Sounds like someone’s going to have to scramble to get a ballot together to rectify this situationdomino harvey wrote: ↑Sun Dec 25, 2022 4:53 pmIt absolutely kills me to see people voting the best cover of the year as the worst
2022 Criterion Forum Awards
- DarkImbecile
- Ask me about my visible cat breasts
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- Location: Albuquerque, NM
Re: 2022 Criterion Forum Awards
-
- Joined: Fri May 18, 2018 3:07 pm
Re: 2022 Criterion Forum Awards
Only 6 eligible commentaries this year. Wow.
It pains me to see it as a “bonus” film, but Calendar handily wins in that category, and I’m a huge fan of the cover for Worst Person in the World
It pains me to see it as a “bonus” film, but Calendar handily wins in that category, and I’m a huge fan of the cover for Worst Person in the World
- therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: 2022 Criterion Forum Awards
I hope more people see the bonus films on Daisies before casting votes - I think they’re better than Calendar, good as it is
- criterionsnob
- Joined: Wed Nov 03, 2004 1:23 am
- Location: Canada
Re: 2022 Criterion Forum Awards
BEST RELEASE
1. Le cercle rouge [UHD]
2. ‘Round Midnight
3. Eyimofe (This Is My Desire)
4. Martin Scorsese’s World Cinema Project Vol. 4
5. Written on the Wind
BEST BOXED SET
Martin Scorsese’s World Cinema Project Vol. 4
BEST MODERN FILM
Drive My Car
BEST "BONUS" FILM
Calendar
BEST BOOKLET
Martin Scorsese’s World Cinema Project Vol. 4
BEST UHD RELEASE (1-5 ONLY)
1. Le cercle rouge [UHD]
2. Lost Highway [UHD]
3. The Piano [UHD]
4. A Hard Day’s Night [UHD]
5. Raging Bull [UHD]
BEST REISSUE
Written on the Wind
BEST UPGRADE
Le cercle rouge [UHD]
BEST COVER
Rouge
WORST COVER
Daddy Longlegs
BEST PACKAGING - NON-BOXED SET INDIVIDUAL RELEASE
The Celebration
BEST PACKAGING - BOXED SET
Martin Scorsese’s World Cinema Project Vol. 4
BEST DISCOVERY
Chess of the Wind
MOST UNNECESSARY RELEASE
In the Mood for Love [UHD]
MOST FLAWED RELEASE
Miller’s Crossing - Not a new 4K transfer, plus director revisions.
1. Le cercle rouge [UHD]
2. ‘Round Midnight
3. Eyimofe (This Is My Desire)
4. Martin Scorsese’s World Cinema Project Vol. 4
5. Written on the Wind
BEST BOXED SET
Martin Scorsese’s World Cinema Project Vol. 4
BEST MODERN FILM
Drive My Car
BEST "BONUS" FILM
Calendar
BEST BOOKLET
Martin Scorsese’s World Cinema Project Vol. 4
BEST UHD RELEASE (1-5 ONLY)
1. Le cercle rouge [UHD]
2. Lost Highway [UHD]
3. The Piano [UHD]
4. A Hard Day’s Night [UHD]
5. Raging Bull [UHD]
BEST REISSUE
Written on the Wind
BEST UPGRADE
Le cercle rouge [UHD]
BEST COVER
Rouge
WORST COVER
Daddy Longlegs
BEST PACKAGING - NON-BOXED SET INDIVIDUAL RELEASE
The Celebration
BEST PACKAGING - BOXED SET
Martin Scorsese’s World Cinema Project Vol. 4
BEST DISCOVERY
Chess of the Wind
MOST UNNECESSARY RELEASE
In the Mood for Love [UHD]
MOST FLAWED RELEASE
Miller’s Crossing - Not a new 4K transfer, plus director revisions.
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- Joined: Thu Dec 01, 2022 11:45 pm
Re: 2022 Criterion Forum Awards
Exactly.domino harvey wrote: ↑Sun Dec 25, 2022 4:53 pmIt absolutely kills me to see people voting the best cover of the year as the worst
Hard to argue against.
