Sheryl Crow - Live at the Capitol Theatre (November 09).jpg

Distributor: Cleopatra Entertainment

Release Date: November 09, 2018

Region: Region Free

Length –

Concert Film: 02:01:44
Live Album Disc One: 61 min
Live Album Disc Two: 62 min

Video: 1080P (MPEG-4, AVC)

Main Audio: 5.1 English DTS-HD Master Audio

Ratio: 1.78:1

Notes: This title is also available in a 3-Disc DVD/CD edition and as a Vinyl album (without any visual representation of the concert).

Still

“Since her 1993 global explosion with the multi-platinum Tuesday Night Music Club album, the one-time music teacher and studio vocalist from Kennett, Missouri has become one of the most acclaimed singer/songwriters across musical generations. On November 10, 2017, at the historic Capitol Theatre in Port Chester New York, Sheryl Crow played the final night of her critically acclaimed “Be Myself Tour“.

Sheryl Crow: Live At [The] Capitol Theatre’ is a complete concert filmed at the historic Capitol Theatre in Port Chester, New York. Sheryl and her band perform an explosive [two-hour] show… The performance was captured with sixteen [4K] cameras placed throughout the venue and mixed in 5.1 Surround Sound to deliver a state of the art reproduction of the live show.

‘Very rarely, you walk into a venue and deeply feel the musical history of the place,’ commented Crow. ‘The Capitol Theatre in Port Chester, New York is one of those places, with so many legendary shows by artists like The Grateful Dead, Eric Clapton, The Allman Brothers…..their imprint resonates. The vibe really elevated our performance. My band goes out and kills every night, but this set was on another level entirely. I’m so glad we were able to capture this show on film, it was one of those really special nights.’” –Liner Notes

In all honesty, this isn’t a concert film that will ever stand next to such titles as D. A. Pennebaker’s infamous Monterey Pop, Martin Scorsese’s overlooked The Last Waltz, Michael Wadleigh’s seminal Woodstock (which was edited by the likes of Martin Scorsese and Thelma Schoonmaker), or the notorious Gimme Shelter—but it wasn’t produced as a work of cinema. Director, Mark Ritchie simply put together a presentation of a very good performance by Sheryl Crow in its entirety with selected interview clips dispersed throughout its duration. Frankly, the interview excerpts were unnecessary and one wishes that they hadn’t been used as they tend to interrupt the flow of a very good show. As an essential element to what is in all respects an album release, this video representation of the concert certainly doesn’t disappoint. In fact, it might be said that it is an indispensable release for anyone who admires Crow’s music.

The nine-time Grammy award winner is in very good form as she performs songs that span the entirety of her career (with an emphasis on tracks from Tuesday Night Music Club, Sheryl Crow, The Globe Sessions, C’mon C’mon, and Be Myself). Songs from Wildflower, Detours, 100 Miles from Memphis are noticeably absent, and only a single track from Feels Like Home is included. This is really for the best since these albums weren’t amongst her better efforts—although “Always on Your Side,” “Where Has All the Love Gone,” and “Love is Free” would have been quite welcome and even preferable to a few of the included tracks.

Fans will also be thrilled to hear that Crow is backed by a very good band that includes Peter Stroud (Guitars, & Backing Vocals), Fred Eltringham (Drums), Audley Freed (Guitars), Josh Grange (Pedal Steel, Guitars, & Backing Vocals), Jennifer Gunderman (Keyboards, & Backing Vocals), and Robert Kerns (Bass, Acoustic and Electric Guitars, Bongos, & Backing Vocals).

