‘Taxi Driver’ Bound for 4K Ultra HD Steelbook from Sony Pictures Home Entertainment

Sony Pictures Home Entertainment is releasing Martin Scorsese’s 1976 classic Taxi Driver as a limited-edition 4K Ultra HD + Blu-ray + digital Steelbook combo pack on June 25.

The award-winning film stars Robert De Niro as a psychotic New York cabbie driven to violence by loneliness and desperation. Costars include Jodie Foster, Albert Brooks, Harvey Keitel, Peter Boyle and Cybill Shepherd.

Taxi Driver won the prestigious Golden Palm Award at the 1976 Cannes Film Festival and was nominated for four Academy Awards.

The 4K Ultra HD disc features the film restored from the original camera negative and presented in 4K resolution with Dolby Vision and 5.1 surround sound + mono.

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Special features include a making-of documentary, storyboard-to-film comparisons with an introduction by Scorsese, animated photo galleries and the 20th anniversary re-release trailer.

The Blu-ray Disc features the film in high-definition, sourced from the 4K master, also with 5.1 surround sound.

Special features include a 40-minute Q&A with Scorsese, De Niro, Foster and and others, recorded live at the Beacon Theatre in New York City at the 2016 Tribeca Film Festival; a commentary by Scorsese and writer Paul Schrader (recorded by the Criterion Collection); additional commentaries 
by Schrader and professor Robert Kolker; and a tribute to Scorsese, among other extras.

Fox Nation to Stream Martin Scorsese Faith-Based Series ‘The Saints’ Beginning Nov. 16

The Fox Nation subscription streaming VOD service March 27 announced a partnership with Academy Award-winning director Martin Scorsese for an eight-part docudrama series, “Martin Scorsese Presents: The Saints,” slated for Nov. 16 release.

The eight one-hour episodes explore the stories of eight men and women who risked everything to embody humanity’s most noble and complex trait — faith.

The docudrama will premiere in two parts, with the first four episodes set to release on Nov. 16, and the final set to conclude in May 2025, spanning the Holy season. Over the full course of the docudrama, Scorsese journeys through more than 2,000 years of history from nearly every continent. Each episode focuses on a singular saint, including Joan of Arc, Francis of Assisi, John the Baptist, Thomas Becket, Mary Magdalene, Moses the Black, Sebastian and Maximilian Kolbe.

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“I’ve lived with the stories of the saints for most of my life, thinking about their words and actions, imagining the worlds they inhabited, the choices they faced, the examples they set,” Scorsese said in a statement. “These are stories of eight very different men and women, each of them living through vastly different periods of history and struggling to follow the way of love revealed to them and to us by Jesus’ words in the gospels.”

Developed by Scorsese for Lionsgate Alternative Television, the series was created by Matti Leshem, written by Kent Jones, who frequently collaborates with Scorsese, and directed by Elizabeth Chomko.

Additional executive producers alongside Scorsese and Leshem include Julie Yorn, Rick Yorn, Christopher Donnelly, Yoshi Stone and Craig Piligian. Along with Lionsgate, the series was produced by Sikelia Productions, Weimaraner Republic Pictures, LBI Entertainment and Halcyon.

“Having the greatest storyteller tell some of the greatest stories of all time is exactly the kind of exclusive content that is driving FOX Nation’s success,” Jason Klarman, chief digital and marketing officer at Fox News Media, said in a statement.

Scorsese’s ‘The Departed’ Due in 4K Ultra HD on Disc and Digital April 23

The 2006 thriller The Departed from director Martin Scorsese (Raging Bull, Goodfellas) will be available for purchase in 4K Ultra HD on disc and digital for the first time April 23 from Warner Bros. Discovery Home Entertainment.

The film was nominated for five Academy Awards and won four, including Best Picture, Best Director (Scorsese), Best Film Editing and Best Adapted Screenplay.

The Departed stars Leonardo DiCaprio (The Revenant, The Wolf of Wall Street), Matt Damon (Good Will Hunting, The Martian), Jack Nicholson (One Flew Over the Cuckoo’s Nest, Terms of Endearment, As Good as It Gets), and Mark Wahlberg (The Fighter, Boogie Nights), with Martin Sheen (television’s “The West Wing,” Apocalypse Now), Ray Winstone (That Summer, Nil by Mouth), Vera Farmiga (Up in the Air), Alec Baldwin (The Cooler), Anthony Anderson (television’s “Black-ish,” Hustle & Flow), and James Badge Dale in supporting roles.

