{"id":29839,"date":"2022-09-15T13:52:17","date_gmt":"2022-09-15T17:52:17","guid":{"rendered":"https:\/\/mookseandgripes.com\/reviews\/?p=29839"},"modified":"2022-09-15T13:52:17","modified_gmt":"2022-09-15T17:52:17","slug":"the-criterion-collection-announces-december-2022-releases","status":"publish","type":"post","link":"https:\/\/mookseandgripes.com\/reviews\/2022\/09\/15\/the-criterion-collection-announces-december-2022-releases\/","title":{"rendered":"The Criterion Collection Announces December 2022 Releases"},"content":{"rendered":"
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After announcing their November slate, The Criterion Collection announced one more surprise title: Pixar’s WALL\u2022E! Today they announced their December 2022 slate, and it’s an uncharacteristically jam packed month! See them all below!<\/p>\n

The blurbs are from The Criterion Collection\u2019s website (so are the links)\u00a0\u2014 go there to see the details on the supplements.<\/p>\n

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November 22, 2022<\/strong><\/p>\n

\"\"WALL\u2022E <\/i><\/b>(2008) — 4K
\n<\/i><\/b>d. Andrew Stanton<\/p>\n

From The Criterion Collection<\/a>:<\/em><\/p>\n

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A high-water mark of digital animation, this prescient vision of a dystopian future is packaged within a dazzling pop-science-fiction love story, making for an urgent fable for our troubled millennium. It\u2019s the twenty-ninth century, and humans have long since fled Earth for outer space, leaving WALL\u2022E, the last functioning trash-compacting robot, to go about the work of cleaning up a pollution-choked planet, one piece of garbage at a time. When he meets EVE, a fellow automaton sent to detect plant life, the pair are launched on an intergalactic quest to return humanity to Earth. Transporting us simultaneously back to cinema\u2019s silent origins and forward light-years into the future, WALL\u2022E <\/i>is a soaring ode to the power of love and art to heal a dying world.<\/span><\/p>\n<\/div>\n<\/blockquote>\n

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December 6, 2022<\/strong><\/p>\n

\"\"Michael Haneke: Trilogy<\/strong>
\n<\/em>–The Seventh Continent<\/em> (1989)
\n–Benny’s Video<\/em> (1992)
\n–71 Fragments of a Chronology of Chance<\/em> (1994)<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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One of contemporary cinema\u2019s most original, provocative, and uncompromising filmmakers, Austrian auteur Michael Haneke dares viewers to stare into the void of modern existence. With his first three theatrical features, The Seventh Continent, Benny\u2019s Video, <\/em>and 71 Fragments of a Chronology of Chance\u2014<\/em>a trilogy depicting a coldly bureaucratic society in which genuine human relationships have been supplanted by a deep-seated collective malaise\u2014Haneke established the rigorous visual style and unsettling themes that would recur throughout his work. Exploring the relationships among consumerism, violence, mass media, and contemporary alienation, these brilliant, relentlessly probing films open up profound questions about the world in which we live while refusing the false comfort of easy answers.<\/span><\/p>\n<\/blockquote>\n

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December 13, 2022<\/strong><\/p>\n

\"\"Three Films by Mai Zetterling<\/b>
\n<\/em>–Loving Couples<\/em> (1964)
\n–Night Games<\/em> (1966)
\n–The Girls<\/em> (1968)<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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A fearlessly transgressive, long-overlooked pioneer of feminist cinema, Swedish actor turned director Mai Zetterling ruffled the feathers of the patriarchal establishment with a string of bracingly modern, sexually frank, and politically incendiary films focused on female agency and the turbulent state of twentieth-century Europe. Her peerless ability to render subjective psychological states with startling immediacy is on display in Loving Couples, Night Games,<\/em> and The Girls\u2014<\/em>three provocative, taboo-shattering works from the 1960s featuring some of Swedish cinema\u2019s most iconic stars. With their audacious narrative structures that fuse reality and fantasy, their elaborate use of metaphor and symbolism, and their willingness to delve into the most fraught realms of human experience, these movies are models of adventurous, passionately engaged filmmaking.<\/span><\/p>\n<\/blockquote>\n

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December 13, 2022<\/strong><\/p>\n

\"\"The Velvet Underground<\/b> <\/em>(2021)
\n<\/em>d. Todd Haynes<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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Emerging from the primordial soup of glamour, gutter sleaze, and feverish creativity that was New York\u2019s 1960s underground culture, the Velvet Underground redefined music with its at once raw and exalted blend of experimentation and art-damaged rock and roll. In his kaleidoscopic documentary The Velvet Underground,<\/em> Todd Haynes vividly evokes the band\u2019s incandescent world: the creative origins of the twin visionaries Lou Reed and John Cale, Andy Warhol\u2019s fabled Factory, and the explosive tension between pop and the avant-garde that propelled the group and ultimately consumed it. Never-before-seen performances, interviews, rare recordings, and mind-blowing transmissions from the era\u2019s avant-garde cinema scene come together in an ecstatic swirl of sound and image that is to the traditional music documentary what the Velvets were to rock: utterly revolutionary.<\/span><\/p>\n<\/blockquote>\n

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December 13, 2022<\/strong><\/p>\n

\"\"Cooley High\u00a0<\/i><\/b>(1975)
\n<\/em>-d. Michael Schultz<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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Chicago, 1964: it\u2019s the last weeks of high school for aspiring poet Preach (Glynn Turman) and his best friend, Cochise (Lawrence Hilton-Jacobs), and they have a full slate of extracurricular activities: swinging dance parties, late-night joyrides, and the stumbling pursuit of romance. Of course, when you\u2019re a young Black man in America, your coming-of-age story is far from complication-free. With Cooley High,<\/em> director Michael Schultz and screenwriter Eric Monte\u2014who drew on his own experiences growing up in Chicago\u2019s Cabrini-Green housing project\u2014arrived at something truly unique in 1970s cinema: an endearingly funny, tender, and authentic portrait of Black teens striving toward a brighter tomorrow, brought to life by a dynamic ensemble cast and set to a heavenly hit parade of Motown classics.<\/span><\/p>\n<\/blockquote>\n