Displaying items by tag: Christopher McQuarrie

All right, we’ve reached the Friday of another long summer week—San Diego Comic-Con week as it happens (more on that in a minute, and trust me—some of you guys are going to love what I’m going to tell you)—and The Bits website seems to be holding steady after all our recent upgrades.

With that in mind, we’ve got more new disc reviews for you to enjoy today, including…

Stephen’s reviews of Christopher McQuarrie’s The Way of the Gun (2000) in 4K Ultra HD from Lionsgate Limited and Bernardo Bertolucci’s Last Tango in Paris (1972) in 4K Ultra HD from Distribpix and Vinegar Syndrome.

And Tim’s reviews of Franco Prosperi’s Wild Beasts (1984) in 4K and Roy Ward Baker’s Asylum (1972) in 4K Ultra HD from Severin Films.

Speaking of Severin Films, the company is currently running their Summer Sale event on their website featuring lots of great deals, new Blu-ray and 4K announcements and more. To that end, we’ve got reviews coming here of Can Evrenol’s Baskin (2015) Ben Wheatley’s Kill List (2011), and Ruggero Deodato’s The House on the Edge of the Park (1980) in 4K, as well as Lamberto Bava’s Monster Shark (1984) and Tonio Ricci’s Night of the Sharks (1988) on Blu-ray. So be sure to watch for those next week!

While we’re on the topic of sales, Criterion has kicked off a Last Chance 50% Off Sale on in-stock titles at Barnes & Noble that ends on Sunday 7/27. So act fast if you’re interested! [Read on here...]

We’re back!

Sorry for the absence of news posts over these last few days, folks. It’s been a busy and chaotic week here at The Bits—not so much work wise, but personal life. Our family’s had a flurry of doctors appointments (all routine, thanks goodness, but still disruptive) and I’ve had to run a car in for servicing. Man, I hate it when real life intrudes on my 4K disc time! Anyway, things seem to be settling down, so it’s time to catch up on news, and then I’ll be working on some new disc reviews myself over the coming days as well.

First though, we do have a couple of reviews to share with you from the team, including...

Tim’s look at Tarsem Singh’s The Cell (2000) in 4K Ultra HD from Arrow Video—something of a complicated title to review, given its unique production characteristics, as well as the fact that Arrow implemented a disc replacement program.

And Stephen’s thoughts on Robert Wise’s The Andromeda Strain (1971) in 4K Ultra HD, also from Arrow Video, a terrific sci-tech thriller adapting Michael Crichton’s influential 1969 novel of the same name.

Also here at the site this week, we’ve posted a new update of our Release Dates & Artwork section featuring all the latest Blu-ray, DVD, and 4K Ultra HD cover art and Amazon pre-order links. As always, whenever you order literally anything from Amazon after clicking through to them from one of our links, you’re helping to support our work here at the site and we really do appreciate it! [Read on here...]

Good afternoon (or evening as the case may be), Bits readers! My wife and I had a houseguest here visiting yesterday, so today’s post is a little later than usual. But we’re starting as always with some new disc reviews...

First of all, on Monday I posted my thoughts on Christopher McQuarrie’s Mission: Impossible – Dead Reckoning Part One (2023) on 4K Ultra HD from Paramount, and just today I added a couple of additional Editor’s Notes discussing one of the film’s key story points as well as the 4K video quality (which I’ve revised downward just a tad from A to A-, the reason for which is explained in my review).

Also, Stephen has turned in his thoughts on Hideaki Anno’s (et al) Evangelion: 3.0+1.11 Thrice Upon a Time (2021) in 4K from GKids and Shout! Factory, and for those of you who aren’t familiar, he also gives you a good little primer on the topic.

Meanwhile, Stuart has weighed in with looks at William Dieterle’s The Life of Emile Zola (1937) and Richard Brooks’ The Last Time I Saw Paris (1954) on Blu-ray from the Warner Archive Collection, as well as Lise Akoka and Romane Gueret’s The Worst Ones (2022) on DVD from Kino Lorber.

Dennis has offered his take on Julian Schnabel’s Before Night Falls (2000) on Blu-ray from the Warner Archive as well as Mark Pellington’s The Severing (2022) on Blu-ray from Kino Lorber.

And finally, Tim has delivered an in-depth review of Kevin Connor’s Motel Hell (1980) in 4K Ultra HD from Scream Factory. [Read on here...]

All right, we’ve got just a quick batch of announcements to catch up on this morning...

First of all, just as we first reported here at The Bits many weeks ago, Paramount has officially set Christopher McQuarrie’s Mission: Impossible – Dead Reckoning Part One for Blu-ray, DVD, and 4K Ultra HD release on 10/31, with the Digital version due on 10/10. Expect Dolby Vision HDR and Dolby Atmos audio on the 4K.

Extras on the disc will include audio commentary by McQuarrie and editor Eddie Hamilton, plus a Deleted Scenes Montage, and 7 featurettes (Rome, Venice, Freefall, Speed Flying, Train, and Editorial Featurette: The Sevastopol). Look for 2 4K SKUs... a regular Amaray version and a Steelbook version. You can see the cover artwork at left and also below.

Also today, Lionsgate has set Talk to Me for physical media release on 10/3. It appears that there will be multiple versions: 4K + Blu-ray + Digital, Blu-ray + DVD + Digital, Amazon-exclusive 4K + Blu-ray + Digital, and Walmart Blu-ray + DVD + Digital. [Read on here...]

So I spent a couple hours up in Hollywood yesterday afternoon to cover something pretty interesting…

At a press event at the Screen Actors Guild, members of the UHD Alliance, three major consumer electronics manufacturers, and leading Hollywood filmmakers officially announced a new partnership effort to implement Filmmaker Mode as an extension of the 4K Ultra HD spec.

The idea is to ensure that when you watch a movie at home in 4K on your new Ultra HD display, whether from a disc, stream, or cable/satellite broadcast, it will look exactly as it should. UHD Alliance research suggests that as many as 80% of people who buy 4K TVs never change the settings out of the box. This means irritating features like motion smoothing and unnecessary processing are being applied to the image by default – processing that actually takes the picture away from the filmmakers’ intent.

What the Filmmaker Mode will do is to allow the user – either with one push of a button on the remote, or with a very easy and obvious menu setting – to set the TV’s display parameters to most accurately display the 4K content. This would be a baseline setting for the image – any added adjustments signaled by HDR10, HDR10+, or Dolby Vision metadata would happen on top of that setting. [Read on here...]