SKU: 6328809760

Skyjacker 1979-1986 GMC K2500 Suburban Add A Leaf

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Description

Skyjacker 1979-1986 GMC K2500 Suburban Add A LeafSoftride(R) Add a leafs use only American steel and are shot peened with hard steel pellets at very high velocities. This shot peening compresses the surface of the steel thereby increasing the tensile strength of the leaf. Without this shot peening procedure, the maximum wheel travel and ride quality could not be achieved without sacrificing the life of the leaf. The Skyjacker(R) add a leafs are pre drilled for the center pin. Pin location varies

Softride(R) Add-a-leafs use only American steel and are shot-peened with hard steel pellets at very high velocities. This shot-peening compresses the surface of the steel thereby increasing the tensile strength of the leaf. Without this shot-peening procedure, the maximum wheel travel and ride quality could not be achieved without sacrificing the life of the leaf. The Skyjacker(R) add-a-leafs are pre-drilled for the center pin. Pin location varies with each application. Most have long tapered ends for a progressive affect and ride comfort.

This Part Fits:

Year Make Model Submodel
1969-1974 Chevrolet Blazer Base
1987 Chevrolet Blazer Custom Deluxe
1988-1991 Chevrolet Blazer Scottsdale
1987-1991 Chevrolet Blazer Silverado
1975-1981 Chevrolet K10 Cheyenne
1981-1986 Chevrolet K10 Custom
1975-1980 Chevrolet K10 Custom Deluxe
1981 Chevrolet K10 Deluxe
1975-1986 Chevrolet K10 Scottsdale
1975-1986 Chevrolet K10 Silverado
1967-1974 Chevrolet K10 Pickup Base
1968-1974 Chevrolet K10 Suburban Base
1981-1986 Chevrolet K10 Suburban Custom
1975-1980 Chevrolet K10 Suburban Custom Deluxe
1981 Chevrolet K10 Suburban Deluxe
1975-1980,1982,1984-1986 Chevrolet K10 Suburban Scottsdale
1975-1977,1979-1980,1982-1983,1985-1986 Chevrolet K10 Suburban Silverado
1975-1981 Chevrolet K20 Cheyenne
1981-1986 Chevrolet K20 Custom
1975-1980 Chevrolet K20 Custom Deluxe
1981 Chevrolet K20 Deluxe
1975-1986 Chevrolet K20 Scottsdale
1975-1983,1985-1986 Chevrolet K20 Silverado
1967-1974 Chevrolet K20 Pickup Base
1968-1974 Chevrolet K20 Suburban Base
1981-1986 Chevrolet K20 Suburban Custom
1975-1980 Chevrolet K20 Suburban Custom Deluxe
1981 Chevrolet K20 Suburban Deluxe
1975-1980,1982,1984-1986 Chevrolet K20 Suburban Scottsdale
1975-1977,1979-1980,1982-1983,1985-1986 Chevrolet K20 Suburban Silverado
1977-1981 Chevrolet K30 Cheyenne
1981-1986 Chevrolet K30 Custom
1977-1980 Chevrolet K30 Custom Deluxe
1981 Chevrolet K30 Deluxe
1977-1986 Chevrolet K30 Scottsdale
1977-1986 Chevrolet K30 Silverado
1973-1974 Chevrolet K30 Pickup Base
1976 Chevrolet K5 Blazer Base
1975-1980 Chevrolet K5 Blazer Cheyenne
1981-1986 Chevrolet K5 Blazer Custom
1975,1977-1980 Chevrolet K5 Blazer Custom Deluxe
1981 Chevrolet K5 Blazer Deluxe
1984 Chevrolet K5 Blazer Scottsdale
1978,1980-1986 Chevrolet K5 Blazer Silverado
1987 Chevrolet V10 Custom Deluxe
1987 Chevrolet V10 Scottsdale
1987 Chevrolet V10 Silverado
1987 Chevrolet V10 Suburban Custom Deluxe