- Finch
- Joined: Mon Jul 07, 2008 5:09 pm
- Location: Edinburgh, UK
Re: 2022 Criterion Forum Awards
BEST RELEASE
1. Rouge
2. Cure
3. Round Midnight
4. Love Affair
5. The Celebration
6. The Girl Can't Help It
7. Blow Out UHD
8. Double Indemnity UHD
BEST UHD RELEASE Blow Out
BEST REISSUE Written on the Wind
BEST UPGRADE Blow Out
BEST COVER
Cure (also runners: Round Midnight, The Girl Can't Help It, The Celebration, Hotel Du Nord, Pink Flamingos)
WORST COVER
Frownland (also runners: Daddy Longlegs, Okja, Rouge, Raging Bull, Michael Haneke trilogy)
BEST PACKAGING - NON-BOXED SET INDIVIDUAL RELEASE
Pink Flamingos
BEST DISCOVERY
Rouge
MOST UNNECESSARY RELEASE
In The Mood For Love UHD
MOST FLAWED RELEASE
Miller's Crossing
BEST THREAD
tie between Sight & Sound and the Hongkong Cinema thread
MEMBER OF THE YEAR
feihong
RICHARD CRANIUM AWARD
cinephile1
REISSUES
Written on the Wind
UPGRADES
562 Blow Out
BEST BONUS FEATURE
Yang ± Yin: Gender in Chinese Cinema (Rouge)
1. Rouge
2. Cure
3. Round Midnight
4. Love Affair
5. The Celebration
6. The Girl Can't Help It
7. Blow Out UHD
8. Double Indemnity UHD
BEST UHD RELEASE Blow Out
BEST REISSUE Written on the Wind
BEST UPGRADE Blow Out
BEST COVER
Cure (also runners: Round Midnight, The Girl Can't Help It, The Celebration, Hotel Du Nord, Pink Flamingos)
WORST COVER
Frownland (also runners: Daddy Longlegs, Okja, Rouge, Raging Bull, Michael Haneke trilogy)
BEST PACKAGING - NON-BOXED SET INDIVIDUAL RELEASE
Pink Flamingos
BEST DISCOVERY
Rouge
MOST UNNECESSARY RELEASE
In The Mood For Love UHD
MOST FLAWED RELEASE
Miller's Crossing
BEST THREAD
tie between Sight & Sound and the Hongkong Cinema thread
MEMBER OF THE YEAR
feihong
RICHARD CRANIUM AWARD
cinephile1
REISSUES
Written on the Wind
UPGRADES
562 Blow Out
BEST BONUS FEATURE
Yang ± Yin: Gender in Chinese Cinema (Rouge)
Last edited by Finch on Mon Dec 26, 2022 9:08 pm, edited 1 time in total.
- Never Cursed
- Such is life on board the Redoutable
- Joined: Sun Aug 14, 2016 12:22 am
Re: 2022 Criterion Forum Awards
I can tolerate the Trier cover slander no longer, and I have thus been roused from my grad-school final papers:
BEST RELEASE:
1. Pink Flamingos
2. Martin Scorsese's World Cinema Project, Volume 4
3. Three Films by Mai Zetterling
4. Daisies
5. The Celebration
BEST BOXED SET: Martin Scorsese's World Cinema Project, Volume 4
BEST MODERN FILM: Drive My Car
BEST BOOKLET: Pink Flamingos
BEST COVER: The Worst Person in the World. It would have been The Celebration, but some of you are insane.
WORST COVER: Arsenic and Old Lace
BEST PACKAGING - NON-BOXED SET INDIVIDUAL RELEASE: Pink Flamingos
BEST DISCOVERY: Daisies
MOST UNNECESSARY RELEASE: WALL-E
MOST FLAWED RELEASE: The Infernal Affairs Trilogy
BEST THREAD: Sight and Sound, for one of the funniest posts I have seen on this or any website
MEMBER OF THE YEAR: knives
RICHARD CRANIUM AWARD: Israeli Cinema Expert Guy
BEST RELEASE:
1. Pink Flamingos
2. Martin Scorsese's World Cinema Project, Volume 4
3. Three Films by Mai Zetterling
4. Daisies
5. The Celebration
BEST BOXED SET: Martin Scorsese's World Cinema Project, Volume 4
BEST MODERN FILM: Drive My Car
BEST BOOKLET: Pink Flamingos
BEST COVER: The Worst Person in the World. It would have been The Celebration, but some of you are insane.
