lost in america criterion

A Conversation with Trimiko Melancon (WHAT DO YOU HAVE TO LOSE? Lost in America, unlike the other titles I mentioned up top, isn’t really the kind of flick that benefits from the “film school in a box” package that Criterion is most renowned for. The interesting tidbits themselves usually come in the form of anecdotal recountings of personal histories, such as how Nanas came to discover and represent Sylvester Stallone, or how Brooks (based on Hagerty’s account) would elicit pseudo-rehearsals without Hagerty’s knowledge by picking arguments off camera and utilizing their contents during filming. The restoration has also been thorough and there isn’t a blemish to be seen. Albert Brooks the director enters the Criterion Collection with his Regan-era comedy Lost in America, presented here on a dual-layer Blu-ray disc in its original aspect ratio of 1.85:1. NAMES, TRADEMARKS AND IMAGES ARE COPYRIGHT THEIR RESPECTIVE OWNERS. The most extensive one is 30-minute discussion between Albert Brooks and Robert Weide about Brooks’ early career with guest spots and comedy albums, and then his move to shorts films for Saturday Night Live and eventual move to film with Real Life and Modern Romance. Even Weide’s one-on-one with the writer/director/actor behind the film itself seems a bit truncated. Today Brad Cook joins Albert Brooks to get Lost in America.). This new 1080p/24hz encode comes from a brand new 2K restoration scanned from a 35mm interpositive. The included pamphlet, which was designed to look like a magazine from the early 80s, features an essay by critic Scott Tobias. It’s only 14-minutes long but it’s an insightful and engaging extra on Brooks’ humour and style of directing, adding an academic element to the release. [Indicator Blu-rays] / Fri Nov 13, 2020 09:07:25 AM, [Indicator Blu-rays] / Fri Nov 13, 2020 05:47:17 AM, [The Masters of Cinema Series] / Fri Nov 13, 2020 05:39:03 AM, [The Criterion Collection] / Fri Nov 13, 2020 05:11:57 AM, [General Film Discussion] / Fri Nov 13, 2020 03:53:12 AM, Chambre 212 [On a Magical Night] (Christophe Honoré, 2019), [Arrow DVDs and Blu-rays] / Thu Nov 12, 2020 11:31:34 PM, [Filmmakers] / Thu Nov 12, 2020 10:55:34 PM, [Criterion Rumors and News] / Thu Nov 12, 2020 09:46:21 PM, [Filmmakers] / Thu Nov 12, 2020 09:39:33 PM, [Arrow DVDs and Blu-rays] / Thu Nov 12, 2020 07:08:01 PM, [Boutique Labels] / Thu Nov 12, 2020 06:45:55 PM, [The Criterion Collection] / Thu Nov 12, 2020 05:39:00 PM, [BFI DVDs and Blu-rays] / Thu Nov 12, 2020 09:54:15 AM, This site is not affiliated with The Criterion Collection. And, while, the supplemental feature are unfortunately on the lighter side, one holds out the hope that there’ll be more opportunities to come with further Albert Brooks releases. This new 1080p/24hz encode comes from a brand new 2K restoration scanned from a 35mm interpositive. : Zach Lipovsky & Adam B. Stein’s FREAKS Wins Audience Award, Tweets from https://twitter.com/FilmPulseNet/lists/film-pulse. This product was provided by Criterion for the purpose of this review. Despite being limited to the center channel it still manages to be a rather dynamic presentation with wide range and superb fidelity, noticeable even in the dialogue and the score, but it’s probably best shown when Born to Be Wild (one of the film’s allusions to Easy Rider) makes its appearance. Shop Lost in America [Criterion Collection] [DVD] [1985] at Best Buy. As the credits rolled on Lost in America, one thing struck me: These characters didn’t go through enough trials and tribulations to earn the position they found themselves in at the end of the movie. © 

The best aspect, though, is just how film-like the image is. It’s probably a title that Warner could have released themselves, and I’m still rather surprised Criterion would go after it (at least before some of Brooks’ other films) but they’ve really done a lovely job with it, and I feel it probably wouldn’t have received the same amount of love if Warner handled a release themselves.

, but instead of Harley Davidson cross-country chopper treks and abundant drug use we’re treated to a Winnebago cruise backed with the safety and assurance of a well-planned nest egg. The lossless linear 1.0 PCM monaural track also exceeds expectations. Director: Albert Brooks Julie Hagerty spends 11-minutes talking about coming on to the film and compares Brooks’ style of directing to other directors she had worked with up to that point (the Zuckers on Airplane! They do, however, cover a number of topics focused on Brooks’s career outside of this particular film – his beginnings, his role Nicolas Winding Refn’s Drive, etc.

And the first film to garner such treatment happens to be Lost in America from 1985; the third film from the comedian-turned-director to deal with a certain aspect of American life and domesticity through a somewhat autobiographical prism as Brooks’s character here, David Howard, is once again an exaggerated version of Brooks himself. And, while, the supplemental feature are unfortunately on the lighter side, one holds out the hope that there’ll be more opportunities to come with further Albert Brooks releases. Save He even offers a great breakdown on the effectiveness of the film’s opening scene. and other films, and another 11 minutes with Herb Nanas, Brooks’ manager, who has a small role toward the end of Lost in America. Runtime: 91 Minutes and Woody Allen on A Midsummer Night’s Sex Comedy), explaining how he manages to get the reactions he wants out of his actors. Blacks are a bit hit-and-miss on the other hand: though quite deep they seem to limit shadow detail and a handful of darker moments are crushed out.