1987-1988 Chevrolet V10 Suburban Scottsdale
1987-1988 Chevrolet V10 Suburban Silverado
1989-1991 Chevrolet V1500 Suburban Scottsdale
1989-1991 Chevrolet V1500 Suburban Silverado
1987 Chevrolet V20 Custom Deluxe
1987 Chevrolet V20 Scottsdale
1987 Chevrolet V20 Silverado
1987 Chevrolet V20 Suburban Custom Deluxe
1987-1988 Chevrolet V20 Suburban Scottsdale
1987-1988 Chevrolet V20 Suburban Silverado
1989-1991 Chevrolet V2500 Suburban Scottsdale
1989-1991 Chevrolet V2500 Suburban Silverado
1987 Chevrolet V30 Custom Deluxe
1987 Chevrolet V30 Scottsdale
1987 Chevrolet V30 Silverado
1975-1977,1986-1989 Dodge W100 Custom
1968-1974 Dodge W100 Pickup Base
1961-1967 Dodge W100 Series Base
1977-1993 Dodge W150 Base
1990-1991 Dodge W150 S
1975-1980 Dodge W200 Base
1968-1974 Dodge W200 Pickup Base
1961-1967 Dodge W200 Series Base
1981-1993 Dodge W250 Base
1977-1980 Dodge W300 Base
1975-1976 Dodge W300 Custom
1968-1974 Dodge W300 Pickup Base
1961-1967 Dodge W300 Series Base
1981-1993 Dodge W350 Base
1986 GMC C2500 Suburban Sierra Classic
1970-1991 GMC Jimmy Base
1975-1985 GMC Jimmy High Sierra
1975-1990 GMC Jimmy Sierra Classic
1975-1982 GMC Jimmy Sierra Grande
1978 GMC Jimmy Street Coupe
1975-1978 GMC K15 Base
1975-1978 GMC K15 High Sierra
1977 GMC K15 Indy Hauler
1975-1978 GMC K15 Sierra Classic
1975-1978 GMC K15 Sierra Grande
1975-1978 GMC K15 Suburban Base
1975-1978 GMC K15 Suburban High Sierra
1975-1978 GMC K15 Suburban Sierra Classic
1975-1978 GMC K15 Suburban Sierra Grande
1967-1974 GMC K15/K1500 Pickup Base
1968-1974 GMC K15/K1500 Suburban Base
1979-1986 GMC K1500 Base
1979-1986 GMC K1500 High Sierra
1979-1986 GMC K1500 Sierra Classic
1979-1982 GMC K1500 Sierra Grande
1979-1986 GMC K1500 Suburban Base
1979-1986 GMC K1500 Suburban High Sierra
1979-1986 GMC K1500 Suburban Sierra Classic
1979-1982 GMC K1500 Suburban Sierra Grande
1975-1978 GMC K25 Base
1975-1978 GMC K25 High Sierra
1975-1978 GMC K25 Sierra Classic
1975-1978 GMC K25 Sierra Grande
1975-1978 GMC K25 Suburban Base
1975-1978 GMC K25 Suburban High Sierra
1975-1978 GMC K25 Suburban Sierra Classic
1975-1978 GMC K25 Suburban Sierra Grande
1967-1974 GMC K25/K2500 Pickup Base
1968-1974 GMC K25/K2500 Suburban Base
1979-1986 GMC K2500 Base
1979-1986 GMC K2500 High Sierra
1979-1986 GMC K2500 Sierra Classic
1979-1982 GMC K2500 Sierra Grande
1979-1986 GMC K2500 Suburban Base
1979-1986 GMC K2500 Suburban High Sierra
1979-1986 GMC K2500 Suburban Sierra Classic
1979-1982 GMC K2500 Suburban Sierra Grande
1977-1978 GMC K35 Base
1977-1978 GMC K35 High Sierra
1977-1978 GMC K35 Sierra Classic
1977-1978 GMC K35 Sierra Grande
1973-1974 GMC K35/K3500 Pickup Base
1979-1986 GMC K3500 Base
1979-1986 GMC K3500 High Sierra
1979-1986 GMC K3500 Sierra Classic
1979-1982 GMC K3500 Sierra Grande
1987 GMC V1500 Base
1987 GMC V1500 High Sierra
1987 GMC V1500 Sierra Classic
1987-1991 GMC V1500 Suburban Base
1987 GMC V1500 Suburban High Sierra
1987-1989 GMC V1500 Suburban Sierra Classic
1990 GMC V1500 Suburban SLE
1987 GMC V2500 Base
1987 GMC V2500 High Sierra
1987 GMC V2500 Sierra Classic