The album includes the following twenty-one songs:

Everyday Is A Winding Road (from Sheryl Crow)
A Change Would Do You Good (from Sheryl Crow)
All I Wanna Do (from Tuesday Night Music Club)
My Favorite Mistake (from The Globe Sessions)
Be Myself (from Be Myself)
Long Way Back Home (from Be Myself)
Run Baby Run (from Tuesday Night Music Club)
Can’t Cry Anymore (from Tuesday Night Music Club)
The First Cut Is The Deepest (from The Very Best of Sheryl Crow)
Atom Bomb (New Composition)
Halfway There (from Be Myself)
There Goes The Neighborhood (from The Globe Sessions)
Leaving Las Vegas (from Tuesday Night Music Club)
Strong Enough (from Tuesday Night Music Club)
Heartbeat Away (from Be Myself)
Roller Skate (from Be Myself)
Best Of Times (from Feels Like Home)
Picture / If It Makes You Happy (from Sheryl Crow)
Soak Up The Sun (from C’mon, C’mon)
Midnight Rider (Previously Unreleased Cover)
I Shall Believe (from Tuesday Night Music Club)

Interestingly, her debut album fares the best with a total of six tracks from Tuesday Night Music Club contributing to the concert’s setlist. It shouldn’t come as a surprise to learn that her latest album, Be Myself, comes in at a close second with five tracks performed since the tour in question promoted that particular album. Her performances of the songs from these two albums are also the strongest of the entire show (although other listeners may have alternate opinions about this). In any case, there are plenty of hits included here to “make you happy,” so “it can’t be that bad.”

Albums Represented

These seven albums are represented in this landmark concert performance.

The Presentation:

5 of 5 Stars

The Digipack packaging is truly gorgeous and serves to protect all three discs without sacrificing aesthetic values. They really went the extra mile for this release, and fans will be quite pleased to have it on their shelves. Of course, these photographs should give readers a better idea of what to expect than any description could:

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The animated Blu-ray menus utilize footage from the concert and are intuitive to navigate. They are a bit old school in that there are separate menus for chapters (songs in this instance) and bonus features.

Picture Quality:

4 of 5 Stars

The transfer is really quite crisp and looks just a bit better than what people have come to expect from these releases. Encoding artifacts are either unnoticeable or nonexistent and color and contrast are reasonably well handled throughout (despite the limitations of “light-show” concert lighting practices).

Sound Quality:

4.5 of 5 Stars

The 5.1 mix is a great way to experience the concert in all of its glory as it really does a very nice job of wrapping itself around the listener. The Blu-ray disc is really the best way to experience the album in the home environment (even if you want to close your eyes and just listen to the music).

Special Features:

2.5 of 5 Stars

Her Words – (19:50)

These are longer clips of Sheryl Crow discussing various aspects of her career (some of which is included throughout the main feature). It is all quite interesting and nice to have as a bonus, but more context could have been provided about the various topics being discussed since we do not hear the actual questions. Fans with a base knowledge of her output will be able to figure the context out rather easily, but casual listeners may find that they aren’t quite certain as to which albums and songs she is discussing.

Slideshow – (02:15)

Most (if not all) of the photos included here are featured in the physical artwork for this release, so it is difficult to understand why the producers of the Blu-ray felt it was necessary to include this as a video supplement (with musical accompaniment from Strong Enough).

Trailer – (03:50)

The video promo for this release is also included on the disc for some unknown reason. It doesn’t add much to the proceedings and one wonders why it was included here at all since those who are viewing it on the disc already own the package. The phrase “singing to the choir” comes to mind.

Final Words:

This is without question a live album and not a film—but fans of the singer will probably agree that it is a very good album. In fact, it’s an essential package for fans of Sheryl Crow. It should provide them with hours of pleasure.

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Do you have any cinephiles on your gift list this year? It has been a fairly slow year for Alfred Hitchcock enthusiasts, but there is a handful of suspense thrillers and horror films that should please genre lovers. Better yet, we have included  a few releases that may have gone unnoticed or undiscovered by even the most enthusiastic devotees of cinema.

Those who are interested in one of these products should click on a title to read our full review.