The screenplay is by Academy Award Winner William Monahan and is based on the 2002 Hong Kong action thriller Internal Affairs by Alan Mak and Felix Chong. 

In the thriller set in Boston, a long-simmering hostility between the police department and an Irish American gang led by Frank Costello is primed to explode. The fuse is lit when a gangster is chosen to infiltrate the police force, and a young cop goes undercover within the gang.  When the two moles uncover each other’s identity, the battle begins.

The 4K remaster of The Departed was completed at Warner Bros. Discovery’s Motion Picture Imaging (MPI) with the participation of the film’s Academy Award-winning editor Thelma Schoonmaker (Raging Bull, The Aviator).

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Special features include “Guilt and Betrayal: Looking into The Departed” (new); “Stranger than Fiction: The True Story of Whitey Bulger, Southie, and The Departed”; “Crossing Criminal Cultures”; and nine deleted scenes with introductions by Scorsese. 

Apple to Theatrically Re-Release ‘Killers of the Flower Moon’ Jan. 26 in Partnership With Paramount

On the heels of Killers of the Flower Moon landing 10 Academy Award nominations, Apple Jan. 24 announced that the feature will be re-released in theaters, in partnership with Paramount Pictures, for a limited theatrical run in 1,000-plus locations globally, beginning Jan. 26.

The film was nominated for Oscars for Best Picture, Best Director (Martin Scorsese), Best Supporting Actor (Robert De Niro), Best Costume Design, Best Production Design, Best Original Score, Best Original Song, Best Film Editing and Best Cinematography, as well as garnered history-making nods for Indigenous representation including nominations for Best Actress Lily Gladstone, artist Robbie Robertson for Best Original Score and Scott George for Best Original Song “Wahzhazhe (A Song for My People),”

The film recently received nine BAFTA Film Award nominations, including Best Picture, and has been honored as the Best Film of the Year by the National Board of Review, which named star Lily Gladstone as Best Actress, Martin Scorsese as Best Director and Rodrigo Prieto for Outstanding Achievement in Cinematography. The film has also been named to the American Film Institute’s list of Motion Pictures of the Year. The film has received more than 200 accolades, in addition to recognition from more than 30 critics groups globally, and has been named the No. 1 Best Film of 2023 by The New York Times and The New Yorker, and Best Film by the New York Film Critics Circle. Gladstone recently made history as the first Indigenous actress to win Best Performance by an Actress in a Motion Picture — Drama at the 81st Annual Golden Globe Awards.

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Killers of the Flower Moon is set at the turn of the 20th century, when oil brought a fortune to members of the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted and stole as much Osage money as they could before resorting to murder. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Gladstone), “Killers of the Flower Moon” is an epic western crime saga, where real love crosses paths with unspeakable betrayal.

Filmmaker Mode Now Auto-Enabled for Apple TV+ Content on LG, Samsung TVs; Also Paired with Dolby Vision on LG Screens

LAS VEGAS — With famed director Martin Scorsese in its corner, the UHD Alliance Jan. 8 announced two new developments for its Filmmaker Mode: automatic implementation for Apple TV+ content viewed on LG Electronics and Samsung TVs, and a paired enablement, with Dolby Vision, on LG displays.

Filmmaker Mode is an Ultra HD TV setting designed to reproduce movie and TV content on home screens the way the creator wants them to be seen.

“From our perspective, this really ensures that consumers will be able to see films the way they were intended, without much hassle,” Michael Zink, the former Warner Bros. executive who serves as president and CEO of the UHD Alliance, said at a press conference.

“As you may recall, one of our core tenets when we developed Filmmaker Mode has always been about simplifying consumer messaging, and we feel this is an important step toward that,” he said. “Filmmaker Mode has never been about one format or the other — it’s about every format out there, and it’s really a testament to wanting to make sure that consumers, once they see the brand, know they’re going to see the film the way it was intended to be seen, no matter what format it’s being played on.”