1987-1991 GMC V2500 Suburban Base
1987 GMC V2500 Suburban High Sierra
1987-1989 GMC V2500 Suburban Sierra Classic
1990 GMC V2500 Suburban SLE
1987 GMC V3500 Base
1987 GMC V3500 High Sierra
1987 GMC V3500 Sierra Classic
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SKU: 6328809760

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4.0 ★★★★★
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Stephen McLeod
Charlottesville, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002
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Old Cinephile
Phoenix, US
★★★★★ 5
"Happiness consists of being able to tell the truth without hurting anyone."
From the stunning, groundbreaking opening sequence of escaping asphyxiation to the fantastical harem scene to the final realization to become PART of life instead of just trying to control or run from it, Fellini's masterpiece gives us one of cinema's great rollercoaster rides of guilt, artistic creativity and self-acceptance. Certainly, one of the most influential films of all time it breaks completely free of convention and introduces us to the inner workings of director Fellini's world. And we are much richer for the journey. Sometimes painful, sometimes supremely funny we can't wait to find out about another hidden treasure or nightmare locked away in the mind of Guido Anselmi. You'll never think about directors and film making quite the same way again. Criterion does a fine job with this Blu-ray release. The restored image here has deep blacks, solid greyscale and brilliant whites. Grain is very tight with nice detail. Details in the characters' faces are easily seen. The cleaned up restored mono soundtrack is clear and the musical elements are without distortion. As usual for Criterion, the supplements are extremely generous with several fine documentaries, interviews, and a nice booklet with writings by Fellini and critics. Truly a must own for any physical media collection.
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Reviewed in the United States on May 12, 2024
C
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Christina Reynolds
Los Angeles, US
★★★★★ 5
A Tangled (But Necessary) Mess
My rating is more of a 4.5 Thanks for reading! 𝑰'𝒎 𝒏𝒐𝒕 𝒂𝒇𝒓𝒂𝒊𝒅 𝒂𝒏𝒚𝒎𝒐𝒓𝒆 𝒐𝒇 𝒕𝒆𝒍𝒍𝒊𝒏𝒈 𝒕𝒉𝒆 𝒕𝒓𝒖𝒕𝒉, 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒉𝒊𝒏𝒈𝒔 𝑰 𝒅𝒐𝒏'𝒕 𝒌𝒏𝒐𝒘, 𝒘𝒉𝒂𝒕 𝑰'𝒎 𝒍𝒐𝒐𝒌𝒊𝒏𝒈 𝒇𝒐𝒓 𝒂𝒏𝒅 𝒉𝒂𝒗𝒆𝒏'𝒕 𝒇𝒐𝒖𝒏𝒅. 𝑻𝒉𝒊𝒔 𝒊𝒔 𝒕𝒉𝒆 𝒐𝒏𝒍𝒚 𝒘𝒂𝒚 𝑰 𝒄𝒂𝒏 𝒇𝒆𝒆𝒍 𝒂𝒍𝒊𝒗𝒆 𝒂𝒏𝒅 𝑰 𝒄𝒂𝒏 𝒍𝒐𝒐𝒌 𝒊𝒏𝒕𝒐 𝒚𝒐𝒖𝒓 𝒇𝒂𝒊𝒕𝒉𝒇𝒖𝒍 𝒆𝒚𝒆𝒔 𝒘𝒊𝒕𝒉𝒐𝒖𝒕 𝒔𝒉𝒂𝒎𝒆. 𝑳𝒊𝒇𝒆 𝒊𝒔 𝒂 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒊𝒐𝒏. 𝑳𝒆𝒕'𝒔 𝒍𝒊𝒗𝒆 𝒊𝒕 𝒕𝒐𝒈𝒆𝒕𝒉𝒆𝒓! 8 & ½ s a 1963 Italian surrealist psychological comedy-drama film directed and co-written by Federico Fellini. Troubled Italian filmmaker Guido Anselmi struggles with creative stasis as he attempts to get a new movie off the ground. Overwhelmed by his work and personal life, the director retreats into his thoughts, which often focus on his loves, both past and present, and frequently wander into fantastical territory. As he tries to sort out his many entanglements, romantic