Alfred Hitchcock

BLU-RAYS:

Under Capricorn

78/52: Hitchcock’s Shower Scene

BOOKS:

Hitchcock’s Heroines

Suspense Thrillers, Horror Films, and Dark Dramas

BLU-RAYS:

Silence of the Lambs – The Criterion Collection

Halloween (4K UHD)

Night of the Living Dead – The Criterion Collection

Invasion of the Body Snatchers

A Quiet Place

Sisters – The Criterion Collection

Village of the Damned

Summer of 84

My Friend Dahmer

Unsane

Classic Cinema

BLU-RAYS:

2001: A Space Odyssey (4K UHD)

The Apartment

Some Like It Hot – The Criterion Collection

The Two of Us

Les Parents Terribles (The Storm Within)

Henri-Georges Clouzot’s Inferno

BOOKS:

The Essential Films of Ingrid Bergman

(Note: Unfortunately, some of these titles may not be available to followers who aren’t living in North America.)

hitchcockmaster

Spine #89

Blu-ray Cover

Distributor: Criterion Collection (USA)

Release Date: October 23, 2018

Region: Region A

Length: 01:32:42

Video: 1080P (MPEG-4, AVC)

Main Audio: English Mono Linear PCM Audio (48 kHz, 1152 kbps, 24-bit)

Subtitles: English SDH

Ratio: 1.85:1

Bitrate: 34.71 Mbps

Notes:The Criterion Collection had previously released a DVD edition, but this is the film’s Blu-ray debut.

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WARNING:This article contains spoilers. We prefer not to discuss a film’s plot in intricate detail so that spoilers aren’t an issue, but it was necessary to compare very specific elements in Sisters to those found in Alfred Hitchcock’s work. We apologize in advance.

De Palma 1973 Brian De Palma in 1973

“I have found that people who like and are knowledgeable about Hitchcock also like Sisters—they know the references I am making to his films and they seem to appreciate it all the more for that. Which is good, because you could so easily…

View original post 6,206 more words

Blu-ray Cover

Distributor: Cohen Media Group

Release Date: October 30, 2018

Region: Region A

Length: 01:40:10

Video: 1080P (MPEG-4, AVC)

Main Audio: 2.0 French Mono Linear PCM Audio

Subtitles: English SDH

Ratio: 1.37:1

Notes: A DVD edition of this title is also available.

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“[Les Parents Terribles] is doing less well abroad than my other films. This is because the French language plays the leading part in it. The genius of the actors cannot overcome that difficulty.” -Jean Cocteau

Cocteau fans rejoice! There is a new film (or at least an old rarity) for you to discover. Adapted from Cocteau’s own successful play and starring the same actors featured in the initial stage production, Les Parents Terribles may be best described as a melodramatic farce.

The story is centered on a decidedly dysfunctional family unit: Yvonne (Yvonne de Bray) is a neurotic but doting Mother, who neglects her husband Georges in order to devote herself entirely to her son, Michel (who is portrayed by Cocteau’s muse, Jean Marais). Also on hand is Yvonne’s sister, Léo (Gabrielle Dorziat), who had been engaged to Georges but gave him up for his sake years ago when he fell in love with Yvonne. When Michel meets and falls in love with Madeleine (Josette Day—who had previously worked with Cocteau in Beauty and the Beast) and announces his engagement, Yvonne flies into a rage and refuses to support his decision. But things are only complicated further when his father is informed of the situation—it seems Madeleine has also been his lover and has made plans to end the relationship later that evening. Yvonne and Georges team up to break up young Michel and Madeleine (with the help of Léo).

Those who have seen Orpheus (or Beauty and the Beast for that matter) may be alarmed that Cocteau keeps his story grounded in reality in Les Parents Terribles—but the film’s lack of fantastic mythology cannot hide the story’s Greek origins as there is a fairly large debt owed to “Oedipus Rex.” It received extremely positive notices when it was released at the end of 1948, and Cocteau shared their enthusiasm claiming that it was his greatest success. Whether this is actually true or not is up for debate, but at least it is now available for comparison.

