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The 10 Best Criterion Collection Releases of 2021

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The 10 Best Criterion Collection Releases of 2021

Every year, Criterion does a remarkable job of putting out tremendous physical copies of important classic and contemporary films, but 2021 has featured some especially fantastic releases from the company.

2021 saw Criterion putting out their first collection of 4K films, releasing films from studios like Netflix, Hulu, and A24, and out their stamp a wide and diverse lineup of films, from the Senegalese drama Mandabi to Amy Heckerling‘s 80s teen classic Fast Times at Ridgemont High. They’ve updated old releases like Ashes and Diamonds and Mona Lisa, and praised modern films like Beasts of No Nation and Love & Basketball.

2021 has been an embarrassment of riches for Criterion fans, and pretty much any title released this year is a winner. With Criterion knocking it out of the park again in 2021, let’s take a look at the ten best releases from Criterion this year.

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10. Uncut Gems

Having previously released Paul Thomas Anderson’s Punch-Drunk Love, Criterion once again proves that Adam Sandler deserves to be in the collection with their 4K release of Uncut Gems. It’s also always delightful to see Criterion deem modern films worthy of release in their set, especially one as frantic and nerve-wracking as this 2019 film from Josh and Benny Safdie. Criterion has put out a lot of titles with new collaborators in recent years, but this first A24 release also makes us hope that this is just the first of many releases on the way between the two independent cinema mammoths. More Adam Sandler in the Criterion Collection? This is how we win.

9. Melvin Van Peebles: Essential Films

Announced only a few weeks before the director’s death, Melvin Van Peebles: Essential Films explored the varied and always surprising career of the Black cinema innovator. Containing four of Van Peebles films, the Essential Film set showcases the diversity and experimentation that made Van Peebles an underrated auteur. Whether through creating the blaxploitation genre with Sweet Sweetback’s Baadasssss Song or adapting his own Tony Award-nominated Broadway musical Don’t Play Us Cheap, Melvin Van Peebles: Essential Films presents a director, writer, editor, composer, and actor who pushed not only himself as an artist, but transformed film as a whole.

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8. The Signifyin’ Works of Marlon Riggs

One of the benefits of the Criterion Collection is the company’s ability to showcase filmmakers who made a huge impact in film, but might not be as well-known as they should be. There might not be a better example of this in 2021 than with Criterion’s The Signifyin’ Works of Marlon Riggs collection, featuring seven films of Marlon Riggs, a gay Black director in the 80s and 90 who explored such topics as racism, the AIDS epidemic, and what being Black means. Riggs’ work is always engrossing, wholly unique, and it’s outstanding that his films finally have a presentation to showcase his impact on cinema.

7. Mirror

Criterion has always been Andrei Tarkovsky-friendly, having put out Andrei Rublev as one of their earliest DVD releases, and releasing some of his best works over the years. But Mirror, considered to be one of Tarkovsky’s most unique and influential works, finally became a part of the collection this year. This haunting and personal nonlinear film from one of Russia’s foremost directors is a challenge, even from the director of Stalker and Solaris, but has become one the most acclaimed films of Tarkovsky’s filmography. Complete with a new restoration, new documentaries, and interviews with Tarkovsky himself, it’s wonderful to have one of Tarkovsky’s greatest finally join the collection.

6. Bringing Up Baby

In recent years, Criterion has outdone themselves with classic Hollywood comedies, with releases like Holiday, His Girl Griday, and The Philadelphia Story. This year, Criterion put out possibly the most magnificent screwball comedy of all-time with Bringing Up Baby, the hilarious Howard Hawks starring Katharine Hepburn and Cary Grant, the wild journey of a paleontologist, a heiress, and a leopard. Bringing Up Baby has seen its fair share of physical releases over the years, but Criterion has released the definitive version, featuring new interviews, essays, and a scene-specific commentary, amongst many other special features.

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5. Man Push Cart

Ramin Bahrani’s string of 2000s film were compared to Italian Neorealism, Robert Bresson, and led Roger Ebert to call him “the new great American director.” This year saw the introduction of Bahrani’s first two films into the collection, but its his debut, Man Push Cart that made Bahrani an exciting talent to watch. Following a former Pakistani rock star who now works at a food cart in Manhattan, Man Push Cart was often shot spontaneously and with a ridiculously small budget. Bahrani’s sympathetic story of an immigrant fighting for is a compassionate tale that remains one of the most powerful independent films of the 2000s.

4. Original Cast Album: Company

Criterion is packed with excellent D.A Pennebaker documentaries like The War Room, Don’t Look Back, and Town Bloody Hall, so it only made sense that eventually his Broadway documentary Original Cast Album: Company would join the lineup. But after the death of Stephen Sondheim last month, this Criterion release felt even more prescient, as Pennebaker follows the recording of the cast album for Sondheim’s musical. The Criterion release even includes a new commentary by Sondheim, and arguably the best special feature of the year: the Documentary Now! episode “Cop-Op,” based on Company.

3. Memories of Murder

Bong Joon Ho finally entered the Criterion Collection last year with the release of his Academy Award-winning Parasite, and this year, Criterion continued to please the Bong Hive with the release of his 2003 South Korean classic Memories of Murder. Bong’s second feature film is a twisty, shocking murder mystery, led by Song Kang Ho as he tries to find a serial killer. All of Bong’s trademarks are already in place, as absurdity, darkness, and black humor combine to make a haunting work. With a new 4K restoration, a new commentary, and new interviews with Bong and Guillermo del Toro, this is a fantastic set for those new to the work of Bong, or old fans who know that this might just be Bong’s masterpiece.

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2. Citizen Kanecitizen-kane-criterion-cover

Orson Welles’ 1941 masterpiece was the first title Criterion ever put out in the 1980s, when the company was making LaserDiscs, so it makes sense that Citizen Kane return to the Collection for the first time in decades as part of the company’s first 4K releases. Criterion putting one of the greatest films of all-time in the collection is a no-brainer must buy, but Criterion’s 4-disc set is packed with just about everything any Kane fan could want, with three commentaries, documentaries, video essays, interviews, and even radio plays and a silent film made by Welles when he was a student. Simply put, Criterion has put out one of the most important films of all time and given it one of the best 4K releases of the year.

1. World of Wong Kar Wai

In recent years, Criterion has truly outdone themselves with massive retrospectives of some of the world’s finest filmmakers, be it through The Complete Films of Agnès Varda or the gigantic Ingmar Bergman’s Cinema. But after years of fans hoping for a collection of Wong Kar Wai’s films, the release of World of Wong Kar Wai was well worth the wait. Featuring seven of WKW’s films – including Chungking Express, which had been out-of-print from Criterion for years – the set’s origami-like design was almost as beautiful as the films themselves. WKW has long deserved a set that celebrates the Hong Kong director’s work, and Criterion more than did his work justice with World of Wong Kar Wai.


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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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