WORST COVER: Arsenic and Old Lace
BEST PACKAGING - NON-BOXED SET INDIVIDUAL RELEASE: Pink Flamingos
BEST DISCOVERY: Daisies
MOST UNNECESSARY RELEASE: WALL-E
MOST FLAWED RELEASE: The Infernal Affairs Trilogy
BEST THREAD: Sight and Sound, for one of the funniest posts I have seen on this or any website
MEMBER OF THE YEAR: knives
RICHARD CRANIUM AWARD: Israeli Cinema Expert Guy
- DarkImbecile
- Ask me about my visible cat breasts
- Joined: Mon Dec 09, 2013 6:24 pm
- Location: Albuquerque, NM
Re: 2022 Criterion Forum Awards
Kind of hoping it wins both categories now
- colinr0380
- Joined: Mon Nov 08, 2004 4:30 pm
- Location: Chapel-en-le-Frith, Derbyshire, UK
Re: 2022 Criterion Forum Awards
Maybe the true best covers were the worst covers we made along the way?
- therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: 2022 Criterion Forum Awards
BEST RELEASE
1. Three Films by Mai Zetterling
2. Exotica
3. Lost Highway
4. The Girl Can't Help It
5. Boat People
BEST BOXED SET
Three Films by Mai Zetterling
BEST MODERN FILM
The Worst Person in the World
BEST BONUS FILM
Ceiling (Daisies)
BEST UHD RELEASE
Devil in a Blue Dress
BEST REISSUE
Written on the Wind
BEST UPGRADE
For All Mankind
BEST COVER
Shaft
WORST COVER
Arsenic and Old Lace
BEST PACKAGING
The Celebration
BEST DISCOVERY
Kalpana
MOST UNNECESSARY RELEASE
Arsenic and Old Lace
MOST FLAWED RELEASE
Miller's Crossing
BEST THREAD
Euphoria (I think people forgot about this one since its activity peaked almost a year ago, but the pleasures of recording thoughts on the new season week-to-week + witnessing those new to the show track impressions for Never Cursed's film club project = no contest)
MEMBER OF THE YEAR
swo17 - Invaluable services include keeping list projects alive, finding creative ways to democratically increase enthusiasm within important pockets of the forum, organizing group buys, imbuing a sense of humor into deadly-serious places, taking action to usurp Framed-guy's spotlight
1. Three Films by Mai Zetterling
2. Exotica
3. Lost Highway
4. The Girl Can't Help It
5. Boat People
BEST BOXED SET
Three Films by Mai Zetterling
BEST MODERN FILM
The Worst Person in the World
BEST BONUS FILM
Ceiling (Daisies)
BEST UHD RELEASE
Devil in a Blue Dress
BEST REISSUE
Written on the Wind
BEST UPGRADE
For All Mankind
BEST COVER
Shaft
WORST COVER
Arsenic and Old Lace
BEST PACKAGING
The Celebration
BEST DISCOVERY
Kalpana
MOST UNNECESSARY RELEASE
Arsenic and Old Lace
MOST FLAWED RELEASE
Miller's Crossing
BEST THREAD
Euphoria (I think people forgot about this one since its activity peaked almost a year ago, but the pleasures of recording thoughts on the new season week-to-week + witnessing those new to the show track impressions for Never Cursed's film club project = no contest)
MEMBER OF THE YEAR
swo17 - Invaluable services include keeping list projects alive, finding creative ways to democratically increase enthusiasm within important pockets of the forum, organizing group buys, imbuing a sense of humor into deadly-serious places, taking action to usurp Framed-guy's spotlight
- MV88
- Joined: Mon Jan 24, 2022 8:52 am
Re: 2022 Criterion Forum Awards
Interesting that The Worst Person in the World and Rouge appear to be considered among both the best and worst covers of the year. In retrospect, I think I should actually withdraw my vote for Worst Person as Worst Cover simply because I haven't seen the movie and am therefore totally willing to admit that I might just not understand why or how the cover works since I don't have the proper context. I voted for it just because it's the most visually unappealing of this year's covers, but I concede that may be intentional and I just don't get it (I do still plan on seeing the movie, so maybe I'll change my tune soon). If I do end up changing my vote, though, Rouge is definitely not what I'll be switching it to.
Also, since In the Mood for Love and Miller's Crossing seem to be the main contenders for Most Flawed Release, it makes me wonder if the people at Criterion become aware of how divisive certain releases will be once it becomes clear the director is intent on making changes to the film. Like, do you think Criterion would ever step in to prevent a director from altering a film in such a way that it would damage the reputation of the release, or do they just give 100% control to any director who agrees to work directly with them?
