 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Oct 1, 2023 - 10:17 AM
|
|
|
|
By: |
Mike Esssss
(Member)
|
That's what people (i.e. mostly critics of the film and the director) say whenever the Criterion connection is brought up, that it was just a cynical cash grab, and nothing else. Sorry, but that's not accurate at all. Bay has long since been considered an action auteur, and THE ROCK a seminal film in his body of work, and at a particular genre point in time, that is widely regarded and analyzed in both academia and cineaste circles. That was just as important, if not more, than the potential sale numbers.
I am not being cynical or criticizing the film or the director by suggesting that, at the height of the DVD market, Criterion made a smart business decision by trading on its relationship with Disney to help its bottom line. It’s a popular four quadrant action movie that checked a few other specialty market boxes - auteur director, good critical reception, Oscar-winning cast. There’s nothing wrong with any of that!
And, we seem to agree on that. But that wasn’t your original point, which was that Criterion’s release of the title is, itself, evidence that the movie is a “masterpiece” (which happens to align with your personal opinion). I disagree for the reasons stated, which, again, is not a critique of the movie. If nothing else, I’d only need point to their release of ARMAGEDDON.
I’d be sincerely curious to know where it’s been analyzed in academia. Anywhere we can access to read?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 1, 2023 - 10:55 AM
|
|
|
|
By: |
Thor
(Member)
|
I remember several articles/semester theses from fellow students, and later my OWN students, when I was at uni in the mid 2000s, using SPEED and THE ROCK as analysis objects consistently (SPEED, especially, since Kristin Thompson had written about it, but also THE ROCK). Later, some would touch on it elsewhere, like Anders Horvei's master thesis in 2012: https://brage.inn.no/inn-xmlui/handle/11250/145243 . In later years, there has been, say, the Lutz Kopenick Michael Bay book on University of Illinois Press from 2018.
Regardless, I'm not denying that Criterion can benefit financially from releasing a few mainstream movies now and then (good for them!), but these mainstream movies are usually also by auteurs in one form or another -- they're not just random, run-of-the-mill, mainstream movies, chosen nilly-willy to grab a few bucks. Yes, it's a business, but it's also a label that CURATES and MAKES SPECIAL CHOICES, whether it's arthouse films or mainstream Hollywood films. Or is the argument here that Criterion is just like any odd mainstream label, and that it has no profile, no particular curated content whatsoever? It's all just a random collection of titles with no thought process behind it?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 1, 2023 - 11:51 AM
|
|
|
|
By: |
Thor
(Member)
|
OK, fair enough. But I'm afraid we disagree on the merits of Criterion, both then and now. I think they're still the shining beacon of physical film releases -- treating niche films, arthouse films, iconic films of historical importance and mainstream films (with a pronounced voice) with equal respect. To find both Antonioni and Bay in the same collection, with the same amount of attention devoted to packaging and special features (more or less), is really a celebration of the artform itself that I can't help but applaud. I find it strange for a film buff to be "cynical" about Criterion, at least their main objective and sense of quality.
