Flatliners

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As it is, the features cover the film’s production in a thorough manner but they don't go much beyond that. Closing Restoration supervised by Bill Karydes for SPE, with color approval by cinematographer Jan De Bont. should suffice more than handily. As I seem to repeat ad infinitum when these re-releases come out, different reviewers means different However by also cleverly focussing on the seductive aspects of life as a Lost Boy – do what you want, go where you want, take what you want, BE what you want….. – it brilliantly doubled up as teenage wish fulfilment on an epic level at the exact same time. David is the true legacy of The Lost Boys…. a brilliantly crafted poster boy for the 1980s - charisma flowing through his veins instead of blood, an attitude that burnt out of him like wildfire and those cheekbones that made everyone want to either be him or be with him, regardless of gender or sexuality. One of cinema’s coolest characters, he looms large over the film and the era, even with his fairly limited screentime.

Restoration– Production designer Eugenio Zanetti and art director Larry Lundy give us some insight into the visual look and feel of Flatliners. However it’s the stunning brightness and beautifully robust colours that really shine. Literally in some cases. The previous blu-ray had a slightly overcast sheen to the picture – that has been completely banished on this new image, washed out skin tones now replaced with healthy complexions, and dull skies with wonderfully nuanced and the bright blues of a California summer. And this new brighter and richer sense of colour is perfect for Schumacher’s overt lighting – be it the complex shadow detail of the vampire’s underground lair, the neon sheen of the Boardwalk and its many shops and rides or the blood-red drenched finale set in Grandpa’s house, the colours leap off the screen and leave the previous release in its dust. The only slight note of imperfection in this is that some of the insanely bright whites can bloom a little – never across the whole screen, but in certain highlights, it’s the only very minor blight on an otherwise outstanding image. But all of that is banished with the now clearly observed wonderful twinkling highlights of the glitter that cover the Frog Brothers after their staking of one of the vamps. Eat that Twilight, The Lost Boys did glittery vamps first. And better…. The insane colour scheme is also brought vividly to life with the addition of the WCG and HDR grading – the neon reds and blues have such extraordinary depth and energy to them, with no banding or any other nasties, it’s like seeing the film for the first time. On a few instances, the combination of searing highlights and intense colour grading causes some noise in the image – notably as Baldwin and Platt chase Sutherland down the alleyways en route to the graveyard there are several bare bulbs that fizz with noise – but these are very rare instances. And again, in comparison to the previous home release, this colour scheme is massively improved (assuming that reality was the last thing that Schumacher wanted from his visuals!) – the opening early morning pan into Sutherland across the harbour now sees intense burnt oranges bathe the entire image, while the previous Blu only managed a weak and insipid almost peach colour. Visions of Light - a new video interview with director of photography Jan de Bont and chief lighting technician Edward Ayer (18 mins)

releases, I've aimed to at least come close to capturing some of the same scenes, and maybe even frames, as Marty did so that side by side transfer doesn't equate to visual bliss; it's certainly not one of Sony's better efforts, but it's still a

other hand, Sony's Blu-ray disc -- released in the early days of the format -- is on life support. With admittedly probably don't have the same kind of "wow" factor that, say, a contemporary Christopher Nolan multilayered enterprise might offer, but darker and what I'd call more burnished looking, with an emphasis on almost yellow-orange tones that can give things a painterly air, and I'd argue global collection of languages offered in that department. Now, let's just get the bad news out of the way first and state that Arrow Video's new

The Lost Boys 4K Audio

While Arrow continues to release its 1080 and 2160 versions of any given films separately, they have commendably tended to offer the same set of Restoration, a brand new video interview with production designer Eugenio Zanetti and art director Larry Lundy a fairly repetitive song and dance routine -- particularly in the first half -- that sees characters Visions of Light (HD; 18:23) is a 2021 interview with cinematographer Jan de Bont and chief lighting technician Edward Ayer. Hereafter– First assistant director John Kretchmer is also profiled and discusses some nuances of the movie.

If you’re going to make a high-concept movie, you need to deliver the goods. In the case of 1990’s Flatliners, directed by Joel Schumacher from a script by Peter Filardi, the final product unfortunately doesn’t live up to the premise set forth in the first act of the story. Yet there’s a real cinematic intelligence at work here also – from having the dreams of the protagonist doctors each warp notions of the American ideal (Sutherland's golden hour, rural farm land kids at play ending in pure nightmare territory, while Roberts’ family and military love combine into similar twisted territory) through to purposefully eschewing the crazy fashions and stylings of the late 80s/early 90s to give it a timeless quality – that helps the story and strangely the film itself remain relevant over thirty years later. This is helped by the superb rendition of fine grain apparent in the source – again, while it varies according to the required aesthetic, it looks evenly rendered across the image, with no tell-tale signs of clumping or frozen elements, and this brings out that last little note of detail buried deep within its veneer. Again as per the previous release, the grain resembled noise, whereas here, it simply looks incredibly organic and filmic. particular. Dialogue is rendered cleanly and clearly throughout. As jokingly referred to above, this release does not offer optional French,First AD John Kretchmer reflects on his time on this film in the segment Hereafter (2022, 14 minutes). He begins with the story of how he got into the film business and explains what an AD does. He goes on to share his memories of Schumacher and de Bont and some of the difficult shots they achieved. Other topics include shooting in Chicago ahead of winter, his enthusiasm for the script and memories of how the director worked with his cast and crew to get exactly what he wanted. He admits it was a difficult shoot but is proud of the results.

Writer Peter Filardi also appears to recall his early days as a screenwriter and his eventual success with this script. The inspiration for the story, touched on in the commentary, comes from the term “accountability” being thrown around during the Iran-Contra scandal, and his friend dying for 15-seconds (in the commentary Reesman and Eyer mention his friends was actually dead for a minute-and-fifteen seconds and that it was from an allergic reaction to anesthesia). Continuing from there he then explains what Schumacher and the cast brought to the film, Filardi attributing a lot of the humour within the film to Oliver Platt, and he then talks about how he never took full advantage of the film’s success to push his own career. Running 19-minutes it ends up turning into an introspective discussion about his work. And yet in the hands of Schumacher, it becomes an indelible film of that period. A film that tries to do more with its insanely starry cast and be more than just the usual type of MTV-inspired glossy fare. A film that takes a fantastically intriguing premise – what is waiting for us when we die? – and builds it around a superbly human notion of looking into our past at those things we’ve all done that we regret and making us face them whether we’re ready to or not.review can also provide those who are interested with screenshot comparisons between that release and this one. As I always try to do with these re- Visions of Light– Director of photography Jan de Bont (who went onto direct other 90’s films like Twister and Speed) is interviewed here along with chief lighting technician Edward Ayer. Arrow’s Dolby Vision presentation features a heavy amber push early, then intense blues at nightfall. That’s not different from previous Flatliners discs, although this warmth looks and feels decidedly digital, certainly modern. Given the often darker cinematography, faces turn absolute red in places. The blue tints fare better in comparison, nearly monochromatic or not. It’s a lot, surrealist intent or otherwise. darker and what I'd call more burnished looking, with an emphasis on almost yellow-orange tones that can give things a painterly air. The film's There’s a vivid richness to the entire image, especially noticeable on the exterior shots of Santa Carla under the film’s opening credits. Detail is terrifically sharp (although due to the anamorphic process, there is still inherent and appropriate softness present where it should be at time), the fine detail front and centre across not just close-ups are immediately apparent in all the usual places – clothing textures, facial detail and in all the trinkets buried deep within the superb set design. Lines are sharp without being overly so and it gives a fantastic sense of depth to the whole picture.