and otherwise, Anselmi finds his production becoming more and more autobiographical. In the time it takes to complete a single project a director will don countless hats and faces, 8 & ½ centered around the demands of this position and the chaos that transpires on a given film set. Born January, 20th, 1920, Fellini started working on movies in the capacity of a screenwriter, his earliest works including varying radio sketches and recipiency of his first screen credit for 𝑻𝒉𝒆 𝑷𝒊𝒓𝒂𝒕𝒆'𝒔 𝑫𝒓𝒆𝒂𝒎 in 1940. Shortly thereafter Fellini found himself continuously having more responsibility put on his plate, with some assignments requiring him to provide labor he hadn’t expected before: example of which being when he had to some acting of his own while 𝑳'𝑨𝒎𝒐𝒓𝒆 (1948) was in production. These roles run amok in 8 & ½, eventually culminating in Guido’s hesitancy to hand full reign of a given task to a given (But seemingly qualified) colleague, his worry somewhat rooted in the anticipated receptiveness of his anticipated audience to his final product; likewise, this disposition is further informed by what Fellini’s perceived as overt failures prior to the 8 & ½, as 𝑽𝒂𝒓𝒊𝒆𝒕𝒚 𝑳𝒊𝒈𝒉𝒕𝒔 (1950) left him with debts that took a decade to resolve on the account of it being poorly received. So begs the question at the root of Guido’s tangential laments and ruminations: Should movies be made primarily for an audience as a remote victory or reflective of its crew as a personal disaster? 8 & ½ opens on Guido Anselmi: Marcello Mastroianni bringing just the right amount of cool and cosmopolitan with an almost hitman disposition; as the production he is in charge of unfolds his appearance cracks under the pressure of this creation, in due time revealing someone that isn’t as confident as he appears and further upon at great risk of sinking in to an otherwise listless existence. Anselmi’s woes are interspersed with what can only be described as hazy dreams, the latter more overtly inspired by the subjects of religion and a pair of parental figures whom remain unimpressed by their sons’ abilities after having already passed away. Further investigation reveals to what extent these may be manifestations of insecurity on Fellini’s behalf; prior to working on films Fellini enrolled in a law school for the sake of pleasing his parents (though no record exists of him ever attending a class), and in spite of considering himself to be Catholic he avoided former activity in a corresponding church. No-one can speak with confidence as to what drove this refusal, except to say on the topic of faithfulness in the context of his marriage he was a known transgressor: so much so that in spite of marrying Giulietta Masina in 1943 he attended the funeral of his father with an identified mistress in 1956. Whether out of embarrassment, shame, or whatever else may be attributable, Guido’s stream of consciousness (And disloyalty to his partner Luise), as it play out in 8 & ½ is a muddle of personal experiences, and then some as evidenced by Fellini’s own comments aside: 𝑰𝒕 𝒊𝒔 𝒏𝒐𝒕 𝒎𝒆𝒎𝒐𝒓𝒚 𝒕𝒉𝒂𝒕 𝒅𝒐𝒎𝒊𝒏𝒂𝒕𝒆𝒔 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔. 