2K Restoration One Sheet

The Presentation:

3.5 of 5 Stars

The Blu-ray disc is protected by the standard Blu-ray case with insert artwork that features the 2018 re-release one sheet framed by the Cohen Media Group’s “C” logo. It seems poor form to criticize their practice of branding their films by framing their art in this manner, but one does wish that they would make the occasional exception—especially when the artwork is as attractive as what is used here. As a compromise, they could even make their covers reversible (one side without the “C” logo framing, and the other with the “C” logo framing)—although this would’ve made it impossible for them to feature the still that decorates the interior of the case. Cohen also includes a small booklet that features cast and crew credits and film related photography.

The disc’s menu features footage from the film and is both attractive and intuitive to navigate.

Picture Quality:

4 of 5 Stars

Cohen’s transfer of a perfectly respectable 2K restoration is decidedly attractive but never achieves the brilliance of some of their other restoration releases (such as their gorgeous transfer for The Two of Us). It is difficult to put one’s finger on the shortcomings in the image, but this reviewer feels obliged to admit a certain amount of disappointment. The black and white image is free from all possible issues and is only limited by: a.) the film’s original production elements, and b.) the nature of a scan rendered in 2K resolution. One can only imagine how glorious a 4K rendering would have been, but these results are more than satisfactory given the fact that this is a 1080P release.  Cocteau and Michel Kelber chose to shoot much of the film in depth and yet this transfer seems to be up to the challenge in terms of clarity and fine detail (especially considering that the scan was only rendered in 2K).

Sound Quality:

3.5 of 5 Stars

Cohen’s uncompressed dual French mono transfer has all of the vibrancies inherent in the film’s original sound elements and all of the deficiencies as well. In other words, this is a good representation of the original mono mix. Limitations should be expected from a French film that was released in 1948. Obviously, it would be unreasonable to expect the track to exhibit the same dynamic and fidelity one expects from modern mixes. Age related anomalies (such as his, hum, pops, and clicks) were absent enough to go unnoticed by these ears, and it seems as if all of the elements were clearly represented as well (though it is difficult to judge the clarity of dialogue spoken in French when one doesn’t actually understand the language).

Special Features:

3 of 5 Stars

Introduction by Richard Peña – (04:50)

Richard Peña is a professor of film studies at Columbia University and was once the program director of the Film Society of Lincoln Center, and his introduction to Les Parents Terribles gives a scholarly overview of the film’s production without ever becoming overly analytical. He merely sets the stage with an introduction to Jean Cocteau’s incredible background (he was a respected author and visual artist in addition to his incredible film work), his original stage play from which this film was adapted (the cast of the original stage play was carried over to the film), and some words about his approach to filming his play (he decided not to open it up). This reviewer isn’t usually a huge fan of “introductions” since they tend to bring very little in the way of information to a supplemental package, but Peña’s short discussion adds to one’s overall appreciation of the film. It is really nice to have it included here.

Camera Tests – (16:26)

It is surprising that these old screen tests even exist, and Cohen should be commended for including the footage on the disc. Perhaps even more astonishingly, most (but not all) of the footage is shown here with sound (though slightly out of synch at times).

Unfortunately, there is no contextual information provided to frame the viewer’s understanding of what they are seeing. An optional contextual commentary track, an introductory video, or even a screen including text explaining the footage may have added even more value to this particular addition. A subtitle track would have also been useful.

Interview with Claude Pinoteau (Assistant Director) – (09:14)

Claude Pinoteau was Jean Cocteau’s assistant director during the production of Les Parents Terribles, and his discussion about his experiences are more detailed than one might think (considering the interview’s relatively short duration). The footage mostly consists of Pinoteau sitting in a chair as he remembers working with a man he obviously admired a great deal but footage from the film is also utilized. The visual content may not be particularly extraordinary, and it is more difficult to absorb subtitled interviews given in a foreign language—but it is worth the viewer’s effort to indulge as the information given by Pinoteau is interesting (especially if you enjoyed this film or admire Cocteau).

