Jake VanDorn
2.4K posts
The extended cut of Mallrats might be the single greatest argument in favour of editing as a profession, that shit is genuinely unwatchable.
august@regularaugust
Never have i seen a “they needed an editor” critique that I agreed with. Go nuts and be totally self indulgent. Probably more interesting that way
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Mike & Nick & Nick & Alice - some of the most bottom of the barrel, reference-filled American humor I was never really a big fan of, so bounced off it pretty hard here, then made up for with some of the best HK-style shootouts in a contemporary American action film WTF🔥🕊️🤨
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@TheCensoredRock @SpecialOlympics @KamalaHarris They sucked dick after their first album. And that wasn't that great.
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I’ve convinced 2 people to watch this movie so far this week. makes me so happy to see people discovering its insanity 🔥🔥🔥🔥
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@kenmodeofficial @profoundlore I'm originally from Rochester, NY, so you know I'm OG KEN Mode!!!
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15 years ago today we released our 'Venerable' album via @profoundlore with vinyl by Init.
We quit our jobs and dedicated the next 5 years to touring full time in an attempt to reach as many ears as we could. If you got into us on this record cycle, speak up in the comments!
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Coming this Friday: a set of slashers in celebration of another Friday the 13th 🐈⬛ One will mark the brief return of an old VS favorite, and the other will introduce the only slasher likely to ever grace VSL—a strange and bloody affair never before available in English on disc. Be there at exactly 12:01PM ET this Friday, March 13th to uncover the mystery, exclusively at VinegarSyndrome.com! 🩸
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Coming to Blu-ray via Vestron Video Soon
The Stoned Age (1994)
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@Criterion @criterionchannl Stop fucking around and release it already!!!
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Evening viewing recommendation? On @criterionchannl, watch SLC PUNK! (1998) 💚
Fueled by an energetic star performance by Matthew Lillard, a classic punk soundtrack, and kinetic visual verve, this is a madcap story of one rebel’s search for a way to grow up without selling out.
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🚨BREAKING NEWS🚨
RoboCop 2
1990 / United States / Irvin Kershner
#riptomnoonan
⚡️☢️sound on☢️⚡️
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@psychotronica_ I feel awful for anyone who's never seen this absolute gem in Michael Winner's catalog.
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🚨MORNING DUMMY DEATH ALERT🚨
Scream for Help
1984 / United States / Michael Winner
#party #travel #futureplans
☀️💀💥🚗sound on💀💥🚗☀️
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I have just learned that dear friend, Reggie Bannister, the unlikely and well loved hero of the Phantasm franchise, has entered hospice care. A gofundme page has been set up on his behalf to help aid him and his loved ones through this time.
gofundme.com/f/support-regg…
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Indonesia
John Cazale was very weak with lung cancer when filming began, and for this reason, all of his scenes were filmed first. Michael Cimino knew from the start that Cazale was dying from cancer, but the studio did not. When they found out, they wanted to replace Cazale. When Meryl Streep learned of their intentions, she threatened to quit if they did. Cazale died in March 1978 shortly after filming was completed.
Robert De Niro was so anxious about the film's controversy that he did not attend the Oscars ceremony. He asked the Academy if he could sit out the show backstage, but when the Academy refused, De Niro stayed home in New York City.
The Deer Hunter (1978).
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@fillerinsideme @Serpotkine Can you share any additional info? Was it offically released?
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@Serpotkine The recently unearthed color version of his Noon Wine adaptation is top notch
Manhattan, NY 🇺🇸 English
Criterion, what’s fascinating — and frankly indefensible — is the silence. Not a single proper comment on why you released Eyes Wide Shut in an inferior version, when your entire brand has been built on doing the opposite.
For years you’ve sold collectors the promise: the best possible presentation, done properly, with the respect the film deserves. And yet here we are — no full-fat Dolby Vision experience, no cinema-grade treatment, just a compromised encode that feels like it’s been engineered to save money and hope nobody notices. As if collectors — the very people keeping physical media alive — won’t notice.
And that’s what makes it so offensive. It’s not merely a technical shortfall; it’s a tacit assumption that your audience is too oblivious to care. But we do care. This isn’t streaming ephemera. This is meant to be the definitive archival version of a major film — and you’ve delivered something that looks and feels like a TV-grade Dolby Vision compromise instead of the proper cinema-forward approach.
It’s also a staggeringly silly business move. This is exactly how markets destroy themselves: not with a bang, but with corner-cutting dressed up as “good enough.” You squeeze the margins, you shave the costs, you degrade the product — and in the process you corrode the one thing you can’t buy back: trust.
We’ve seen this film before. Vinyl in the late era did it — record plants cutting corners until pressings were practically flexi-discs. And now physical media risks the same fate: a mature market where the people making money decide they want to make more money, so they cheapen the very thing customers are paying a premium for. That’s not strategy. That’s self-sabotage.
So: shame on you, Criterion — not just for the compromised release, but for refusing to address it. Why did you do this? What was the motive? Cost-cutting? Pipeline convenience? A decision upstream you didn’t want to explain?
Because if you want a masterclass in how to lose your customer base and kill your market overnight, this is it.
@Criterion
@warnerbros
@mdbmhk
#EyesWideShut
@Dolby
@BrightSideHT
@LegalBeagleOK
@RalphAVSreviews
Jon Thompson@JohnnyFocal
Criterion, how have you managed to do this to Eyes Wide Shut? This should have been a definitive 4K release — a reference-grade presentation of one of Kubrick’s most precise, most controlled, most intentional films. Instead, what you’ve put out feels like a compromise dressed up as prestige: a substandard home-video version that flattens the image into something lifeless, electronic, and fundamentally wrong. A 10-bit, Dolby Vision minimal-enhancement, TV-version approach to a film that demands cinema-grade 12-bit full 4:2:2 treatment, this is not “good enough.” It isn’t even close. Compared to the DCP, the disc looks drained of depth — the texture, the nuance, the delicacy of shadow and colour separation are gone. The atmosphere that is the storytelling in this film has been thinned out until it feels generic. That isn’t “a different look.” That’s damage. And the most infuriating part is what this disrespects: the work. Larry Smith’s cinematography and grading choices weren’t accidental decoration — they’re the film’s bloodstream. Every subtle tonal decision, every controlled shift in warmth and cold, every balance between glamour and dread was crafted to serve Kubrick’s intent. When you blunt that, you don’t just change the picture — you change the film. I worked on this film. I know what it’s meant to be. And I’m appalled at how casually this release treats that legacy — not just Kubrick’s, but everyone who carried this to the finish line: Larry Smith DoP, Jan Harlan Producer, Joe Dunton cameras and the Deluxe lab teams, the entire chain of authorship. This isn’t “Criterion being Criterion.” This is the physical-media market slipping into a depressing new normal where “4K” becomes a badge, not a promise. And it’s the same rot everywhere: compromised masters, missing premium audio, releases pushed out that feel like the minimum viable product rather than a definitive archival edition. If physical media is supposed to be the last refuge of quality and permanence, why are we accepting versions that are visibly and audibly second-rate? Eyes Wide Shut is not a casual catalogue title. It’s a landmark. A final statement. A defining piece of cinema. If you’re going to put that “C” on the box, then act like it means something. Because right now, Criterion, this is not preservation. It’s vandalism. @Criterion @warnerbros @mdbmhk #EyesWideShut @Dolby @BrightSideHT @LegalBeagleOK @RalphAVSreviews
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