Mark Lee, who heads the North American content business development team for LG, told reporters at the press conference that LG has been a big supporter of the UHD Alliance “from the beginning, and when it comes to Filmmaker Mode, we supported the feature starting with our TVs in 2020. And with the support of the Alliance, we continued to innovate, where in 2021, we became the first manufacturer to enable Filmmaker Mode on Prime Video content — to where we are today, with our partnerships with Apple and Dolby Vision, we’re able to enable Filmmaker Mode automatically on LG OLED and our QNED TVs.”

Dolby Vision plus Filmmaker Mode is available on QNED TVs with 85-inch screens or larger.

Introduced by the UHD Alliance in August 2019, Filmmaker Mode gives viewers a more cinematic experience by disabling all post-processing (such as motion smoothing) so a movie or television show is displayed as it was intended by the filmmaker, preserving the correct aspect ratios, colors and frame rates.

Scorsese was not in attendance at the UHD Alliance press conference, held at the Mandalay Bay Convention Center on the eve of CES 2024. But the UHD Alliance at the press conference unveiled a promotional clip in which the director maintains “every movie should be seen in Filmmaker Mode.” Watching a movie on many TVs with motion smoothing and brightness settings, he says, is “like watching an incomplete record of the film.”

The promo clip was produced by LG and Apple TV+, home to Scorsese’s latest film, Killers of the Flower Moon.

Scorsese has been a champion of film preservation for years. He once spearheaded a campaign urging Eastman Kodak to develop a more stable film stock. He also is founder and chair of The Film Foundation, a nonprofit organization established in 1990 that is dedicated to protecting and preserving motion picture history.

In a statement at CES four years ago he called Filmmaker Mode “a long overdue and welcome innovation.”

The UHD Alliance — comprised of leading consumer electronics manufacturers, film and television studios, content distributors and technology companies — establishes performance requirements for resolution, high dynamic range, color and other video and audio attributes with an eye toward giving consumers the best possible 4K UHD with HDR experience. Home entertainment products, mobile devices and content meeting these certification requirements bear the UHDA’s Premium Logo marks, making them easy for consumers to identify and purchase with confidence.

Zink talked about the growing number of movies and shows that are available for viewing thanks to the surge in streaming services, which he believes bodes well for future deployment of Filmmaker Mode.

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He brought to the podium Ailen Matthies, COO of Brazilian data science firm BB Media, who noted that on a worldwide basis upwards of 1.5 million movies and TV shows are available for streaming, three times as many as in 2020. She pointed to BB Media data that shows 3,500 new streaming services launched last year, with expectations for a similar number this year.

Already, as of Jan. 8, 780 new streaming services have been announced for 2024, she said.

Zink later said the proliferation of content, and the fact that it lives on in the home, is why “content quality and making sure content is being displayed correctly is so near and dear to our hearts.”

‘Killers of the Flower Moon’ Headed to Premium Digital Dec. 5

Apple Original Films’ Killers of the Flower Moon, from Martin Scorsese, will debut on premium video-on-demand (digital rental) and PEST (premium digital purchase) beginning Dec. 5 in collaboration with Paramount in more than 100 countries, before streaming globally on Apple TV+.

Directed by Martin Scorsese and written for the screen by Eric Roth and Scorsese, based on David Grann’s best-selling book of the same name, Killers of the Flower Moon is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror. The film stars Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, Cara Jade Myers, JaNae Collins and Jillian Dion.

Killers of the Flower Moon was named Best Film of 2023 and Lily Gladstone was awarded Best Actress by the New York Film Critics Circle. The film was also recently honored with the Gotham Historical Icon and Creator Tribute at the Gotham Awards and awarded Best Score — Feature Film from the Hollywood Music in Media Awards. It is set to be recognized with the Vanguard Award at the Palm Springs International Film Festival Film Awards gala event next January.

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Killers of the Flower Moon was distributed theatrically starting Oct. 20 by Paramount Pictures. The film has earned $154.3 million at the global box office.

Casino (Remastered Edition)


$21.98 Blu-ray;
Rated ‘R’ for strong brutal violence, pervasive strong language, drug use and some sexuality.
Stars Robert De Niro, Joe Pesci, Sharon Stone, James Woods, Don Rickles, Alan King, L.Q. Jones, Frank Vincent, Kevin Pollak, Pasquale Cajano.