𝑻𝒐 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔 𝒂𝒓𝒆 𝒂𝒖𝒕𝒐𝒃𝒊𝒐𝒈𝒓𝒂𝒑𝒉𝒊𝒄𝒂𝒍 𝒊𝒔 𝒂𝒏 𝒐𝒗𝒆𝒓𝒍𝒚 𝒇𝒂𝒄𝒊𝒍𝒆 𝒍𝒊𝒒𝒖𝒊𝒅𝒂𝒕𝒊𝒐𝒏, 𝒂 𝒉𝒂𝒔𝒕𝒚 𝒄𝒍𝒂𝒔𝒔𝒊𝒇𝒊𝒄𝒂𝒕𝒊𝒐𝒏. 𝑰𝒕 𝒔𝒆𝒆𝒎𝒔 𝒕𝒐 𝒎𝒆 𝒕𝒉𝒂𝒕 𝑰 𝒉𝒂𝒗𝒆 𝒊𝒏𝒗𝒆𝒏𝒕𝒆𝒅 𝒂𝒍𝒎𝒐𝒔𝒕 𝒆𝒗𝒆𝒓𝒚𝒕𝒉𝒊𝒏𝒈: 𝒄𝒉𝒊𝒍𝒅𝒉𝒐𝒐𝒅, 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓, 𝒏𝒐𝒔𝒕𝒂𝒍𝒈𝒊𝒂𝒔, 𝒅𝒓𝒆𝒂𝒎𝒔, 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔, 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒑𝒍𝒆𝒂𝒔𝒖𝒓𝒆 𝒐𝒇 𝒃𝒆𝒊𝒏𝒈 𝒂𝒃𝒍𝒆 𝒕𝒐 𝒓𝒆𝒄𝒐𝒖𝒏𝒕 𝒕𝒉𝒆𝒎. 8 & ½ in its infancy came to Fellini in 1960, at that time described as being about a man with an unidentified profession suffering from creative block on the account of his life being disrupted by a “not-too-serious disease”. Given the go ahead to start production in 1962, Fellini would eventually draft a letter confessing that he had “lost his film” with the intent of abandoning the production, this action interrupted by a request to launch the celebration of it; it was only then that Fellini decided to tell a story about a director who know longer knew what kind of film he wanted to make. Both a sign of the times and personal preference, 8 & ½’s dialogue was edited and finalized in its post-production phase: a practice that allowed for the use of less experienced actors at the cost of them needing more direction on set in addition to the dubbing of related noises after the fact. In light of this, and perhaps needless to say, what 8 & ½ reflects in regards to stifled expressiveness feeds into its otherwise harebrained pacing, not to mention the drab of its monotone landscape. During the earlier part of Fellini's career his film related assignments took on an ulterior motive: they allowed for him to avoid the draft associated with a declaration of war made against France and Britain on Benito Mussolini’s behalf, and was something that would inform the nature of his work until approximately 1945. The extent to which this habit of coming on board any given film-related opportunity affected the entirety of his filmography was never addressed - much less inquired about - though it would be appropriate to underscore what this had to have demanded in light of reception that was unpredictable. The good news is that by the time 8 & ½ was released Fellini had made well-enough of a name for himself given the broad applicability of the themes he entertained, though this established competency made him no more immune to the demands made by the Production Studios he’d end up collaborating with: this is most reflected in 8 & ½’s conclusion, as it was originally intended to implicate suicide more explicitly as a ‘viable option’ for Guido. Fairly describable as a tangled mess of hope, fantasy, and some extent delusion, 8 ½ walks that fine line between pleasing the masses and rubbing its own ego, and perhaps that’s why it was robbed of its working title, ‘𝑻𝒉𝒆 𝑩𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝑪𝒐𝒏𝒇𝒖𝒔𝒊𝒐𝒏’; but, then again, maybe that’s what happens when art imitates life and vice versa.