Original Trailer – (03:06)

It is nice to see that Cohen has decided to include the film’s original trailer here (even if it doesn’t include subtitles). Their usual practice is to include only their re-release trailer…

Re-release Trailer – (01:15)

…which is also included.

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Final Words:

If the name Jean Cocteau doesn’t make you curious about seeing this rare film, you may not be the right audience for it. However, it must be said that the film isn’t rare because it is inferior to his more popular efforts. Unlike his classic fantasy films, Les Parents Terribles is more grounded and perhaps even more accessible. Luckily, it will be easy for discerning readers to form their own opinions as to where it stands in the director’s filmography now that Cohen Media Group has made their 2K Restoration transfer available on Blu-ray. It is an easy recommendation for anyone fond of Cocteau or classic French cinema in general.

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Distributor: Mill Creek Entertainment

Release Date: September 25, 2018

Region: Region A

Length:

Strait-Jacket – 01:32:52

Berserk! – 01:36:18

Video: 1080P (MPEG-4, AVC)

Main Audio: 1.0 English Mono Uncompressed PCM Audio

Subtitles: English SDH

Ratio: 1.85:1

Notes: “Strait-Jacket” was recently given its own individual release from Shout! Factory (which used a slightly different encoding of the same transfer). The biggest difference between the two discs is that Shout! Factory included supplemental features and this disc includes “Berserk!”

STRAIT-JACKET Title

Strait-Jacket (1964)

Strait-Jacket proves once again that William Castle has nothing in common with Alfred Hitchcock. Robert Bloch was commissioned to write the screenplay, but it never approaches the brilliance of Psycho. Alfred Hitchcock’s cinematic prowess elevated the material contained within Bloch’s novel, and Castle simply doesn’t have what it takes to elevate the pedestrian nature of Bloch’s screenplay for Strait-Jacket. They are obviously making a terrific effort to capitalize on the enormous success of Whatever Happened to Baby Jane?—but Robert Aldrich’s cult classic is also far superior to anything that Castle ever directed. However, Strait-Jacket is much better than most of his other horror endeavors. The viewer is spared the ham-fisted gimmickry that tended to interrupt the flow of his films, and Crawford’s performance is (at the very least) interesting. There is quite a bit of campy fun to be had in these ninety-two minutes.

Berserk - Title
Berserk! (1967)

The same cannot be said for Berserk! This is the sort of easy-to-solve “whodunit” that one might expect to see on episodic television (or in a made-for-television movie), but the real trouble isn’t the paint-by-numbers nature of the mystery formula. It is the filmmaker’s complete disregard for tone and pacing. Jim O’Connolly seems much too enamored with the circus acts as countless routines pad the film’s length to approximately 96 minutes. Sure, it is nice to see the trained poodles, elephants, lions, and other diversions out of context, but this slows the story down to an infuriating crawl. Of course, it is quite possibly just as well that these interruptions were included. Some of these acts were more engaging than the film’s plot.

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The Presentation:

3.5 of 5 Stars

Mill Creek Entertainment houses their Blu-ray disc in a standard Blu-ray case that features a sleeve with reasonably attractive film-related artwork.

Menu

The disc’s static menu is also attractive and should be intuitive for the viewer to navigate.

Picture Quality:

STRAIT-JACKET SS02

Strait-Jacket: 4 of 5 Stars

Two different Blu-ray releases of Strait-Jacket hit shelves within weeks of one another, and the good news is that both of these discs used the same high definition image master (albeit with slightly different disc encoding).