Also, since In the Mood for Love and Miller's Crossing seem to be the main contenders for Most Flawed Release, it makes me wonder if the people at Criterion become aware of how divisive certain releases will be once it becomes clear the director is intent on making changes to the film. Like, do you think Criterion would ever step in to prevent a director from altering a film in such a way that it would damage the reputation of the release, or do they just give 100% control to any director who agrees to work directly with them?
- colinr0380
- Joined: Mon Nov 08, 2004 4:30 pm
- Location: Chapel-en-le-Frith, Derbyshire, UK
Re: 2022 Criterion Forum Awards
I would doubt that anyone would step in to prevent the Coen Brothers doing whatever they wanted to their films, especially now that it seems a regular thing for them to do. Or if I were Criterion I would at least play along until getting the chance to do Barton Fink or The Ballad of Buster Scruggs
- tenia
- Ask Me About My Bassoon
- Joined: Wed Apr 29, 2009 11:13 am
Re: 2022 Criterion Forum Awards
I recall them saying at a Wexler conference they stopped Cimino's at some point because he wanted to do additional alterations to Heaven's Gate and they felt what he wanted to do was too much.
I can only suspect he accepted the remark, but the question is what would have happened if he didn't (I suppose they would have caved in).
I can only suspect he accepted the remark, but the question is what would have happened if he didn't (I suppose they would have caved in).
- therewillbeblus
- Joined: Tue Dec 22, 2015 3:40 pm
Re: 2022 Criterion Forum Awards
Making cuts to Buster Scruggs might produce a better film, but excising Mike Starr's "Jesus Tom" makes zero sense when it's both a running gag not cut elsewhere, and arguably the funniest of the bunchcolinr0380 wrote: ↑Wed Dec 28, 2022 1:05 pmI would doubt that anyone would step in to prevent the Coen Brothers doing whatever they wanted to their films, especially now that it seems a regular thing for them to do. Or if I were Criterion I would at least play along until getting the chance to do Barton Fink or The Ballad of Buster Scruggs
- MV88
- Joined: Mon Jan 24, 2022 8:52 am
Re: 2022 Criterion Forum Awards
I suppose a fair compromise had he not accepted the remark would have been to insist on including two different cuts in the release, although I realize that may have made it a far more expensive and time-consuming project for them (albeit fitting considering that particular film).tenia wrote: ↑Wed Dec 28, 2022 1:11 pmI recall them saying at a Wexler conference they stopped Cimino's at some point because he wanted to do additional alterations to Heaven's Gate and they felt what he wanted to do was too much.
I can only suspect he accepted the remark, but the question is what would have happened if he didn't (I suppose they would have caved in).
At this point, though, there have to be some at Criterion who realize a 4K UHD release of In the Mood for Love NOT approved by WKW would likely sell better than the current release, or at least would be far better received. Makes you question if they put too much value into having director-approved releases sometimes.
Last edited by MV88 on Wed Dec 28, 2022 3:14 pm, edited 2 times in total.
- yoloswegmaster
- Joined: Tue Nov 01, 2016 3:57 pm
Re: 2022 Criterion Forum Awards
You have to realize that WKW owns the rights to ITMFL (as well as Chungking, Happy Together, and Fallen Angels), so they are obviously going to be stuck with a master that's been approved by him. Nothing to do with putting too much value into director-approved releases.MV88 wrote: ↑Wed Dec 28, 2022 3:00 pmI suppose a fair compromise had he not accepted the remark would have been to insist on including two different cuts in the release, although I realize that may have made it a far more expensive and time-consuming project for them (albeit fitting considering that particular film).tenia wrote: ↑Wed Dec 28, 2022 1:11 pmI recall them saying at a Wexler conference they stopped Cimino's at some point because he wanted to do additional alterations to Heaven's Gate and they felt what he wanted to do was too much.
I can only suspect he accepted the remark, but the question is what would have happened if he didn't (I suppose they would have caved in).
At this point, though, there have to be some at Criterion who realize a 4K UHD release of In the Mood for Love NOT approved by WKW would likely sell better than the current release, or at least would be far better received. Makes you question if they put too much value into having director-approved releases sometimes.
