‘Poker Face’ Season One Arrives on Blu-ray and DVD Sept. 12

Paramount Home Entertainment will release the Poker Face: Season One on Blu-ray Disc and DVD Sept. 12.

The comedic mystery series created by Rian Johnson stars Natasha Lyonne as a woman with a natural gift of determining when someone is lying. After making an enemy of her casino-owning boss, she goes on the run on a cross-country road trip, where at each stop she encounters a new murder to solve.

The guest cast includes Hong Chau, Tim Meadows, Adrien Brody, Judith Light, Chloë Sevigny, Nick Nolte, Joseph Gordon-Levitt, Ron Perlman, Tim Blake Nelson, Lil Rel Howery and Benjamin Bratt.

The show was originally presented on the Peacock streaming service. The three-disc set includes all 10 episodes of season one.

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Netflix Podcast Features ‘Glass Onion’ Director’s Commentary

The Feb. 23 episode of Netflix’s “Watching With …” podcast features director Rian Johnson’s full-length commentary for his murder mystery film Glass Onion.

The episode gives viewers another excuse to rewatch the Knives Out sequel that is now streaming on Netflix. In the spoiler-filled discussion, Johnson delves into the details of filming the latest adventure of detective Benoit Blanc, played by Daniel Craig, such as restrictions of filming during a COVID surge, celebrity cameos, Easter Eggs, unused subplots and more. A companion article at Netflix’s Tudum.com fansite lists its editors’ top 10 facts about the film gleaned from the commentary.

Netflix also released a new poster touting the commentary for the film, which began streaming Dec. 23 on Netflix after a week-long theatrical run a month earlier that earned $13.28 million.

Glass Onion was recently nominated for an Oscar for its screenplay, also written by Johnson.

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Glass Onion

STREAMING REVIEW:

Netflix;
Mystery;
Box Office $13.3 million;
Rated ‘PG-13’ for strong language, some violence, sexual material and drug content.
Stars Daniel Craig, Janelle Monáe, Edward Norton, Kate Hudson, Dave Bautista, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline, Noah Segan.

Writer-director Rian Johnson’s second Benoit Blanc mystery, Glass Onion, may be an even more satisfying viewing experience than the first, 2019’s Knives Out.

While the film’s structure still relies on misdirecting the audience and flashbacks to add context, the fundamental mystery itself is better crafted and not so dependent on questionable character interactions.

The story this time around involves a tech billionaire (Edward Norton) who invites a close circle of friends to a retreat on a secluded island, where he has planned an elaborate murder mystery game for them to solve. Somehow an invitation makes its way to celebrity detective Blanc (Daniel Craig), despite him having never met any of the participants.

Blanc’s presence turns out to be fortuitous when one of the guests actually ends up dead, prompting the detective to peel back the layers of the other guests’ friendships to reveal how any number of them have a motivation for murder, while some aren’t even who they claim to be.

This isn’t the type of mystery that the audience can play along with since several details are deliberately hidden from viewers thanks to a non-linear presentation. Scenes presented from one perspective in the set-up are revisited later from a different character’s point of view, changing the context of how viewers are supposed to interpret the plot.

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The film’s biggest downside might be how it anchors the story in the midst of the pandemic, when such a setting seemingly has no bearing on the proceedings aside from how it sets up a ballsy plot point that pays off in the resolution. Including such specific touchstones of the era such as masks only to have the characters ditch them early on for a wealthy soiree with no consequences might be a subtle commentary on privilege, but could end up dating the film in unfortunate ways.

Otherwise, the film’s only limitation is the same as with any mystery story — how many repeat viewings would be warranted once the secrets are revealed. That’s when films such as this have to rely on its performances, quirky characters and humor, and on those fronts Glass Onion conducts itself rather well.

The film is completely unrelated to Knives Out, aside from being another case for Blanc to solve in the great tradition of fictional detectives. The earlier film isn’t even referenced, aside from Netflix slapping the subtitle “A Knives Out Mystery” on the poster (it does not appear onscreen). Wanting to make sure the marketing helps the audience understands this is a follow-up to the earlier hit film is one thing, but perhaps “A Benoit Blanc Mystery” would have made more sense.