The biggest difference between these two transfers is that Mill Creek has presented the film in its original 1.85:1 aspect ratio while Shout! Factory offered a 1.78:1 transfer. This means that the top and bottom of the image contains a bit more information on the other disc, but this is more in line with what the audiences saw in theaters upon its release. An occasional blemish (usually white speckling) can be found throughout both transfers, but this is never distracting. Grain resolves adequately here on this disc, and the backs seem darker throughout the film. Contrast is reasonably well handled here, and the overall image showcases more detail than could be found on previous DVD releases.

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Berserk: 3.5 of 5 Stars

Mill Creek’s master for Berserk! appears to be less attractive but it is certainly watchable. One does at least feel that they are watching a Blu-ray. There is a decent amount of fine detail, contrast is reasonably well handled, and clarity is okay (though not particularly impressive). Color seems accurate but one wonders if the film wouldn’t have been better in black and white. There is some dirt and white speckling evident, but neither issue is ever distracting.

Sound Quality:

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Strait-Jacket: 3.5 of 5 Stars

Mill Creek includes a Linear PCM audio track in the film’s original mono, and the result is a solid rendering of the film’s original mix. It is obviously somewhat flat, but it would really be unreasonable to expect anything better. Those who refrain from comparing it with more recent sound mixes should find no fault here as all of the various elements come across clearly (including the music) as the lossless nature of the transfer gives it plenty of breathing room.

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Berserk: 3 of 5 Stars

Berserk! is also given a Linear PCM audio track in its original mono, but it doesn’t come across as strongly as the one for Strait-Jacket. It sometimes sounds boxed-in and seems to need more breathing room. It is impossible to say whether this is an issue with the transfer or if the original sound elements leave something to be desired. It never really becomes a problem in any case.

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Special Features:

0 of 5 Stars

There are no supplemental features included on the disc.

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Final Words:

Wouldn’t Strait-Jacket and I Saw What You Did make a more appropriate double feature? Both films were directed by William Castle and star Joan Crawford in “over the top” performances, and Mill Creek has released at least two double feature discs devoted to William Castle in the past. This could have fallen in line with those releases. Neither of these films could be called a “masterpiece,” but Strait-Jacket does at least engage the viewer. The same cannot be said for Berserk! This disc is worth the money if you happen to be a fan of either Joan Crawford or William Castle.

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Blu-ray Cover

Distributor: Lionsgate Films

Release Date: October 09, 2018

Region: Region A

Length: 01:54:19

Video: 1080P (MPEG-4, AVC)

Main Audio: 5.1 English DTS-HD Master Audio

Subtitles: English SDH, Spanish

Ratio: 1.78:1

Notes: This release includes a digital “Ultra-Violet” copy of the film.

Cartoon

“Yeah, it’s a cartoon where three cowboys apparently tracking somebody come across a wheelchair sort of stuck in the sand, and one of them turns the other one and says, don’t worry, he won’t get far on foot.” –Gus Van Sant (NPR, July 15, 2018 — about the film’s lengthy title)

Animated comic scribblings such as this one are integrated throughout the entire duration of Gus Van Sant’s most recent film and become a major part of the film’s language. The storyline concerns an aimless alcoholic named John Callahan (Joaquin Phoenix) who becomes a paraplegic after an all-night binge leads to an automobile accident. As he battles his addiction and attempts to stop drinking, he finds his voice and becomes a controversial cartoonist. It is a simple but ageless story about internal struggle and redemption. The film was cast with a number of incredible actors—including Joaquin Phoenix (as John Callahan), Jonah Hill, Rooney Mara, and Jack Black—who all give remarkable performances. The boundless potential of the material coupled with this A-grade talent boggles the mind, but it never quite lives up to this potential. When the final credits roll, the film is over and all but forgotten. Shouldn’t a drama as heavy as this one stay with the viewer?

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The Presentation:

3.5 of 5 Stars

Lionsgate houses their disc in a standard Blu-ray case featuring a sleeve with artwork different from the film’s original one sheet (although it does utilize 3 of the four stills). It isn’t an improvement over that earlier design, but it isn’t any less attractive either. Interestingly, both designs also feature the cartoon that gave the film its title. One wonders why this cartoon wasn’t used exclusively.  The first pressing also includes an O-sleeve featuring this same artwork.

