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Contact Us. Other Links. Useful Links. Connect With Us. NSFA has cleaned off the dirt and dust of the original 35mm elements but preserved the grainy textures. The Criterion Collection has provided a relatively light array of special features for this release. The commentary track by Gillian Armstrong is informative and engaging, heavy on production notes and behind-the-scenes anecdotes. Unfortunately, a new interview with Armstrong covers much of the same ground.
Davis, who, despite her friendship with Armstrong, has been openly dismissive of the film and her performance in it, appears in the extras only in an archival interview recorded in for French television. He marinates in the anger and boredom of the societies on both sides of the border—from the gaudy duplexes and shitty bureaucratic offices and cages of the agents to the shanty towns of the Mexicans. The Border is marvelously detailed. The script, by Deric Washburn, Walon Green, David Freeman, is peppered with lively obscenities and slights that communicate the debauched cynicism of this world.
The other agents are mostly cogs in a machine, a few of whom are capable of surprising acts of decency. Richardson eventually indulges a revenge formula. The climax, however, is a hauntingly pitiful gunfight, with sand blowing all through the air, seemingly threatening to swallow all these tarnished officers up into the ground. Colors in the daytime scenes are appropriately bright and harsh, while the night sequences are cloaked in lush and beautiful noir darkness. This is the only supplement on the disc, but it makes for a full meal.
J ordan Peele, like Christopher Nolan and M. In their films, one sees the due diligence to the point of envisioning a chalk board listing symbols and images, with themes circled and underlined somewhere near the center. Peele has a flair for high concepts, which, when given room to breathe, are capable of blossoming into startling metaphors. And carnivals are infamous for grift and vice, selling cheap trinkets that can often be linked to global slavery.
Peele stuffs his subtextual dressing into a siege scenario, failing to utilize a promising gimmick. The tethered are truly us, our doubles, and so the family at the heart of the film is chased by evil versions of themselves. Amazingly, Peele does nothing with an unsettling idea: that a family might be driven to kill itself, which might lead to the exorcism of demons.
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What if Adelaide had to fight evil Gabe, referred to as Abraham, and what if that action echoed something unacknowledged in their relationship? What if one of the parents was driven to kill one of their mirror children? Over the course of the narrative, the details of the tethered become increasingly absurd: They wear prison jumpsuits, which itself is a resonant idea, and carry golden scissors and don a single glove in a bid for movie-monster iconography though the glove is also probably another reference to Michael Jackson.
The only double with emotional stature is played by Moss, who manages to suggest, with a demented smile, the bitterness that this being is finally allowed to satiate. Get Out trivialized its racial themes with an embarrassing happy ending, and Us often runs in circles, with characters repetitively knocking monsters out and escaping so that no one we like has to die.
Which is to say that the film is the plutonic ideal of cinema in the think-piece era. This transfer boasts an image with rich, gorgeous, nearly viscous colors, especially the reds and the industrial grays.
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The soundtracks are equally impressive, with immersive and frighteningly multi-planed soundstages. Thunder crackles like a shotgun blast, while the careful treading of intruders almost subliminally prepares us for their attack. On a technical level, this disc offers a spotless presentation of a significant new Universal Pictures title.
An extended sequence allows us to see young Adelaide and her double as they dance in their respective worlds. In this longer version, we feel the awe and pain of each girl, and experience the wonder of the tethered as they witness this performance. In a matter of seconds, Peele taps into the emotional perversity of his premise, which he too often reduces to fodder for slasher-movie chases. Appearances, though, turn out to be quite deceiving. The sound is nothing beyond serviceable, but the dialogue is fairly clean and only hampered occasionally by the ambient background noise of chatter throughout the mall.
The commentary track with film historians Howard S. The only other extra included is an interview with a somnambulistic Gould, who fondly remembers working with Plummer, Susannah York, and director Daryl Duke, but offers little of substance beyond his random reminiscences.
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The film does no propagandizing for the Confederacy; in the interests of making the story—loosely based on an actual incident—that of an underdog, Keaton felt his hero had to be a Southerner. Still an iconic clown with an unsmiling sense of purpose, Buster the actor-filmmaker-stuntman makes the context work; in this singular larger canvas, he takes over the War Between the States. He then responds to the theft of his titular locomotive by Union raiders with a one-man campaign to recapture it that forms the entire second movement of The General. Running down the track toward the horizon, then by handcar, bicycle, and finally by newly appropriated locomotive, his chase is one of frenzied resourcefulness and experimentation.
Keaton was no purist, and he cited the film as his personal favorite. Awaking in a hospital to discover that a storm has lifted the walls and roof of the building away, Keaton and his bed are blown through the streets and into a stable. A spectacular refinement of an older Keaton gag, it caused his camera operator to look away in fear. Steamboat Bill, Jr. If Steamboat Bill, Jr. Audiences or lone viewers are more apt to open their mouths in astonishment than laughter, both at the audacious stuntwork and the odd, forbidding universe created by this placid, soon-to-decline Kansas vaudevillian.
Both films are presented here in new 4K restorations. Carl Davies composed the full orchestral scores that accompany both films on this disc.
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The latter is particularly engrossing for the way it captures reverb effects on the back channels, conveying an expansive sense of space. The accompanying booklet contains a few stills from the films but no essay—or much text at all, other than a chapter listing for both films and befuddlingly an abbreviated cast and crew list for Steamboat Bill, Jr. But as romantic comedies continue to teach us, part of the pleasure of coitus resides in interruptus.