Netflix to Bow ‘Knives Out’ Movie Sequel Exclusively in Theaters Nov. 23

Netflix Oct. 6 announced a seven-day (Nov. 23-29) theatrical sneak preview event for Glass Onion: A Knives Out Mystery. Written and directed by Academy Award nominee Rian Johnson, the follow up to his 2019 box office hit Knives Out will be the first-ever Netflix film to debut across all three major US theatrical chains: AMC, Regal and Cinemark.

The original, which featured Christopher Plummer in one of his last roles, generated more than $311 million at the global box office. Netflix acquired the rights to the sequel and third film for a reported $469 million.

Glass Onion will also play in additional select theaters in the U.S. and internationally including Canada, the U.K., Ireland, Italy, Germany, Spain, Israel, Australia and New Zealand. The movie will debut globally on Netflix one month later on Dec. 23. 

“I’m over the moon that Netflix has worked with AMC, Regal and Cinemark to get Glass Onion in theaters for this one-of-a-kind sneak preview,” Johnson said in a statement. 

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Glass Onion: A Knives Out Mystery sees Daniel Craig return as suave southern sleuth Benoit Blanc as he peels back the layers on a new mystery surrounded by a colorful coterie of suspects played by a cast that includes Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline, Kate Hudson and Dave Bautista.

“We’re excited to offer fans an exclusive sneak preview of Rian’s incredible film. Given the excitement surrounding the premiere at the Toronto International Film Festival, we hope fans will enjoy this special theatrical event in celebration of the film’s global debut on Netflix in December,” said Scott Stuber, head of global film at Netflix.

The limited-time-only sneak preview event will play in approximately 600 theaters in the U.S., with additional theaters around the world. Tickets will go on sale Monday, Oct. 10 at glassonionmovie.com. 

Knives Out

BLU-RAY REVIEW:

Street Date 2/25/20;
Lionsgate;
Mystery Comedy;
Box Office $163.71 million;
$29.95 DVD, $39.99 Blu-ray, $42.99 UHD BD;
Rated ‘PG-13’ for thematic elements including brief violence, some strong language, sexual references, and drug material.
Stars Daniel Craig, Ana de Armas, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Christopher Plummer, Riki Lindhome, Edi Patterson, Noah Segan, K Callan, M. Emmet Walsh, Frank Oz.

Director Rian Johnson’s penchant for subverting expectations has manifested itself in the delightful Knives Out, a modernized take on the classic murder mystery format.

The set-up is familiar. In a quirky mansion in the countryside of New England, the maid discovers the body of her wealthy employer — crime novelist Harlan Thrombey (Christopher Plummer) — dead from seemingly cutting his own throat.

As Harlan’s family comes out of the woodwork for the funeral and reading of the will, the police initially rule it a suicide. Yet the case remains open at the behest of private sleuth Benoit Blanc (Daniel Craig), Johnson’s southern-flavored homage to the likes of Columbo and Hercule Peroit. Hired by an anonymous party to ensure all aspects of Harlan’s death are explored, Blanc quickly uncovers dissension within the family, several members of which having had loud arguments with Harlan in the day leading up to his death.

The expertly-crafted, Oscar-nominated screenplay toys with the conventions of the genre, revealing what actually happened within the first 30 minutes or so, then uses the next hour-and-a-half to clue the audience in the fuller context of the events viewers have already seen, thus providing the true focus of the mystery.

Blanc recruits Harlan’s nurse, Marta (Ana de Armas), to aid in his investigation, though she is more aware of what happened than she lets on. A unique physical tic causes her to puke whenever she lies, providing one of the film’s central running gags but also lending a fair amount of tension to the proceedings as Marta has a fair number of secrets she’d rather not help expose either. The pairing of Craig and de Armas must have been agreeable enough for them, as she’s slated to appear in his next James Bond movie. And for Craig, tapped to reprise Blanc investigating new cases in future sequels, the role offers a nice new franchise once he wraps up his tenure as the super spy.