- MV88
- Joined: Mon Jan 24, 2022 8:52 am
Re: 2022 Criterion Forum Awards
Oh I know his films are a special case since he owns them. I only meant that I wonder if anyone at Criterion secretly wishes they didn’t have to work with him directly because they’re aware of how divisive the new versions are. I do know that it’s most likely impossible for them to ever do a release that isn’t approved by him. My comment about putting too much stock into directors’ approval was more about the Coens, Cimino, and others, although I realize tying it into the WKW discussion was misleading. I just intended to use him as an example of when a director’s approval might not achieve a desirable result.
By the way, does anyone know if Christopher Doyle or Mark Lee Ping-bing have ever said anything publicly about the new versions of the film? I kind of feel like they should have had a say in the restorations too. Again, I know WKW doesn’t need their input, but you know, just out of respect for them and all.
By the way, does anyone know if Christopher Doyle or Mark Lee Ping-bing have ever said anything publicly about the new versions of the film? I kind of feel like they should have had a say in the restorations too. Again, I know WKW doesn’t need their input, but you know, just out of respect for them and all.
- diamonds
- Joined: Sun Apr 24, 2016 2:35 pm
Re: 2022 Criterion Forum Awards
Doyle:MV88 wrote: ↑Wed Dec 28, 2022 3:17 pmBy the way, does anyone know if Christopher Doyle or Mark Lee Ping-bing have ever said anything publicly about the new versions of the film? I kind of feel like they should have had a say in the restorations too. Again, I know WKW doesn’t need their input, but you know, just out of respect for them and all.
“I think that we should not be so sensitive with our works. You have to let go, let them go. No need to masturbate over creations. I was not firmly involved in the restorations, although I gave my opinion several times and I was observing how the process was carried out,” he told the Spanish outlet Pagina 12 (via @standardspeeds). “I think the Fallen Angels case is a perfect example of an attitude towards work: they tried switching to an anamorphic format and oh, how they marveled. You always have to see with new eyes, the social and conceptual changes have been many. One thing that happened in almost all of those movies, something that people often call our ‘style,’ is that it usually came out of a mistake,” he said with a laugh.
-
- Joined: Wed Nov 03, 2004 2:03 am
- Location: LA CA
Re: 2022 Criterion Forum Awards
Ha! Thanks, diamonds. Makes me smile when people with no professional filmmaking experience (even if pretty savvy people) take what are filmmakers' very often spur-of-the moment choices and even, as Doyle indicates, their "mistakes" as the Inviolable Word of God. Of course, some filmmakers try to pass themselves off as gods, and some perhaps even actually approach divinity. But Doyle's open-minded POV on the new versions of his films -- especially when he could've used the opportunity to poke at an estranged former co-filmmaker -- warns against a fundamentalist approach to film.
- zedz
- Joined: Sun Nov 07, 2004 7:24 pm
Re: 2022 Criterion Forum Awards
The list of directors people at Criterion secretly wish they didn't have to work with is probably as long as your arm.
- colinr0380
- Joined: Mon Nov 08, 2004 4:30 pm
- Location: Chapel-en-le-Frith, Derbyshire, UK
Re: 2022 Criterion Forum Awards
The main problem is always the wiping the slate clean revisionism of it all by replacing an original work with an updated one. Filmmakers should be free to do what they want with their films as much as they want - re-cut, mess around with them, turn French Connection bright yellow, turn every gun in Pulp Fiction into a walkie talkie, turn Brief Encounter into a colourised and 3D version in which the trains actually seem to be popping out of the screen in order to go after that new Avatar: The Way of Water audience if they want to, etc. Go wild! Although the best filmmakers sort of leave their past work behind at some point, move on and 'reply' or 'critique' their previous films in the films they make afterwards, whether consciously or not. But any new version really should exist in parallel with preserving a previously extant one, especially if that version is the one that has either made their reputation or had a significant impact on the culture at large. It is kind of the world's at that point, and to change it both betrays the original film's place in the world and the generations of audiences who have come to admire it, and what that original work may have said that any new tinkerings may mess with.
But multiple versions can be fun to look at and compare. There are many director's cuts that I prefer to their original theatrical releases. If just added on to the original, rather than replacing it, new versions of a film can revitalise a film for an audience, if just in the debate about which they prefer (although Oliver Stone can perhaps safely stop doing Alexander at this point )
I mean, we are getting into questions that presumably classical art restorers making best judgments in their current preservation efforts have to make all the time, only now with film (does that make the Ritrovata blanket colour re-grading for every film regardless of context people the equivalent of that lady who did the wonky amateur painting of Jesus? ). But the passing of time is naturally revisionist enough in itself without having to jump the walkie talkie and pre-emptorily do its job for it. You would think Wong Kar-Wai, of all filmmakers, would have known that.