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Reviewed in the United States on May 13, 2024
R
Verified Purchase
Randy Keehn
Birmingham, US
★★★★★ 5
How Good is Great?
I purchased this DVD because of its' sustained superior ratings in the Sight and Sound survey every decade of the best films of all time. Obviously, there must be something very great about this movie. There is but but there are some second thoughts that plagued me along the way. First of all, I am always impressed by a film's ability to hold our attention. This is often where the skill of film editing is best appreciated. I confess that I found myself looking for some scenes in "8 1/2" to move along. This is a cerebral movie, not an action movie but there seemed to be a fair amount of redundancy. Secondly, I was surprized by the sound work on this movie. I made a quick glance at a few other reviews but didn't see any similar comments. Thus I don't know if it was just my copy. However, the sound didn't match up with the film very well at all. This gives the movie an odd appearance of being an Italian movie dubbed in Italian. Was I missing something? Finally, the message in this film, for me, was "to your own self be true" which is certainly a valid philosophy; just ask Socrates. However, it was stretched to come across as "accept me for who I am, not whom you want me to be". This message is still a valid philosophy but a bit harder for some of us to accept. Having said all of that, let me praise the movie; (I DID give it a "5" after all). The acting is terrific; especially Marcello Mastroianni whose air of detachment fit the movie so well. The photography (B&W) was excellent, as well. The story is one of a director who has lost his own direction. As he stumbles aimlessly along supposedly putting together a film, his inteactions with others and his reminiscences give us an insight to his confusion. His world is overwhelming him and he can't figure out where to turn. He is much the victim of himself (which makes the message that much harder to swallow). As his crisis reaches its' own crisis, the movie rights itself with his discovery of his own self-awareness. Everything comes together at the end with a message of hope (primarily for the director). The beauty of the movie is how we are able to follow the character's collapse and rebirth. It is also in the way we can see the rest of the world through his own eyes. This is the sort of movie that will expand with each re-viewing. The DVD contains a second disc with information and reviews about the movie and the Director. This is a good movie that caught me off-guard because I was victimized by too much advance hype. I understand the hype but it would have been better to discover it for myself. Discover it for yourself and it will be a movie you'll remember.
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Reviewed in the United States on April 4, 2004
Y
Verified Purchase
yummymayo
Lake Worth, US
★★★★★ 5
BD Version.
One of my top five films of all time. I won't speak much about the film itself, under the assumption most readers have already seen it. You can be guaranteed a fantastic film if you haven't seen this yet. As far as the BD itself, the transfer is absolutely fantastic! The DVD version itself already had a pretty pristine transfer, but of course with the BD upgrade the resolution and detail is so much better, and of course comes loaded with extras and an accompanying booklet that is actually quite thorough and should be considered an item in itself, and not just a supplement to the disc. I haven't watched them all, but the extras that are bundled with the film are plentiful and quite informative. Often times with extras you feel as though it is just filler and fodder (let's be honest, it usually is) but at least Criterion makes a conscious effort to make it interesting. I'd say the extras are worthwhile, and also an upgrade from the DVD version. The biggest difference I noticed from my first viewing is that the subtitles are slightly changed from the DVD version, and also theatrically. There are probably lots of different translations, but it IS different from the DVD but not drastically. The same point is made, but just using a different delivery. Not sure how I feel about some of the changes, but I probably just got used to the previous translation. I'm not sure where some of these discrepancies or complaints are coming from that have surfaced recently, but my copy was packaged in the special made Criterion jewel cases, NOT the cardboard ones, and of course not the actual blue ones. For a while, with some of the earlier releases, Criterion was releasing its BDs in cardboard slip case and digi-pack format which angered a lot of customers who spoke their voice and got them to upgrade to the now standard jewel cases. A good move in my opinion, but now I'm stuck with Third Man and 400 Blows in cardboard. Reportedly, you can send in the old cases to get upgraded to new ones, but it'll cost you 5 bucks each, so... I think I can live with it.
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Reviewed in the United States on January 24, 2010

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