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This is the kind of film that not only invites multiple viewings, but practically demands them. Luckily, the Blu-ray offers a couple of nice options for the rewatch in the form of audio commentaries that dissect the story structure and reveal many of the details layered into the film’s intricate construction. Both are well worth a listen. One is a solo commentary by Johnson, originally released online while the film was still in theaters so fans could listen to it through headphones when they returned to their local cinema to partake in a fresh viewing. The second commentary, recorded for the home video release, features Johnson, cinematographer Steve Yedlin, and actor Noah Segan, who plays one of the cops investigating the murder.

Visually, Knives Out is gorgeous, shot digitally yet rendered to evoke the feeling of classic film, bringing forth textures and color that immerse the viewer in the story’s uneasy atmosphere while making one wish they too could be crawling around that quirky old mansion searching for clues.

The Blu-ray includes the outstanding “Making a Murder,” an eight-part, feature-length behind-the-scenes documentary that provides in-depth details on all aspects of the production, from writing it, to casting it, to making the costumes and sets, and recording the music. It runs a shade under two hours in total.

The “Rian Johnson: Planning the Perfect Murder” featurette supplements this a bit, with a six-minute video on how Johnson created the story to be, as he describes it, a Hitchcock thriller within a whodunit. There’s also a 42-minute Q&A from a SAG screening in November that gives the massive cast a chance to sing their own praises while recounting their joy in making the movie.

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The Blu-ray also includes two deleted scenes comprising about five total minutes, with optional commentary by Johnson. These add some interesting subtext to some of the film’s subplots, but it’s easy to understand the decision to omit them from the final cut.

Finally, the disc offers a trove of marketing materials, including trailers and viral ads starring several of the characters in the film.

All-in-all, it’s an impressive package that harkens back to the glory days of DVDs that really gave fans a lot of bang for their buck.

‘Knives Out’ Coming Home on Digital Feb. 7, Disc — Including 4K — Feb. 25

The murder mystery Knives Out, which earned writer-director Rian Johnson an Oscar nom for Best Original screenplay, is heading home.

Lionsgate will release the whodunnit on digital Feb. 7 and 4K Ultra HD combo pack, Blu-ray combo pack, DVD and on demand Feb. 25.

The film, which has earned $278 million at the global box office, also received Golden Globe nominations for Best Motion Picture — Musical or Comedy, Best Performance by an Actress in a Motion Picture — Musical or Comedy (Ana de Armas) and Best Performance by an Actor in a Motion Picture — Musical or Comedy (Daniel Craig). Written, produced, and directed by Johnson (Star Wars: The Last JediLooper), Knives Out also has received awards from AFI, National Board of Review, New York Film Critics, Philadelphia Film Festival, The Hollywood Critics Association and Rotten Tomatoes’ Golden Tomatoes Awards.

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In addition to Craig and de Armas, the film’s ensemble cast includes Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, LaKeith Stanfield, Katherine Langford, Jaeden Martell and Christopher Plummer. It follows the mysterious circumstances surrounding the death of crime novelist Harlan Thrombey (Plummer). There’s one thing that renowned Detective Benoit Blanc (Craig) knows for sure — everyone in the wildly dysfunctional Thrombey family is a suspect. Blanc must sift through a web of lies and red herrings to uncover the truth.

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Special features include an audio commentary and in-theater commentary by filmmaker Rian Johnson, two deleted scenes, the eight-part “Making a Murder” documentary, the “Rian Johnson: Planning the Perfect Murder” featurette, and a Q&A with the director and cast.

Kino Lorber’s January Home Release Slate Includes Spaghetti Westerns, British Noir and Vintage Sci-Fi

Kino Lorber has set home release dates for its January 2020 slate of classic movies. The 19-movie slate begins rolling out Jan. 7 with the following eight releases:

  • The Hellbenders (Special Edition) – Released in a new 4K restoration, this 1967 “spaghetti” Western from famed Italian director Sergio Corbucci follows the patriarch of a family of ex-Confederate killers who, in order to finance an invasion of the North, massacre a Union Army convoy carrying a large shipment of money. Bonus features include a new audio commentary by filmmaker Alex Cox and the theatrical trailer. The film will be available at a suggested retail price of $19.95 on DVD and $29.95 on Blu-ray Disc.
  • Kill Them All and Come Back Alone – Another new 4K restoration, this 1968 spaghetti Western from director Enzo G. Castellari revolves around a mercenary who leads a squad of cutthroats on a mission for the Confederate high command to infiltrate an enemy fortress and steal millions in gold from the Union Army. Bonus features include a new audio commentary by filmmaker Alex Cox, both the English and Italian cuts, and the theatrical trailer. The film will be available at a suggested retail price of $19.95 on DVD and $29.95 on Blu-ray Disc.
  • The Specialists – Another spaghetti Western from Corbucci, this 1969 classic is centered around a notorious gunfighter who is looking for revenge after traveling to a town called Blackstone, where his brother was wrongfully accused of robbing a bank and lynched for it. Bonus features include a new audio commentary by filmmaker Alex Cox, both French and Italian audio with optional English subtitles, and the theatrical trailer. It will be available on DVD for $19.95 and Blu-ray Disc for $29.95.
  • Brick (Special Edition) – A 2005 thriller from director Rian Johnson, this film follows the story of a high school loner. The girl he loves turns up dead, and when he tries to find out why he gets plunged into the girl’s dark and dangerous social strata. Bonus features will include the brand-new 4K restoration, eight deleted and extended scenes, the short documentary “The Inside Track: Casting the Roles of Laura and Dode,” the theatrical trailer, and audio commentary by writer-director Rian Johnson, actors Nora Zehetner and Noah Segan, producer Ram Bergman, production designer Jodie Tillen, and costume designer Michele Posch. The film is being released on Blu-ray Disc only at a suggested retail price of $29.95.
  • Dr. Cyclops (Special Edition) – This 1940 science-fiction classic, directed by Ernest Schoedsack and Merian Cooper (King Kong), follows the story of a brilliant but deranged physicist who learns how to shrink his enemies to one-fifth their normal size. When four explorers discover that his mind has been warped by radiation and decide to send him to civilization for help, Dr. Cyclops makes use of his experimental body-shrinking device. This brand-new 4K master edition also comes with audio commentary by film historian Richard Harland Smith, “Trailers From Hell” with Jesús Treviño, and the theatrical trailer. Released on a dual-layer BD50 Blu-ray Disc, the film carries a suggested retail price of $29.95.
  • Cobra Woman (Special Edition) – Robert Siodmak, director of Phantom Lady, The Spiral Staircase, The Killers, and the Crimson Pirate, directed this 1944 adventure film that follows a man who discovers his fiancée has been kidnapped by a lost tribe. He and his friend set out across the seas to find her, and soon after discover that the island paradise where she is being held captive is ruled by the Cobra Woman, who commands newcomers be killed on arrival. Bonus features include a new audio commentary by film historian Philipa Berry, optional English subtitles, and the theatrical trailer. The film also is being released on a dual-layer BD50 disc priced at $19.95.
  • The Slasher –  Directed by Lewis Gilbert, this 1953 noir follows the story of a gang of teenage delinquents who make money by mugging women on the streets of London. It proves to be quite lucrative until the police catch up with them, and they are offered lenient sentences on the condition that they join a youth club and reform their ways. The film will be available on Blu-ray Disc only at $19.95.
  • British Noir: Five Film Collection II – This five-film collection assembles some of the lesser-known Brit Noir titles from various British studios, featuring such major talents as actors John Mills, Joan Collins, Valerie Hobson, Dennis Price and Sean Connery; and directors Lewis Gilbert, Gerald Thomas and Don Chaffey. The set includes The Interrupted Journey (1949), Cosh Boy (1953), Time is My Enemy (1954), Time Lock (1957) and The Vicious Circle (1957). The DVD-only set lists for $49.95.

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Coming Jan. 14 are House by the River (Special Edition), a 1950 feature directed by Fritz Lang about a Victorian ne’er-do-well who accidentally murders his wife’s housekeeper; Room at the Top (Special Edition), a 1959 British drama that won two Academy Awards for Best Actress and Adapted Screenplay; The Whisperers, a 1967 thriller from Bryan Forbes, the writer-director of The Stepford Wives, about an elderly woman who becomes increasingly ensnared by her own world of delusion and exploited by the world of morally corrupt people; The Great McGinty (Special Edition) and The Good Fairy (Special Edition), a pair of comedies from Preston Sturges, the legendary writer-director of Christmas in July, The Lady Eve, The Palm Beach Story and Unfaithfully Yours; and Just Visiting (Special Edition), a 2001 French-American remake of the 1993 French comedy Les Visiteurs that stars Jean Reno, Christina Applegate, Christian Clavier, Malcolm McDowell, Tara Reid, and Bridgette Wilson in a fantasy about a medieval knight and his serf who travel to 21st-century Chicago, meeting the knight’s descendant.

