:13:47 --> 00:13:50 I love. I love Neil Simon and Billy Wilder. It
00:13:50 --> 00:13:59 has that great to just see. It reminds me a little
00:13:59 --> 00:14:01 bit also of His Girl Friday, which I also highly
00:14:01 --> 00:14:05 recommend. But this one, Lubitsch at his most
00:14:05 --> 00:14:09 elegant. I love how effortlessly he blends comedy,
00:14:09 --> 00:14:12 the romance, the deception, the sophistication.
00:14:13 --> 00:14:15 It's one of those films that remind you that
00:14:15 --> 00:14:19 great filmmaking doesn't need to be loud to be
00:14:19 --> 00:14:21 brilliant. Now, the story is very simple. It's
00:14:21 --> 00:14:24 just two con people that kind of just fall in
00:14:24 --> 00:14:27 love. But I don't want to give too much into
00:14:27 --> 00:14:29 it because then it's just going to be a spoil.
00:14:30 --> 00:14:32 So go ahead, add this one to your list. Honestly,
00:14:32 --> 00:14:35 add the whole three Ernst that I'm going to be
00:14:35 --> 00:14:38 recommending because one is funnier than the
00:14:38 --> 00:14:40 other. Trust me. Now, our final recommendation,
00:14:40 --> 00:14:43 and again, part of my so -called trilogy of Ernst
00:14:43 --> 00:14:47 is To Be or Not To Be, or what I like to call
00:14:47 --> 00:14:52 what kind of, I would say, inspired Mel Brooks,
00:14:52 --> 00:14:54 the producers. And if you've seen the producers
00:14:54 --> 00:14:57 and you see this, you're going to know what I
00:14:57 --> 00:15:00 mean. This one's from 1942. So basically when
00:15:00 --> 00:15:03 the war was basically ending, I would say. This
00:15:03 --> 00:15:05 is not a history podcast. I'm a political science
00:15:05 --> 00:15:08 major, but I was always bad in history. This
00:15:08 --> 00:15:11 one is probably another one that feels a little
00:15:11 --> 00:15:15 bit accurate today. It feels very, I don't know.
00:15:15 --> 00:15:18 It's funny as hell. Let me just say that. It's
00:15:18 --> 00:15:20 funny as hell. It's one of those films. One of
00:15:20 --> 00:15:22 the reasons I love this film so much is because,
00:15:22 --> 00:15:25 again, it connects a lot of Mel Brooks' style
00:15:25 --> 00:15:28 of comedy. You can see the DNA of what Brooks
00:15:28 --> 00:15:32 would later do in his own version. Using absurdity,
00:15:32 --> 00:15:34 theatricality, because the producers at the end
00:15:34 --> 00:15:37 of the day became a Broadway show, a Tony Award
00:15:37 --> 00:15:40 winning Broadway show, and sharp satire to tackle
00:15:40 --> 00:15:44 something as horrific as Nazi Germany. It's a
00:15:44 --> 00:15:47 remarkable balanced act and little bitch. really
00:15:47 --> 00:15:50 pulls it off brilliantly this is probably one
00:15:50 --> 00:15:52 of my favorite films in the criterion collection
00:15:52 --> 00:15:55 also because i like films that feel like a play
00:15:55 --> 00:15:58 i don't want to go back to mother mary but i
00:15:58 --> 00:16:00 didn't necessarily love it but it felt like a
00:16:00 --> 00:16:02 play which i kind of did enjoy i do recommend
00:16:02 --> 00:16:05 this one and the fact that this was being done
00:16:05 --> 00:16:11 during a time of war just look up the story of
00:16:11 --> 00:16:13 what the film is about if i'm doing the reel
00:16:13 --> 00:16:15 the camera does go in and out of focus so i really
00:16:16 --> 00:16:17 Don't know if you guys can go ahead and read
00:16:17 --> 00:16:19 it, but they're just kind of trying to murder
00:16:19 --> 00:16:24 Hitler by doing a production, a play, and having
00:16:24 --> 00:16:27 him as a guest. Honestly, I would also compare
00:16:27 --> 00:16:31 the inspiration of not just the producers, but
00:16:31 --> 00:16:36 also Inglorious Bastards to this film. They're
00:16:36 --> 00:16:39 trying to catch Hitler in a theater, but I think
00:16:39 --> 00:16:42 this does it way better. Funnier. Funnier. Not
00:16:42 --> 00:16:45 better necessarily, but funnier. than in glorious
00:16:45 --> 00:16:47 bastards do so go ahead get this a try especially
00:16:47 --> 00:16:50 if you like something from that time war because
00:16:50 --> 00:16:52 it does have a little bit of war but i don't
00:16:52 --> 00:16:56 say it's like an entire war film now those are
00:16:56 --> 00:16:59 the 10 that i recommend just going through them
00:16:59 --> 00:17:03 one more time that is to be or not to be trouble
00:17:04 --> 00:17:07 in paradise designed for living michael angelo's
00:17:07 --> 00:17:10 antonini's blow up purple noon belle du jour
00:17:10 --> 00:17:14 of wallace infants a christmas classic Blast
00:17:14 --> 00:17:16 of Silence. Trust me, this is going to be a Christmas
00:17:16 --> 00:17:19 classic for you guys. Trust me. John Waters,
00:17:19 --> 00:17:22 Hairspray. And one of the most beautiful films
00:17:22 --> 00:17:25 you'll probably ever see with fall and winter
00:17:25 --> 00:17:29 as its background, All That Heaven Allows. Now
00:17:29 --> 00:17:31 go ahead, pick those up. If you like them, let
00:17:31 --> 00:17:34 me know. I highly recommend these. Whether you
00:17:34 --> 00:17:37 like my recommendations or not, you got to say
00:17:37 --> 00:17:39 they're not the same as everyone else's. So just
00:17:39 --> 00:17:41 go ahead and give those a chance. And if you
00:17:41 --> 00:17:43 are seeing the reel and you're still wondering,
00:17:44 --> 00:17:46 If I'm recommending the Kubrick box set, I do
00:17:46 --> 00:17:49 recommend it. But to be fair, the only reason
00:17:49 --> 00:17:52 I recommend this is if you are a Kubrick fan.
