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macocael

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Everything posted by macocael

  1. Well, the announcement states explicitly that "Criterion Channel will be picking up where the old service left off, programming director spotlights and actor retrospectives featuring major Hollywood and international classics and hard-to-find discoveries from around the world, complete with special features like commentaries, behind-the-scenes footage, and original documentaries" — so those same Director spotlights and actor retrospectives with major Hollywood films will be part of the mix.
  2. well, in this case the petition on Change.org did in fact help get the ball rolling, according to this article in Hollywood Reporter: "When Turner and Warner Bros Digital Networks revealed the plan to shutter FilmStruck on Oct. 26, many filmmakers took to Twitter to express their dismay and signed a “Keep FilmStruck Alive” Change.org petition, currently at more than 55,000 signatures. Edgar Wright did too, but he also emailed Steven Spielberg, for whom he had co-written the Adventures of Tintin screenplay." I admit, I am equally skeptical about online petitions; I always tell peo
  3. Here is an article that details what went on behind the scenes to rescue the idea: https://www.hollywoodreporter.com/news/filmstruck-campaign-save-classic-movie-service-gets-small-victory-1162149?utm_source=Sailthru&utm_medium=email&utm_campaign=THR+Breaking+News_now_2018-11-16+12%3A48%3A00_ehayden&utm_term=hollywoodreporter_breakingnews&fbclid=IwAR1DuwRqBLzFpxUpmB0Bs2TFiwIzL7qhbtjtTJAJEjnoCwlH0pKF2YR5lag
  4. Yes, this is from their announcement: "The Criterion Channel will be picking up where the old service left off, programming director spotlights and actor retrospectives featuring major Hollywood and international classics and hard-to-find discoveries from around the world, complete with special features like commentaries, behind-the-scenes footage, and original documentaries. We will continue with our guest programmer series, Adventures in Moviegoing. Our regular series like Art-House America, Split Screen, and Meet the Filmmakers, and our Ten Minutes or Less section will all live on, along
  5. Heh, heh . . . just saw your original post Lawrence. I was so excited to post the news I didn't bother to check previous posts. But this is news worth repeating, so let's spread the word wherever and whenever we can. 🤓👍
  6. Good news for all you FilmStruck fans and subscribers. Criterion Channel has just announced its intention to grab the baton and run with it by offering pretty much the same service, starting in Spring 2019: "The Criterion Channel will be picking up where the old service left off, programming director spotlights and actor retrospectives featuring major Hollywood and international classics and hard-to-find discoveries from around the world, complete with special features like commentaries, behind-the-scenes footage, and original documentaries. We will continue with our guest program
  7. Well, Good News. Criterion has just announced that it will be launching a similar version of FilmStruck/Criterion with its own Criterion Channel, and it is asking all of us who were subscribing to FS/C to join them and also spread the word. I am greatly relieved! Here is the link to the announcement and you can sign up ahead of time: https://www.criterion.com/channel
  8. First of all, this is not about the lack of sufficient patronage to provide "support" — WarnerMedia never claimed to have done this as a money saving move. Second, there are in fact enough serious cinephiles to make it viable, and we should not assume that mass market entertainment cannot make room for a few niche services, if the relation is handled smartly. TCM itself is evidence of that. Just as TCM is a viable cable enterprise, FilmStruck was proving to be a viable streaming enterprise. And to argue that "all that matters" is that the dreck stays in business while FS goes out, as if th
  9. I have come across a couple good articles that explain the real loss this represents, and the best is Joanna Scutts' piece in Slate: "The strangled corporate newspeak of the memo announcing the closure, with its reference to the “learnings” to be gleaned from the FilmStruck experiment, engenders the same kind of helpless rage as the tortured syntax of Donald Trump’s tweets—it’s so painfully revealing of the kind of grandiose carelessness that is the hallmark of power right now. As Warner gears up to face down Disney with its direct-to-consumer streaming service, launching next year, it
  10. On the contrary, the fee for combined viewing of FilmStruck and the Criterion Channel was a modest $10.99, and for those of us who appreciate the incredible library of films, which included not just Classic Hollywood but much much more, this was the solution to our cinematic needs, a solution like no other, because it did not try to be like every other streaming channel. Though Warner and AT&T refer to it as a "niche service," it was not confined, content-wise, to any one genre or niche; it offered the very best of film art, which is not a marginal thing, but the very core of this modern
  11. But FilmStruck is not just for viewing on little screens. In fact, I doubt any of us do so. You can watch the films on your television, just as you do with TCM and WatchTCM. It could be that confusion over the advantages of streaming channels was one factor in FilmStruck's inability to acquire more subscribers. That and the lack of any strong marketing campaign. It's a real shame because FS provides not only a great library of films but all the extras to go with it. The presentation and curation are top notch. This is a film lover's dream, and I very much doubt that any other company wi
  12. well now we know what WarnerMedia was planning all along: Warner's original statement, quoted by LawrenceA at the head of this thread, was vague: AT&T has revealed that it plans to unveil a direct-to-consumer streaming video service featuring WarnerMedia’s films and TV series by the end of next year. The aim is to bring a direct competitor to VOD giants like Netflix, Disney and Amazon, one that includes Warners’ portfolio – everything from HBO through Turner and Warner Brothers properties (including their vast film and TV libraries) with the company planning to forgo future lic
  13. So now I'm really ****. Not only are they cutting me off, they didn't give me a t-shirt either! Something to remember them by would have been a small consolation ? Btw, scsu1975, love the profile pic.