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Rounding out Kino’s January 2020 slate are five more releases arriving in stores on Jan. 21: Semi-Tough, a 1977 romantic sports comedy, from Michael Ritchie, about a three-way friendship between two free-spirited professional football players and the team owner’s daughter; High-Ballin’, a 1978 highway adventure with Peter Fonda, Jerry Reed and Helen Shaver as three angry independents who are set to take on a vicious gang of hijackers; Tobruk (Special Edition), a 1967 World War II blockbuster from Arthur Hiller, the director of Love Story, that stars Rock Hudson and George Peppard as the leaders of a commando group on a desperate mission to raid the enemy’s fuel bunkers; Ulzana’s Raid, a 1972 Western from Robert Aldrich, the director of The Dirty Dozen, The Grissom Gang, The Killing of Sister George and The Longest Yard; and The War Lord (Special Edition), a 1965 adventure film, set in the 11th century, from Franklin J. Schaffner, the acclaimed director of Planet of the Apes, Patton, Papillon and The Boys from Brazil.

 

 

Over the Moon for 4K

Filmmakers have long championed new home viewing technologies, but their support of 4K Ultra HD — particularly in director Duncan Jones’ case — is “over the moon.”

Jones directed Moon, a 2009 science-fiction cult favorite that won a BAFTA Award for Outstanding Debut by a British Writer, Director or Producer. And he was thrilled that Sony Pictures Home Entertainment decided to celebrate the film’s 10th anniversary in July with a 4K Ultra HD Blu-ray  release.

Moon was a tiny little independent sci-fi film from England,” said Jones, who went on to direct Source Code (2011), Warcraft (2016) and Mute (2018). “The fact that we got a theatrical run in America at all was a thrill, but even with that run, a lot of people never would have had the chance to see the film in the fidelity of those who were able to see the screenings back in 2009. Fortunately the film has lived on and grown in cult status over the decade, but up until now has only been a shadow of its original self! Now we finally get to give our fans what they remember from those early, limited screenings.”

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Jones — who also happens to be the son of the late rock legend David Bowie — is by no means alone. Directors such as Oliver Stone and others in the creative community applauded Blu-ray Disc when that format was introduced more than a decade ago, but their cheers are even louder and more enthusiastic for 4K Ultra HD — with high dynamic range (HDR), of course.

“It’s astounding how far home theater tech has come in the last 20 years,” said director Rian Johnson (Star Wars: The Last Jedi) at a recent UHD Alliance event. “I think we’re really kind of in a golden age right now of home theater technology, and it’s only getting better in every single aspect of our TVs at home. Everything in resolution, dynamic range, the size of the screens, everything has gone up through the roof recently, while prices of all the tech has gone down so it’s in the reach of most consumers, and that for me is really, really exciting. I love that my mom has a great TV that she can watch at home. I love watching movies at home.”

The resolution of 4K is four times sharper than HD, while HDR offers brighter brights and darker darks — as well as wider color gamut — to create a more vivid and lifelike picture. What that means is that home viewers can replicate the theatrical experience more closely than ever — and since directors are all about the “Big Screen,” they see 4K Ultra HD as the best way to archive their artistic vision for future generations.

“I think for anyone who spends time and effort making a film, we desperately want the audience to see all the little details and care we put into our work,” Jones said. “Especially for those who are lucky enough to make ‘world-building’ films. From production design, to wardrobe, make-up and, in Moon’s case, model miniatures, just about everything is created to hold up to scrutiny in a close up. 4K UHD with HDR gives us the pleasure of knowing you are going to see all that hard work!”

Studio executives, too, see 4K Ultra HD Blu-ray as packaged-media’s most effective bulwark against total domination by streaming media. It remains the optimum way to watch a movie, despite steady advances in bandwidth capacity.