Yes, there are obviously many other great boutique labels too, like Arrow, Artificial Eye etc. etc. I think it's cause for celebration that a label like Criterion releases films by action auteurs like Michael Bay, or John Woo, or Verhoeven or whoever, not something that must immediately get debunked by a constant "yes, but, but, but..." just because one doesn't like the film, the director etc.. It's something I find rather annoying at this point.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 2, 2023 - 6:56 PM
|
|
|
|
By: |
Amer Zahid
(Member)
|
Nick Glennie-Smith, Hans Zimmer and Harry Gregson-Williams
Label: Intrada Special Collection Volume ISC 491
Film Date: 1996
Album Date: 2023
Time: 134:01
Tracks: 35
Knockout 90’s action score gets expanded premie
Knockout '90s action score gets expanded premiere! One of the higher request expansions we have received over the years has finally made it across the finish line! Michael Bay directs, Don Simpson and Jerry Bruckheimer produce for Hollywood Pictures. Sean Connery heads the cast, with Nicolas Cage, Ed Harris, Michael Biehn, William Forsythe supporting. 1996 action classic was a smash box-office hit and dynamic, powerhouse scoring by Nick Glennie-Smith and Hans Zimmer with Harry Greyson-Williams getting in some musical licks was a major ingredient in the film’s success. Trend-setting score features pulsating rhythms to drive action forward, with chopping melodic motifs above that became musical staples in numerous subsequent action movie trailers for years. There is melancholy as well in select moments, but action is keynote. Elements of military heroism and terrorism meld as armed take-over of Alcatraz prison complex known as “The Rock” by rogue group of Marines. San Francisco is the target of deadly VX rockets unless financial demands are met. Navy SEALS infiltrate and counter-attack and dense, aggressive music keeps pace. Expanded 2-CD release, courtesy of Hollywood Pictures and Disney was assembled and produced by Stephane Humez with mastering by Maxime Marion. Intrada presentation features the complete score in film order plus a wealth of alternates and demos, providing an aural insight into the preparations of this scoring classic. Two hours and fifteen minutes of music that defined the '90s and onwards. Full cue assembly details, dramatic packaging designed by Kay Marshall and informative booklet notes by Kaya Savas complete this exciting 2-CD set. Nick Glennie-Smith, Hans Zimmer, Harry Greyson-Williams compose. Nick Glennie-Smith, Bruce Fowler, Don Harper share in conducting duties. Intrada Special Collection 2-CD set available while quantities and interest remain!
CD 1 THE SCORE
01. Opening–Naval Weapons Depot (8:07)
02. Baby Gas (2:28)
03. Romance I–Tour’s Over Bob (3:46)
04. Hummel Speech/Alcatraz Reopened (2:25)
05. Hummel’s Demands To Pentagon (1:21)
06. Possible Romantic Cue (0:46)
07. Mason Montage (1:26)
08. San Francisco Montage (1:17)
09. Interrogation–Quarter (1:28)
10. Window Crash/Fairmont (2:07)
11. Haircut/Escape: The Chase!! (8:21)
12. Goodspeed Tracks Jade (0:50)
13. Jade (1:58)
14. Blueprints (1:05)
15. Hummel/SEALs (7:14)
16. Mason Into Furnace/SEALs Tunnel–SEAL Attack (9:24)
17. Aftermath (0:51)
18. Bombs (3:43)
19. The Morgue (1:45)
20. Indiana Jones/Fight With Marines (6:17)
CD 1 Total Time: 66:49
CD 2 THE SCORE (continued)
01. Hostage/Goodspeed Captured (5:35)
02. Plasma Bomb Is Ready (0:52)
03. Hammer Head (6:02)
04. President’s Lament (1:59)
05. Mission’s Over/Final Attack/Finale (16:19)
06. Fort Walton, Kansas (1:39)
07. End Titles (Hummel / SEALs) (2:14)
THE EXTRAS
08. SEAL Attack (Alternate Segment) (1:34)
09. Fort Walton, Kansas (Alternate) (1:37)
10. Main Theme Idea (Nick’s Demo Sketch) (2:36)
11. Hummel Speech–Alcatraz Reopened (Demo Version) (2:24)
12. Haircut / Escape: The Chase!! (Demo Version 1) (3:37)
13. Haircut / Escape: The Chase!! (Demo Version 2) (8:04)
14. Haircut / Escape: The Chase!! (Demo Version 3) (8:16)
15. Naval Weapons Depot (Rock Mix) (4:17)
CD 2 Total Time: 67:12
https://store.intrada.com/s.nl/it.A/id.12880/.f?sc=13&category=-113
|
|
|
|
|
|
|
Ordered!!! 
|
|
|
|
|
|
I found the movie irritating, but the score is fun and diverting if a little overwrought. But it is for a Michael Bay movie so it did its job. Glad this is getting an expanded release.
|
|
|
|
|
|
Why so many alternates are missing ?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
