Could well be. Amazon seems to make even less effort than Netflix to negotiate global licensing deals.
Yeah, it is, as best as I can tell, every dang Criterion title, along with all the special features.
The pure Filmstruck portion is what they have licensed from:
“Lionsgate, MGM, Paramount, Sony, Universal and Warner Bros. — as well as indie distributors including Janus Films, Flicker Alley, Icarus Films, Kino, Milestone, Zeitgeist, Film Movement, Global Lens, First Run Features, Oscilloscope Laboratories and Shout Factory.”
I’m wondering if I can coax my SO into the Friday night double features. Those look like fun.
Another source of classics: If you have TCM on cable you should have access to TCM.com, which streams almost everything they play on the channel for a week after they play it.
SO worth it.
The only thing that I can’t break the code on is screenshots for the 20:20 while using Filmstruck. Any advice?
Windows button + ‘Print Screen’ button always works.
On mobile, sorry, no idea. Those things are so locked-down, I’ve never even tried.
Gotcha. Alt-Tab and using Snaggit weren’t doing the job.
Snaggit works for me from other sources but I have to snip the bottom of the frame when paused. Obviously some streaming is better than others with this, with some taking a big giant pause symbol in the middle of the screen. I think what @charmtrap is saying does work though via a hotkey.
I just experimented, it works on Filmstruck, but you can’t pause, you just have to time it correctly. Pause gives you a “play” button in the middle of the screen. But it works! Good to know for future 20:20’s from Filmstruck.
IF you have Amazon playing, and the “Alt-Tab” to the snaggit tool while paused, and then wait for the Pause/Play info to fade after you have placed your cursor over the “capture” button on the Snaggit tool, (all while in fiullscreen on Amazon), and then hit the capture button with your mouse after that play info stuff fades, you’ll get a full screen capture, no bottom bar visible, ready for saving and 20:20 posting.
OK, back to old movies. :)
OK, tonight I watched:
The Revenant before The Revenant.
More historical, better shot, no CGI. Richard Harris is a better actor. John Hiuston (acting).
It could have been great except:
The supporting cast lacked something. The Editing was a little too straightforward, and the Soundtrack was too grandiose (yes, it needed a different tack entirely). Interesting film.
I’ve seen this one. I have to say though. The newer film isn’t worse in any way, really. The story needed a modern retelling. But the original portrayed the bleakness of how much time passed much better.
Well, I preferred Harris’ acting, the cinematography and felt the story was cleaner without the excessively complicated subplots in the remake. I think they detracted from the story (sometimes less is more).
But I think it was weaker where I noted above. Of the two I preferred this. But IMO it wasn’t a great film. Could’a been…
I agree there with both versions. A good watch, but not award winning in either case.
If Huston had directed as well…hmmm
Grandpa Movies? Interesting. Does this count? If so, it’s probably my favorite “Grandpa Movie” of all time:
I will watch it every time it’s on television, and I own the extended DVD as well. I mean, directed by the legendary Lord Richard Attenborough (RIP), and starring a veritable who’s-who of Hollywood in the 1970’s and 80’s including Sean Connery, Michael Caine, Ryan O’Neal, Gene Hackman, Dirk Bogarde, Anthony Hopkins, James Caan, Michael Byrne, Elliot Gould, Denholm Elliott, Robert Redford, John Ratzenberger, and quite a few others, how could it not be a classic? Fantastic cinematography and an amazing score just make it even more appealing. It’s easily my favorite war movie of all time, and I’ve watched A LOT of them over the years.
Completely Agree! It’s in my never tabulated Top 10 War Movies. I have seen it (literally) more than 25 times…
Hail Mary!
Full of Grace!!
You sir, receive an invisible LIKE!
Voice of dissent: “Meh.”
This either needed to wait 20 years and be an HBO mini-series, or it needed to find a writer, editor, and director better than what this unfocused, disjointed mess got.
Ebert used to have a rule: the more stars you see on the movie poster in little boxes, the worse the movie is going to be.
Basically it was the “Bridge To Far”/“Towering Inferno”/“1941” rule.