“The collector in the enthusiast market wants to buy discs,” said Bill Hunt, editor of home entertainment enthusiast site TheDigitalBits.com.

So, apparently, do a lot of other people. Ultra HD TVs were in about 53.4 million households at the end of the first quarter, an increase of 55% from the prior year, according to CTA numbers cited by the DEG. Meanwhile, the number of households with at least one 4K Ultra HD Blu-ray playback machine rose 63% to 14 million. According to the CTA, the total TV category will ship 38.8 million units in 2019 (a 1% increase) with upgrades driven by big-screen models and sets featuring 4K UHD resolution and HDR technology. This year, 4K UHD sets will account for 17 million of those units (a 6% increase).

IHS Markit estimates that by 2022, 60% of North American households will own at least one UHD video display.

Software continues to expand as well. Nearly 600 titles have been released on 4K UHD Blu-ray Disc, according to Media Play News research. And digital outlets tout the feature, and sometimes charge a premium for it.

Indeed, consumer interest in 4K UHD with HDR continues to grow.
“I think people are definitely into it. I think interest is growing; demand is growing,” said The Digital Bits’ Hunt. “There’s no shortage of people who read my website that are eager for every piece of news on 4K.”

Retailers of both digital and physical content are serving the rabid 4K consumer. Netflix offers 4K UHD content under its premium plan for $15.99 a month (up to four screens at once). Amazon also offers 4K streaming on certain titles. At transactional VOD site FandangoNow, 4K is a major selling point, noted Fandango VP of home entertainment Cameron Douglas.

“We saw there was audience demand,” he said. “It just kept growing.”

Redbox in March reported it more than doubled the number of cities offering 4K Ultra HD movie rentals — bringing 4K to a total of 15 markets. Rental pricing for 4K UHD titles is $2.50 per night.

“Our customers have spoken — they love the quality of 4K content,” said Galen Smith, CEO of Redbox. “We’re happy to make 4K rentals available to even more movie fans, giving them more format choices than ever before so they can make the most of their movie night.”

New markets included Colorado Springs, Colo.; Des Moines, Iowa; Kansas City, Mo.; Minneapolis; Portland, Ore.; Reno, Nev.; San Diego; San Francisco; and Spokane, Wash. They joined preview markets Austin, Detroit, Los Angeles, Miami, New York and Seattle.

“4K UHD continues to experience strong and steady growth across physical and digital, buoyed by the significant retail commitment and CE support, and an increasing number of titles being released,” said Eddie Cunningham, president of Universal Pictures Home Entertainment.

“4K UHD is no longer an early adopter format and has widely established itself as the best way to watch our content at home,” said Jessica Schell, EVP and GM of film at Warner Bros. Home Entertainment.

“We’re enthusiastic about the rapid consumer and retail adoption and the ability to present our films in the highest possible quality for the home,” added Lexine Wong, senior EVP of worldwide marketing at Sony Pictures Home Entertainment.

“The popularity of 4K continues to grow as evidenced by the wide range of titles now in the market,” noted Vincent Marcais, EVP of worldwide marketing for Paramount Home Entertainment.

Indeed, content available on 4K UHD is varied, from new releases to classic catalog.

“Sony Pictures Home Entertainment, a leader in the 4K Ultra HD market, consistently delivers premium product for the growing consumer base,” said Sony’s Wong. “To date, we have over 80 4K UHD titles available — including the global tentpoles Men in Black: International and Spider-Man: Far From Home, along with key library titles such as the commemorative 35th anniversary release of the original Ghostbusters and the fully remastered modern classic Stand By Me.”

“At Paramount, we just released Rocketman, and over 15% of our physical sales are 4K to date,” noted Marcais. “In addition, we will be releasing the perennial favorite It’s A Wonderful Life on 4K Ultra HD Blu-ray for the first time in October. The studio spent over a year restoring the film from the original negative and we wanted to make sure that enthusiasts and long-time fans could truly appreciate the vibrant and detail-rich picture, which 4K makes possible for home viewing like never before.”

“The continued diversification of content available in 4K HDR ranges across not just our new-release films, but also includes more and more evergreen classic catalog titles like 2001: A Space Odyssey, The Wizard of Oz and The Shining,” said Warner’s Schell.