00:17:53 --> 00:17:55 If you are not, I do recommend that you start
00:17:55 --> 00:17:58 out with some of his other films that are already
00:17:58 --> 00:18:00 in the Criterion Collection. Dr. Strangelove.
00:18:01 --> 00:18:03 You can start with that one. You can start with
00:18:03 --> 00:18:05 Barry Lyndon, which is the one that everybody
00:18:05 --> 00:18:08 loves. But honestly, it's not for everybody.
00:18:08 --> 00:18:10 If you're going to spend almost $300 on this
00:18:10 --> 00:18:14 during the sale. I'd rather you spend $300 on
00:18:14 --> 00:18:17 individual titles to build your collection. I'm
00:18:17 --> 00:18:19 going to be talking about the box set later on.
00:18:19 --> 00:18:22 I know some people hated it. I personally don't
00:18:22 --> 00:18:25 hate it. There's things that kind of bother me
00:18:25 --> 00:18:28 about it. And it's the fitting of the disc. But
00:18:28 --> 00:18:30 again, I'll get into details later on. Not right
00:18:30 --> 00:18:33 now. But I just recommend it only if you're a
00:18:33 --> 00:18:35 Kubrick fan. It's a beautiful box set though.
00:18:35 --> 00:18:38 It is a beautiful box set. It is well done. It
00:18:38 --> 00:18:41 has so much. And I want to go through all of
00:18:41 --> 00:18:45 that to be able to give a proper review from
00:18:45 --> 00:18:48 my point of view, obviously, as a Kubrick fan.
00:18:49 --> 00:18:52 So again, if you want to explore Kubrick, I swear
00:18:52 --> 00:18:54 I showed this in the collection. Barry Lyndon,
00:18:54 --> 00:18:57 Dr. Strangelove. There's a lot of films in the
00:18:57 --> 00:18:59 collection that you can explore. And those are
00:18:59 --> 00:19:01 probably more obscure. They're not your Clockwork
00:19:01 --> 00:19:04 Orange or your 2001 Space Odyssey. And you got
00:19:04 --> 00:19:07 Path of Glory. Go grab Path of Glory. That film
00:19:07 --> 00:19:10 is so fucking good. You're going to love that
00:19:10 --> 00:19:12 film as well. So go ahead, start with those.
00:19:13 --> 00:19:15 Start with the single titles. And if you feel
00:19:15 --> 00:19:17 like you want to buy the box set, then go ahead
00:19:17 --> 00:19:19 and return them and just get the credit and spend
00:19:19 --> 00:19:22 the money on the big box. That has been everything
00:19:22 --> 00:19:24 for today. Again, these have been my 10 criterion
00:19:24 --> 00:19:27 recommendations that I highly recommend for this
00:19:27 --> 00:19:30 November sale. So again, just go ahead, give
00:19:30 --> 00:19:31 them a try. Let me know what you think. You can
00:19:31 --> 00:19:34 find me at the Physical Cut Pod. on instagram
00:19:34 --> 00:19:38 and you can also check out krpotlab .com you
00:19:38 --> 00:19:39 can leave me a voicemail there you can just leave
00:19:39 --> 00:19:43 me a comment under the thumbnail for this episode
00:19:43 --> 00:19:45 on instagram and let me know if you picked one
00:19:45 --> 00:19:49 of these and if you liked any of them and if
00:19:49 --> 00:19:50 you didn't like them well i can't refund you
00:19:50 --> 00:19:53 but i'm pretty sure barnes and noble can thank
00:19:53 --> 00:19:54 you so much for listening today to the physical
00:19:54 --> 00:19:56 cut where films that be on the stream and i will
00:19:56 --> 00:19:57 see you guys next time