The two then move on to Lost in America, Brooks talking about working with co-writer Monica Johnson, his co-star Julie Hagerty, why he cast Gary Marshall and other non-actors in the film, and why Brooks’ performance in this film inspired Nicolas Winding Refn to cast him as a psychopath in Drive (Brooks jokes that maybe the possible dubbing for his character made him sound scarier). But he also speaks affectionately about Albert’s own films, explaining why he finds them so wonderful. Criterion includes a handful of interviews on the release, all of them focusing on Brooks’ work over the years.

The film is quite grainy, surprisingly so, but the rendering is spot on, looking natural and never like noise, while motion is smooth and natural. Feature after feature discussing the production and the behind-the-scenes activities but instead, one is met with a decidedly thine line-up of such. Nanas does a fairly wonderful job explaining what made Brooks so unique at the time, and how he worked as a director. They don’t get far, however, before his wife makes a fatal mistake in Las Vegas that causes their plans to come crashing down around them.

might not be their most robust offering to date but it is a welcomed addition considering the simple fact that having a restored version of an Albert Brooks classic on Blu-ray is and was long overdue. ), A Conversation with Karen Maine (YES, GOD, YES), A Conversation with Cooper Raiff (S#I%HOUSE). Even if it’s not a surround presentation it manages to be sharp and engaging. Each one existing somewhere in a 10 to 15 minute duration period, they do provide an occasional amusing tidbit about the production and/or working with Albert Brooks himself but, overall, none of them contain any information that I would deem indispensable. Picture 8/10. Albert Brooks the director enters the Criterion Collection with his Regan-era comedy Lost in America, presented here on a dual-layer Blu-ray disc in its original aspect ratio of 1.85:1.

Release Date: July 25, 2017 , Brooks sets his eye on the notion of ‘dropping out’ of a typical American lifestyle a la. Welcome to CriterionForum.org, one of the premier destinations on the web to discuss DVD releases from The Criterion Collection, Masters of Cinema, and other DVD production companies from around the world. In this hysterical satire of Reagan-era values, written and directed by Albert Brooks, a successful Los Angeles advertising executive (Brooks) and his wife (Julie Hagerty) decide to quit their jobs, buy a Winnebago, and follow their Easy Rider fantasies of freedom and the open road. Albert’s humour, he explains, comes from dissecting comic clichés and he does his own dissecting of sequences from Lost in America to show the development and execution of its gags, even admiring some of the camerawork in the film. It is also the third film that pairs him as a co-writer alongside his frequent collaborator, Monica Johnson, and with keeping that in mind it is important to remember that with Brooks’s illustrious career, especially his string of iconic comedies over the years, Johnson is connected to much of his cinematic successes; there’s no knowing how Brooks’ directorial career might have fared without the talents of Johnson but there’s no denying that she played an integral role.

Save, And the first film to garner such treatment happens to be. But there is a rather nice insert featuring an excellent essay on the film by Scott Tobias, contextualizing the film to its Reagan-era settings.

Even though, these four sit-down interviews are included and do provide some (albeit limited) insight to the film’s production all of four, except for (perhaps) the Albert Brooks sit-down with Robert Weide, each one is a bit short on time and light on fascinating information. Lost in America is a 1985 satirical road comedy film directed by Albert Brooks and co-written by Brooks with Monica Johnson. All opinions are our own. The hilarious Lost in America may not be Easy Rider, but in many ways, it’s just as meaningful. Recently, the availability of Albert Brooks’ oeuvre has been becoming increasingly accessible as his works have been experiencing a sort-of reemergence within the past few years. The Criterion Collection’s Lost in America might not be their most robust offering to date but it is a welcomed addition considering the simple fact that having a restored version of an Albert Brooks classic on Blu-ray is and was long overdue. When a stop in Las Vegas nearly derails their plans, they’re forced to come to terms with their own limitations and those of the American dream. Because of that I didn’t have exceedingly high expectations for the end presentation but much to my surprise it comes off looking quite wonderful. Save They include an 11-minute discussion with Hagerty about working with Brooks, and how it compared to her role on Airplane! (As a note, there are clips from Real Life and Modern Romance scattered about the supplements, which I would usually take as a sign that there is a slight chance Criterion is releasing them, but I would hold out on those hopes: they’re all upscaled standard-definition, so I don’t see that as a real signal of that happening just yet.). It is also the third film that pairs him as a co-writer alongside his frequent collaborator, Monica Johnson, and with keeping that in mind it is important to remember that with Brooks’s illustrious career, especially his string of iconic comedies over the years, Johnson is connected to much of his cinematic successes; there’s no knowing how Brooks’ directorial career might have fared without the talents of Johnson but there’s no denying that she played an integral role. The stakes are a bit different, but Brooks’s David believes – deep down – that they are one in the same; that he and Wyatt and Billy are chasing after the same thing in, principally, in the same way. Not necessarily a revaluation or reappraisal but more so a reemergence through a collective reminding of Brooks’s talent (as well as his long-time collaborator, Monica Johnson), as if the general film-loving community were on the verge of passing over his filmography just before remembering how essential they are in the realm of American Comedies, thus rectifying a potential wrong by committing them to Blu-ray with a new 2K digital transfer restoration.

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