Heat 4K Ultra-HD [Blu-ray] [Region Free]

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Although it was ultimately decimated at the Box Office by Arnie's inspired pairing with Danny DeVito later in the year, there was some magic in his collaboration here, with Belushi the perfect loud and aggressive joker foil to his stiff Terminator-esque Russian interloper. Hill's script worked well to allow the film to play out as a straight action thriller but, all the while, gave Belushi witty lines which knowingly took down not only his Russian counterpart, but alsothe actor behind him, riding a fine line without lapsing into parody. bottom center in the familiar fade-to-gray type. Pacino, De Niro, Kilmer, and Mann's names appear above and below. "Director's Definitive Edition"

Finally today, here’s a bit of DVD only news: MPI Media Group is releasing The Adventures of Ozzie and Harriet: The Complete Seasons 1 & 2 on DVD on 6/21. The series has been restored and remastered in 4K from original picture and sound elements at the UCLA Film & Television Archive in honor of its 70th anniversary. Apparently, it will also be available digitally in HD. At first glance, comparing Hill's R-rated actioner to Ivan Reitman's beloved family comedy seems like an unfair comparison. On the other hand, contrasting the two actually yields insight into why one worked and the other did not, and frankly, the key is Schwarzenegger's costars. This not to suggest Jim Belushi is a bad actor or that Danny DeVito is better. Instead, Belushi is not particularly funny or all that interesting as the loudmouthed, brash and unconventional Chicago detective assigned to help Danko in capturing a Georgian drug kingpin (Ed O'Ross). Meant to be eccentric and unorthodox in his tactics, Belushi's gumshoe spends more time yelling what should be funny lines, clownishly reacting to Danko's devil-may-care methods and basically being schooled by Danko's ironically effective detective work. This UHD derives from the same remaster used for the 2018 Blu-ray, though the benefits of higher definition and HDR enhance the transfer’s already considerable attributes. Dante Spinotti’s gray-hued daytime cinematography now pops with an added gun-metal sheen, and the film’s darker scenes find a fairly significant boost in sharpness and clarity. Day-for-night exteriors pop with more pronounced grades of royal and navy blues, while interiors reveal additional contrast between yellow lighting and shadows at the margins of the frame. No new audio mix has been prepared for this release, but the 5.1 mix used on the previous Blu-ray is still reference-quality, whether elegantly mixing in the moody score amid softly spoken dialogue exchanges or erupting across all channels during the centerpiece firefight. Extras

Disney's dark, smooth SteelBook will show some handling fingerprints. The front panel is very dark and very blue. The film's title appears across the

The Making Of Heat : A substantial three-part archival documentary totaling 59 minutes in which the cast and crew discuss the origins of the story, the epic nature of the production, the detail put into detailing the police work, the themes of the narrative, the facets of each of the characters, choreographing the epic shootout, crafting the look of the film and more. Toronto International Film Festival (1080p; 30:27) is an engaging session with Michael Mann, both before and after a screening of the Heat was shot on 35 mm film using Arriflex, Cine SL, and Panavision Panaflex cameras with Panavision Primo, E-Series, and Super High Speed anamorphic lenses, and it was finished photochemically at the 2.39:1 scope ratio for theaters. The film was scanned in 4K in 2017 so that Mann could complete his Director’s Definitive Edition, which resulted in a new 4K Digital Intermediate. It was subsequently graded for High Dynamic Range (in HDR10 only on this disc) for its eventual Digital and physical UHD appearance, which the studio has finally seen fit to release.Toronto International Film Festival Q&A with Mann– We get some more time with Michael Mann who is interviewed both before and after the screening of this film as the Toronto International Film Festival. scattered along the bottom third, each casting a long shadow. Some studio logos and legalese appear along the bottom in off-white.