  14. It turns out that this is all a part of the nefarious attempt by AT&T "to not seem like a giant monopolistic media company sucking at the teet of the American public by relying on subsidies and overpriced data plans to stay afloat," as one writer on Gizmodo put it. In the Variety article announcing the move, they state that "The move appeared to be the latest by WarnerMedia, under AT&T’s ownership, to streamline operations by cutting niche-oriented business ventures. Two sources familiar with the decision said the plan to kill FilmStruck was made prior to AT&T’s closing the Time W
  15. Well this is truly a bummer. Today I found a message in my inbox from Criterion and the FilmStruck channel that "Turner and Warner Bros. Digital Networks announced plans to shut down FilmStruck," which will stop streaming on November 29. For the cinephiles among us this has got to be a terrible blow. Despite all the streaming options, there is nothing quite like FilmStruck, and even the most interesting among them, such as Fandor, do not offer anything as well done as FilmStruck, which is a great mix of classic Hollywood, Art House, global cinema, the entire Criterion collection, history an
  16. In the middle of running through the catalogue of films on WatchTCM, I was suddenly asked to sign in via my cable subscriber, and every time I tried it, the website claimed there was a problem and I should try again. The problem is not mine, however, it's TCM's! Plus, if I click on the Contact Us or Help links, I get a warning message from my browser telling me there is something fishy with the certificate and I should not proceed. I think that TCM's digital team is busy building two sites and constantly reconstructing -- there is the Streaming channel, Filmstruck, and WatchTCM. It's fru
  17. Absolutely loving it. Eddie Muller's substantial intros are excellent and the lineup is great, focusing as it does on some of the less well known but fascinating examples of the genre. I don't know about the scheduling though -- it competes with the Sunday morning news programs, and it really deserves a prime time slot.
  18. It's a tough blow. I was expecting this news, given his absence, but the blow is no less deflating. I feel as though a member of the family or a good friend has died. The spirit of Robert Osborne lives on in the institution that he helped create.
  19. Ray's Apu Trilogy was missing from Hulu's Criterion selection, as well as pasolini's Trilogy of Life, Fellini's Nights of Cabiria, Brando's One Eyed Jacks, Some of Altman's films, lots of Buñuel's films, etc. I want to know whether the titles will be rotating or growing too.
  20. Goodbye Hulu, hello Filmstruck. I am waiting till January when they hook up via Roku. But I have looked over the website, and I am pretty psyched. I hope that they will make ALL the films in the Criterion Catalogue available. Hulu claimed to do so, but in fact they were missing quite a few of the classics -- the Apu trilogy, Pasolini's Trilogy of Life, Altman's films, many of Buñuel's, Fellini's NIghts of Cabiria, etc.
  21. Sling is basically the streaming version of the cable bundle idea, and you can get TCM if you add it as an $5 extra onto their bundles. But I think TCM would be better off as an independent stream. Like a lot of streamers, I dont want what Sling offers, I want to fine tune my choices. I bet there are a lot of potential TCM viewers out there who would opt to subscribe directly to TCM. I imagine that TCM is not set up yet for it, but it can't be too difficult.
  22. How many of you would like to see TCM offer itself as an independent stream via the internet, rather than as part of an expensive cable bundle along with a lot of other channels that you probably dont even watch much? It seems to me that if TCM wants to pull in new generations of viewers, it will have to offer its service as an independent stream for a monthly subscription, just like Hulu, Netflix, HBO, or any number of other channels (heck, even PBS does this now). Instead of paying your cable company $75 bucks or more a month to include TCM in with a lot of other useless channels, you c
  23. Wouldnt it be nice if TCM were to sign up with Netflix or Hulu (or both) so as to provide their content via streaming services, and thus enable all of us to watch TCM on Demand without having to contract with a cable provider? I dont know about you all, but I am anxious to cut the cord with cable, and streaming via providers like Hulu and Netflix is the future of television. So TCM, why not consider expanding the means whereby your fans can access the content? Look to the future!!
  24. "the good sister was a bit out of her element in reviewing any of these films." Yes indeed. By the time she got around to discussing Blowup and Viridiana (this week), I was well accustomed to her gaffes -- my favorite this week was when she discussed Buñuel's "cynical" depiction of the poor who invade the house and form a mock tableau of the Last Supper. She completely missed the point of the film, which focuses its criticism of the church on Viridiana's objectification of the poor as innocent wayward children, thus depriving them of their individuality and humanity. There is nothing at
  25. You make a good point. The film is not, strictly speaking, a surrealist film, but it is derived from a famous story written by Julio Cortázar called Las Babas del Diablo (The Devil's Drool), which owes a debt to surrealism. Of course, Antonioni departed from the original story, as he himself affirmed: "I discarded the plot and wrote a new one in which the [photo] equipment itself assumed a different weight and significance." Cortázar's story is firmly rooted in the imagination, whereas Antonioni shifts the ground, but both works focus on the relationship between creator and protagonists, t
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