“Catalog in particular has surged to become a meaningful driver of consumer engagement, with newly available classic franchises fueling a 25% growth in 4K UHD disc sales across the industry,” added Universal’s Cunningham.

Readers of enthusiast websites have feasted on new-release and a growing list of catalog classics that have greatly expanded this year.

“You had your big, splashy, superhero titles, but then you had Alien and Apocalypse Now,” noted Adam Gregorich, co-owner/editor of enthusiast site Home Theater Forum. “It’s not just new releases that people are interested in.”

“The biggest problem that people that are into 4K have is that there are titles that they want that they can’t get,” said The Digital Bits’ Hunt. “Fans are really starting to jones for those big titles now.”

Hunt’s readers are particularly looking forward to the 4K catalog releases on tap for the end of the year, including The Wizard of Oz, due Oct. 29.

“That film will look tremendous on 4K,” he noted.

“There is a ton of excitement for both The Wizard of Oz and It’s a Wonderful Life,” added Gregorich. How black and white films, such as Wonderful Life, would fare on 4K elicited “some concern,” Gregorich noted, “but then people pointed out Schindler’s List,” which translated and was enhanced very well.

Both Gregorich and Hunt agreed that the best way to experience 4K UHD with HDR is on Blu-ray Disc, which doesn’t suffer from the potential delivery dilution of streaming due to bandwidth.

Still, streaming is gaining.

“Stuff that I want to buy I want to buy on disc,” Hunt said. “The younger audience doesn’t seem to have that problem.”

“I think that discs are still more popular, but streaming has made up a huge amount of ground,” added Gregorich.

Soon, technology may offer a streaming assist, and studios are prepared to deliver 4K UHD wherever the consumer goes.

“With the expansion and adoption of 5G wireless service allowing faster access to streaming 4K UHD video, the demand for high-definition content will continue to grow rapidly,” said Warner’s Schell. “We are committed to delivering the best possible viewing experience of our wide array of film and television content, and we will continue to adapt, along with other studios and content providers, to the ever-changing technological landscape that dictates our business.”

4K Ultra HD Blu-ray All-Time Top 50 Sellers as of 8/24/19
All-Time Top 4K UHD BD Market Share as of 8/24/19

UHD Alliance Introduces ‘Filmmaker Mode’

The UHD Alliance, along with leaders in consumer electronics, the Hollywood studios and members of the filmmaking community, Aug. 27 announced collaboration on a new viewing mode for watching movies and episodic TV called “Filmmaker Mode,” designed to reproduce the content in the way the creator intended. (L-R): Panasonic’s Ron Martin, Vizio’s Kenneth Lowe, Warner’s Michael Zink and director Rian Johnson were on hand to announce the launch. (Photo by Patrick T. Fallon for UHD Alliance)

Star Wars: Episode VIII — The Last Jedi

BLU-RAY REVIEW:

Street 3/27/18;
Disney/Lucasfilm;
Sci-Fi;
Box Office $619.6 million;
$29.99 DVD, $39.99 Blu-ray, $39.99 UHD BD;
Rated ‘PG-13’ for sequences of sci-fi action and violence.
Stars Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern, Benicio del Toro.

Writer-director Rian Johnson’s The Last Jedi is perhaps the most complex, thought-provoking “Star Wars” film to date in the way it asks its audience to reflect on their relationship with the franchise (a challenge many fans, it seems, were not up to). The result is a spectacularly entertaining film that deftly mixes thrills, nostalgia, emotion and humor.

The follow-up to 2015’s The Force Awakens, and the eighth of the numbered “Skywalker Saga” films in the “Star Wars” canon, answers some questions director J.J. Abrams left open in the previous film, while leaving more for Abrams to wrap up in the concluding chapter of this sequel trilogy that thus far represents the cornerstone of Disney’s cinematic plans for the franchise since acquiring Lucasfilm in 2012.

Picking up where Force Awakens left off, General Leia (the late Carrie Fisher, in her final film performance) and her Resistance fighters are on the run from the First Order, which is on the verge of seizing military control of the galaxy. Meanwhile, Jedi wannabe Rey (Daisy Ridley) has located the self-exiled Luke Skywalker (Mark Hamill), and works to convince him to join the fight, all while the villainous Kylo Ren (Adam Driver) hopes to turn her to his side.