When did Martin Scorsese depart his endlessly experimental Sam Fuller period and cross over to the dull side by hemorrhaging equal doses of David Lean’s picturesque vacuity and the well-intentioned messaging of Stanley Kramer? The crushing letdown sustained by his last three pictures is almost too much to bear. Silence appeared to have been made in order to avoid litigation that stemmed from a verbal agreement the director had with Italian producer Vittorio Cecchi Gori after the release of Kundun (1997). Next up, the made-for-Netflix gangster rehash, The Irishman. Given the film’s limited theatrical release, Scorsese, knowing full well that the majority of the viewing public would watch the film in their home theaters, shot accordingly. I preferred it when the director, not the medium, dictated shot size. With well over half the picture framed in TV safe tight shots, the end result was more closeups than a colonoscopy. When it came to trafficking in messages, Martin Scorsese once prided himself on being a master smuggler. His latest feature, Killers of the Flower Moon, is a bloated message picture, felling viewers with an overinflated sense of manufactured prestige and self-importance. We’ll have more to say on Flower Moon when it settles on physical media. Until then, there’s a newly remastered edition of 1995’s Casino to savor, and boy, do we need it now!

No contemporary American filmmaker in my lifetime has done more to preserve film and encourage the theatrical life cycle of motion pictures than he. Taxi Driver made such a profound impact on my 21-year-old psyche that I was halfway through the 4:30 presentation before realizing the 2:15 matinee had ended. The Landmark Varsity in Evanston, Ill., brought it back on Oct. 6, 1981, the same day Anwar Sadat was assassinated. The crowd was anything but the somber gathering one might have expected. They greeted Travis Bickle as they would a character in a screwball comedy. True comedic force. I’ve never looked at the film the same way since. Offscreen, film-devotee Scorsese was the first to decry the multiplexing of American single screens in the name of staggered showtimes. Knowing that greater numbers of viewers were watching films on home video, he waited until 1991 — when TV screens were big enough and viewers finally tolerant enough to deal with a letterboxed image — to at last shoot a picture in Panavision.

Raging Bull was filmed in black-and-white to protest what he understood to be a crisis in unstable color film stock. I was working the day watch out of dispatch at Cablevision when Raging Bull first played on HBO. A customer called to complain that she heard profanity coming from the driver’s two-way radio. Was it wrong to try and bring a smile to the faces of my co-workers in the field by hitting the push-to-talk button every time a certain line of dialogue, something about Salvi and an elephant, came on? (I was written up and almost fired over it.) I’ve seen it so many times that my lips move while I’m watching it.

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Goodfellas is Mean Streets is I Call First: all masterpieces, but after his debut gangster outing there wasn’t much in the way of cinematic headway. Mean Streets is raw cinema compared to the more polished Goodfellas, and if hard pressed, the nerves struck in I Call First (a much stronger title than Who’s That Knocking at My Door?) are more brutally honest than anything else in Scorsese’s canon. Casino is a wall-to-wall rollick, the director’s only unmitigated comedy and a definite advancement in gangster picture-making. At their core, Scorsese protagonists are thinly veiled Christ figures. After years of experimenting, Scorsese finally worked through his Christ fixation by killing Ace Rothstein (Robert De Niro) in reel one, only to have him resurrected in reel seven.

The astonishing opening hour — a historically resplendent introduction to the inner workings of Las Vegas — can hold its own alongside any of the so-called “legitimate” documentaries on the subject. And “Moonglow” in the money room? Nothin’ finer! This time, he not only gave New York a rest, he let the Italians off the hook by handing the Jews a thorough working over. The result is some of the funniest dialogue in any of his films, and without the hint of irony associated with the ending of Taxi Driver. The laughs keep building at a steady flow until reaching the point of it ain’t funny no more. The culmination is Scorsese’s most unrelentingly effective use of violence to date. We’re not talking “cool” violence like the fountain pen tracheotomy. The final act of inhumanity leaves an indelible mark, making it impossible to unsee the barbaric demise of the Spilotro Brothers substitutes. The whacking and subsequent desert deposition of Nicky (Joe Pesci) and Frank (Frank Vincent) is a chilling update of the time-honored “crime doesn’t pay” dictum.

Lastly, the resurrection of Rothstein isn’t the only thing Scorsese aced. For the first (only?) time, Scorsese presents us with a strong female character capable of running with the herd. As for the special features, they’re all holdovers from previous pressings.