But multiple versions can be fun to look at and compare. There are many director's cuts that I prefer to their original theatrical releases. If just added on to the original, rather than replacing it, new versions of a film can revitalise a film for an audience, if just in the debate about which they prefer (although Oliver Stone can perhaps safely stop doing Alexander at this point )
I mean, we are getting into questions that presumably classical art restorers making best judgments in their current preservation efforts have to make all the time, only now with film (does that make the Ritrovata blanket colour re-grading for every film regardless of context people the equivalent of that lady who did the wonky amateur painting of Jesus? ). But the passing of time is naturally revisionist enough in itself without having to jump the walkie talkie and pre-emptorily do its job for it. You would think Wong Kar-Wai, of all filmmakers, would have known that.
- MichaelB
- Joined: Fri Aug 11, 2006 6:20 pm
- Location: Worthing
- Contact:
Re: 2022 Criterion Forum Awards
The original editor of Michael Powell's Age of Consent complained about the Indicator edition including both the original Australian cut and the bastardised and completely rescored Columbia cut.
I completely accept that he had strong feelings about the latter, and entirely understandably so, but from a scholarly perspective the Columbia cut was effectively the only version that was easily available for nearly forty years, and virtually everything that had been written about the film prior to the mid-2000s would have been about that cut. I don't think anyone would prefer that version, and the packaging and menu made it absolutely clear which should be prioritised, but we felt that it was very important to include the Columbia cut for historical reasons.
See also The Stranglers of Bombay - when we realised that the UK and US release versions had been cut by different censors with different hang-ups (violence in the UK, sex in the US), we couldn't resist creating a hybrid cut that included all extant footage, and we're pretty certain that this is as close to Terence Fisher's original cut as it's possible to get. But there was never the slightest question of making this the only version, and the US and UK theatrical cuts are duly included as well. (As a minimum, the US cut had to be, as that's what the screenwriter's commentary was synced to.)
I completely accept that he had strong feelings about the latter, and entirely understandably so, but from a scholarly perspective the Columbia cut was effectively the only version that was easily available for nearly forty years, and virtually everything that had been written about the film prior to the mid-2000s would have been about that cut. I don't think anyone would prefer that version, and the packaging and menu made it absolutely clear which should be prioritised, but we felt that it was very important to include the Columbia cut for historical reasons.
See also The Stranglers of Bombay - when we realised that the UK and US release versions had been cut by different censors with different hang-ups (violence in the UK, sex in the US), we couldn't resist creating a hybrid cut that included all extant footage, and we're pretty certain that this is as close to Terence Fisher's original cut as it's possible to get. But there was never the slightest question of making this the only version, and the US and UK theatrical cuts are duly included as well. (As a minimum, the US cut had to be, as that's what the screenwriter's commentary was synced to.)
- ryannichols7
- Joined: Mon Jul 16, 2012 2:26 pm
Re: 2022 Criterion Forum Awards
I'm still not quite there yet on voting but I'm researching my ballot and realized that the Best Rescue category is gone - when did we eliminate that one? was a decent category and has a few contenders this year (Exotica, Arsenic..., Cure, Mississippi Masala)
- swo17
- Bloodthirsty Butcher
- Joined: Tue Apr 15, 2008 10:25 am
- Location: SLC, UT
Re: 2022 Criterion Forum Awards
When the vast majority of their releases could be categorized as "rescues"ryannichols7 wrote: ↑Fri Dec 30, 2022 4:58 pmthe Best Rescue category is gone - when did we eliminate that one?
- ryannichols7
- Joined: Mon Jul 16, 2012 2:26 pm
Re: 2022 Criterion Forum Awards
okay fair point. plus with UHD being a thing now I can see that one being even more of a debate than usualswo17 wrote: ↑Fri Dec 30, 2022 5:03 pmWhen the vast majority of their releases could be categorized as "rescues"ryannichols7 wrote: ↑Fri Dec 30, 2022 4:58 pmthe Best Rescue category is gone - when did we eliminate that one?