Last Jedi is an improvement upon Force Awakens in many ways simply by not following so closely to the template of an earlier film (the 1977 original, in the case of Force Awakens), and not getting bogged down with trying to address every nagging plot thread from earlier films. (Seriously, to hear some fans tell it, they wouldn’t be satisfied unless Rey spent two hours sitting at a computer reading exposition about every new character from space-Wikipedia and narrating fan fiction.)

That isn’t to say the film pushes aside all tropes and familiarity. There are several plot points that echo previous installments, most notably Empire Strikes Back and Return of the Jedi, in keeping with the grand “Star Wars” tradition of intergalactic history playing out in cycles and new characters encountering situations similar to their predecessors, and having opportunities to make different choices. Indeed, Johnson at many points plays off the audience’s familiarity with these archetypes to purposely subvert their expectations, both for dramatic effect and as a bulwark against the franchise becoming stale. This is in many ways a film for the “Star Wars” fan who is willing to grow along with the franchise.

That’s not to say it’s a perfect film — some of the jokes and subplots have been criticized for straying too far from the formula. And certainly, the “Star Wars” films could benefit from a stricter storytelling structure that is rumored to be less of a priority at Lucasfilm than it is at fellow Disney company Marvel Studios. But for the most part, the film works exactly as it was intended to do.

Last Jedi is, at its core, a rumination on the nature of hero worship, and in forcing the characters to confront their preconceptions about the people and places they encounter, it also asks “Star Wars” fandom to make the same considerations. The film even gets meta at times, almost directly addressing the idea of obsessing over fan theories while also reminding us about the larger-than-life nature of the characters that made us want to experience their adventures in the first place.

The presentation offered by this absolutely loaded Blu-ray is a visual treat that preserves the big-screen splendor of the film’s gorgeous location photography and visual effects, including several scenes that are all-time franchise highlights.

The centerpiece of the extras is the 95-minute behind-the-scenes documentary The Director and the Jedi, an often-candid look at Johnson’s journey to bring the film to life, from the announcement of his involvement to the final photograph of the cast and crew.

For all that detractors may complain about their own vision for “Star Wars” not aligning with Disney’s, it’s clear that Johnson himself is a fan with a firm grasp of the franchise’s mythology.

There’s even more to learn in another 50-minutes of making-of featurettes, each dealing with specific scenes or concepts, such as an examination of the nature of the Force and looks at creating various battles. An especially fun one offers Andy Serkis’ on-set performance as Supreme Leader Snoke in his performance-capture suit before any of the character CGI is applied, and he’s just as menacing with little dots pasted to his face.

The Blu-ray also includes 14 deleted scenes running more than 24 minutes. While most of these are wise cuts (an extended chase sequence on the casino planet really tests one’s patience), many offer some fun moments of story and character.

Johnson provides an optional commentary on the deleted scenes, as well as for the film as a whole. It’s a solo commentary, and he and talks openly about recording it before the movie even hit theaters, which leads to some interesting passages where he ponders about how the audience will react to certain things, leaving viewers with their hindsight to fill in the rest. It’s an informative track, but also raises a few questions about just when these commentaries should be recorded.

For movies that even offer a home video commentary, they tend to be recorded just before the film’s theatrical release, likely due to scheduling concerns and possibly the idea that the filmmakers are better able to recollect certain details when it hasn’t been that long since the film wrapped. On the other hand, this might have been a good opportunity to get a few people involved with the production to record one after seeing the fan reaction and focusing it more on analysis and response. Perhaps taking such a tact is liable to raise more issues, and simply carrying on with the confidence of having created a good film is the more appropriate way to go, but it might have led to a damn interesting commentary track.

Speaking of damn interesting — and perhaps a bit of it’s about damn time — the digital version of the film offered through the Movies Anywhere service includes a score-only version of the film that puts composer John Williams’ excellent music front and center. The soundtrack version is available exclusively to Movies Anywhere accounts linked to an affiliated retailer where the film was purchased, or by redeeming the digital copy code included with the disc.

It’s a nice gesture that hopefully paves the way for music-only versions of the rest of the “Star Wars” films.