Scorsese Film ‘Killers of the Flower Moon’ to Bow in Theaters Oct. 6 Before Streaming on Apple TV+

Apple Original Films announced that Martin Scorsese’s Killers of the Flower Moon will first be released exclusively in theaters worldwide, in partnership with Paramount Pictures, limited on Friday, Oct. 6, and wide on Friday, Oct. 20, before streaming globally on Apple TV+.

Directed by Scorsese and written for the screen by Eric Roth and Scorsese, based on David Grann’s bestselling book of the same name, Killers of the Flower Moon is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror. The film stars Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal.

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Hailing from Apple Studios, Killers of the Flower Moon was produced alongside Imperative Entertainment, Sikelia Productions and Appian Way. Producers are Scorsese, Dan Friedkin, Bradley Thomas and Daniel Lupi, with DiCaprio, Rick Yorn, Adam Sommer, Marianne Bower, Lisa Frechette, John Atwood, Shea Kammer and Niels Juul serving as executive producers.

Criterion March 2022 Slate Includes Scorsese’s ‘Last Waltz,’ James Stewart’s ‘Flight of the Phoenix’

Titles being released on Blu-ray Disc and DVD by the Criterion Collection in March 2022 include Martin Scorsese’s The Last Waltz, Hungarian film Adoption, James Stewart in The Flight of the Phoenix, Theodore Witcher’s Love Jones, and Alain Delon in Le Cercle Rouge on 4K Ultra HD Blu-ray.

Arriving March 8 on DVD and Blu-ray is 1975’s Adoption, from Hungarian director Márta Mészáros. The first film directed by a woman to win the Golden Bear at the Berlin Film Festival, Adoption immerses the viewer in the worlds of two women, each searching for fulfillment: Kata (Katalin Berek), a middle-aged factory worker who wants to have a child with her married lover, and Anna (Gyöngyvér Vígh), a teenage ward of the state determined to emancipate herself in order to marry her boyfriend. The bond that forms between the two speaks quietly but powerfully to the social and political forces that shape women’s lives, as each navigates the realities of love, marriage, and motherhood in her quest for self-determination.

The film comes with a new 4K digital restoration undertaken by the National Film Institute Hungary — Film Archive, supervised by cinematographer Lajos Koltai and approved by Mészáros, a new English subtitle translation, and an uncompressed monaural soundtrack on the Blu-ray. Extras include a new video essay by scholar Catherine Portuges; an interview with Mészáros from 2019; Blow-Ball, a 1964 short film by Mészáros; Márta Mészáros: Portrait of the Hungarian Filmmaker, a 1979 documentary by Katja Raganelli featuring on-set interviews with the director and creative collaborators; the film’s trailer; and an essay by film scholar Elena Gorfinkel.

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Due March 15 on 4K Ultra HD Blu-ray is 1970’s Le Cercle Rouge, starring Alain Delon as a master thief, fresh out of prison, who crosses paths with a notorious escapee (Gian Maria Volontè) and an alcoholic ex-cop (Yves Montand). The unlikely trio plot a heist, against impossible odds, until a relentless inspector and their own pasts seal their fates. With its honorable antiheroes, coolly atmospheric cinematography, and breathtaking set pieces, Le cercle rouge is the quintessential film by Jean-Pierre Melville—the master of ambiguous, introspective crime cinema.

The 4K/Blu-ray combo pack includes a new 4K restoration from Studiocanal of the uncut version of the film, with uncompressed monaural soundtrack. The 4K disc includes the film with Dolby Vision HDR and the regular Blu-ray includes the film and special features. Extras include segments from a 1971 episode of “Cinéastes de notre temps” featuring director Jean-Pierre Melville; interviews with assistant director Bernard Stora and Rui Nogueira, author of Melville on Melville; on-set and archival footage, featuring interviews with Melville and actors Alain Delon, Yves Montand and André Bourvil; the film’s trailer; and essays by film critics Michael Sragow and Chris Fujiwara, excerpts from Melville on Melville, a 2000 interview with composer Eric Demarsan, and an appreciation by filmmaker John Woo.