The animated menus utilize footage from the film and are both attractive and intuitive to navigate.

Picture Quality:

4 of 5 Stars

Is it possible for one’s apathy towards a particular movie to leak into their perception of its transfer? This particular transfer certainly never really distinguishes itself as particularly impressive but it isn’t bad either. The film was a digital effort all the way down the pipeline, as it was shot on ARRIRAW at 3.4K resolution and then up-scaled to 4K for its master before being digitally distributed to theaters. On one hand, this seems to be the sort of project that should render a gorgeous transfer. However, it seems reasonable to assume that shooting in 3.4K and mastering in 4K might create a few shortcomings. Can anyone explain why anyone would do this? The result is decent enough. There is a soft overall look throughout the duration, but it still exhibits a reasonable amount of detail. The aesthetic must be what the filmmakers intended. That’s what counts.

Sound Quality:

4 of 5 Stars

The 5.1 Master Audio mix won’t put anyone’s speaker system to the test, but this isn’t do to any deficiencies in the transfer. What you hear is a faithful representation of the original sound design. Much of the protagonist’s dialogue is spoken either at a hoarse whisper or mumbled incoherently, and nothing about this mix will aid the listener in deciphering his words. This is why the included subtitle track is such a blessing.

Special Features:

1.5 of 5 Stars

It seems as if the producers of this Blu-ray didn’t put any thought into the disc in terms of actual supplemental content. There are no featurettes or documentaries about John Callahan or his work. There isn’t anything about the film’s creation or production history. There aren’t even any deleted scenes (and we know that such scenes exist). They didn’t even see fit to include the films theatrical trailer. All we have is a pair of bland EPK promos. Why did they even bother to include anything at all? They could’ve used this disc space on the film’s transfer, but then they would have no supplemental features to use in their marketing of the disc.

Inside the Accident – (03:28)

Inside the Accident covers the production of the accident scene and features some brief ‘behind the scenes’ footage, a few storyboards, and a conversation about one of John Callahan’s comic strips depicting the crash that was used for detail, the stunt work involved, and the actual accident. All of this is actually rather interesting but all too brief (and slightly awkward considering the fact that much of the footage discussed here was cut from the film).

Inside the Hospital – (04:26)

Inside the Hospital is a vague discussion that mostly covers their approach to the hospital scenes and the challenges that it posed for the production design due to the period nature of the film. It is interesting enough without actually giving the viewer a lot of insight.

Alternate Poster
Final Words:

Don’t Worry, He Won’t Get Far on Foot doesn’t quite live up to its potential and leaves the viewer wanting. It is certainly worth viewing (especially if you happen to be fans of the various actors involved), but it probably doesn’t warrant a blind purchase.

Alternate Poster 2

hitchcockmaster

Blu-ray Cover

Distributor: Lionsgate Films

Release Date: September 25, 2018

Region: Region A

Length: 01:30:56

Video: 2160P (HEVC, H.265)

Main Audio: 7.1 English Dolby TrueHD (48kHz, 24-bit)

Alternate Audio: Mono English Dolby Digital Audio

Subtitles: English, English SDH, Spanish

Ratio: 2.35:1

Notes:This title has seen many DVD releases and two Blu-ray releases. This marks the film’s UHD debut. Special features are never consistent when it comes to this particular title, and this creates a problem for anyone who wishes for a clean upgrade. The transfer for the UHD disc was sourced from different elements than the included Blu-ray (see below for a more detailed analysis).

Halloween

“Well, you call it a slasher film. I guess the original slasher film was Psycho. That was the film that all of these things are kind of based on… Psycho was the big daddy of them all. And it had a literal slashing scene in…

View original post 2,663 more words