Arriving March 22 on Blu-ray is 1965’s The Flight of the Phoenix, starring James Stewart as a veteran pilot whose Benghazi-bound plane — carrying passengers played by an unshaven ensemble of screen icons including Richard Attenborough, Ernest Borgnine, Ian Bannen, Dan Duryea, Peter Finch, and George Kennedy — crash-lands in the remote Sahara. As tensions simmer among the survivors, they find themselves forced to trust a coldly logical engineer (Hardy Krüger) whose plan to get them out may just be crazy enough to work — or could kill them all.

The Blu-ray includes a new 2K digital restoration, with an uncompressed monaural soundtrack. Extras include a new conversation between filmmaker Walter Hill and film scholar Alain Silver; a new interview with biographer Donald Dewey on actor James Stewart and his service as a bomber pilot; the film’s trailer; and an essay by filmmaker and critic Gina Telaroli.

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Due March 29 on Blu-ray Disc and 4K Ultra HD is director Martin Scorsese’s 1978 concert film The Last Waltz. Invited to document the farewell performance of the legendary rock group The Band at San Francisco’s Winterland Ballroom on Thanksgiving in 1976, Scorsese conceived a new kind of music documentary. Enlisting seven camera operators (including renowned cinematographers Vilmos Zsigmond, László Kovács and Michael Chapman) and art director Boris Leven to design the sets, Scorsese created a grandly immersive experience that brings viewers onstage and inside the music itself, as performed by The Band and a host of other generation-defining artists, including Bob Dylan, Joni Mitchell, Van Morrison, the Staple Singers, Muddy Waters and Neil Young.

The film comes with a new 4K digital restoration, supervised and approved by musician Robbie Robertson, with a 5.1 surround DTS-HD master audio soundtrack, and an alternate uncompressed stereo soundtrack. The 4K disc includes the film with Dolby Vision HDR, and the regular Blu-ray disc includes the film with bonus materials. Extras include two audio commentaries, featuring Scorsese, Robertson, other members of The Band, members of the production crew, and performers Dr. John, Ronnie Hawkins and Mavis Staples; a new interview with Scorsese, conducted by critic David Fear; a documentary from 2002 about the making of the film; outtakes; an Interview from 1978 with Scorsese and Robertson; the film’ s trailer and TV spot; and an essay by critic Amanda Petrusich.

Also due March 29 is 1997’s Love Jones, the debut feature of writer-director Theodore Witcher. Steeped in the bohemian cool of Chicago’s 1990s Black creative scene, Love Jones, a love story for anyone who has ever wondered: How do I know when I’ve found the one? Larenz Tate and Nia Long have magnetism and chemistry to burn as the striving, artistically talented twentysomethings — he’s a poet, she’s a photographer — who spark over their love of literature and jazz, but whose mutual reluctance to commit to a relationship leaves them both navigating an emotional minefield of confusion, jealousy and regrets. The ensemble cast also includes Isaiah Washington, Lisa Nicole Carson, Bill Bellamy, Bernadette Speakes and Leonard Roberts.

The Blu-ray includes a new 4K digital restoration supervised by Witcher, with 5.1 surround DTS-HD master audio soundtrack. Extras include a new interview with Witcher and film scholar Racquel J. Gates; a new interview with music scholars Mark Anthony Neal and Shana L. Redmond on the soundtrack; a panel discussion featuring Witcher and members of the cast and crew; the film’s trailer; and an essay by critic Danielle A. Jackson.

Fellini Classic ‘La Dolce Vita’ Headed to Blu-ray With New Intro by Martin Scorsese

Italian filmmaker Federico Fellini’s 1960 classic La Dolce Vita will be released on Blu-ray Feb. 8 by Paramount Home Entertainment with a new introduction by director Martin Scorsese, who shares his thoughts on the film and its impact on cinema.

Both a critique of the culture of stardom and a look at the darkness beneath the seductive lifestyles of Rome’s rich, La Dolce Vita follows a notorious celebrity journalist over one crazy week. It stars Marcello Mastroianni, Anita Ekberg, Anouk Aimée and Yvonne Furneaux.

The film was restored in 2011 by Cineteca di Bologna at L’Immagine Ritrovata Laboratory in association with The Film Foundation, Centro Sperimentale di Cinematografia-Cineteca Nazionale, Pathé, Fondation Jérôme Seydoux-Pathé, Mediaset-Medusa, Paramount Pictures and Cinecittà Luce.

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