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

Product Information

Ken Brown provides some more descriptive information on the previously released supplements in his Heat Blu-ray review of the old Warner Brothers release. It has been nearly eight years since Warners first released Heat on Blu-ray which, at the time, featured a newly-restored transfer supervised by Michael Mann that for the most part was a very faithful and respectable presentation. The director has apparently returned to the studio to supervise this new "remastered in 4K" transfer for 20th Century Fox, and while it doesn't offer a night and day type of difference, there is still some general improvement over the original release to make this a true "definitive" edition.

The use of surrounds is quite minimal compared to modern movies, and this isn't really the focus of the movie. With that said the movie has a great score, with beautiful music. No edge or oversharpening was applied. There is some minor camera ringing, but I thought it was fine. The resolution is quite nice and allows the film grain to breathe, unlike the Blu-ray. Facial detail is revealing without being too intrusive. There is some softness in some scenes, but I found this to be, again, stylization rather than a flaw. 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" 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 theslight variations in focus pulling, and there's a bit of fuzziness that can be detected in passing as a result that tends to be noticeable on the edges of

A riveting story about an intense rivalry between expert thief Neil McCauley and volatile cop Vincent Hanna. McCauley will stop at nothing to do what he does best and neither will Hanna, even though it means destroying everything around them, including the people they love. Still though, 4k and HDR10 has added a good amount of detail to the shadow areas which wouldn’t have been possible without 10-bit depth and four times the resolution. Take for example the shot of Lieutenant Hanna (Pacino) and Lieutenant Casals (Wes Studi) in the surveillance van. The sharpness of details in this dark shot were not possible in previous discs, and especially broadcast version of the film. Most of the closeups are exceptional in the 4k image. Overall, a very good transfer from Disney, and I'm happy with what they have done here. It's not an HDR showcase, but remember that the best transfer this year is also not bright. For a Few Dollars More from Kino Lorber is not bright either. Does it matter? No! This is all about the accuracy of the source, and this is how I've wanted this movie to look for years. A commendable job by Disney. Another movie from 20th Century Studios on 4K that's very well done. Remember, accuracy to the original source is what matters here. A masterpiece of a movie, and I recommend it on 4K.

Ronin 4K Extras

Strong bass leaves a mark, but additional punch wouldn’t hurt. Depth and power resonate through the room and there’s enough weight to feel the jolts. It’s a lesser effect than top-end action discs though, the design such that guns fire in open air, louder than they are deep. Extras from a then new 4K scan, since the only information I could find simply offered a generic and frankly unhelpful in this instance "4K Heat is presented in 4K UHD courtesy of Disney / Buena Vista and 20th Century Productions with a 2160p transfer in 2.40:1. I haven't

Toronto International Film Festival (1080p; 30:27) is an engaging session with Michael Mann, both before and after a screening of the Heat was already remastered in 4k over 5 years ago for the release of the Director’s Definitive Edition on Blu-ray Disc, and since 4k Blu-ray has been around since 2016 it’s surprising it took this long to release on the higher-quality disc format. We’re not sure if any new enhancements were made to the sharpness of the video for this Ultra HD Blu-ray edition (meaning, on the 4k master), but there was definitely some new color grading that seemed to create an overall darker image. The sound has stayed the same with DTS-HD Master Audio 5.1. And, there are no additional bonus features. Regardless, the 4k Blu-ray with HDR10 is a worthy update to the 1080p presentation that brings more color depth and detail to the imagery of this iconic film. Scores

Heat Review

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. Mann's home releases always attract controversy. If he's not inexplicably tweaking the film itself (the Theatrical Cut of Heat has never been released in HD) then he's fiddling with the colour timing ( Thief went blue, and Heat followed suit), with the last version even enjoying a smattering of resizing and cropping for good measure. Sure, those who aren't sitting there directly comparing it to the previous version, and who haven't seen the film in a few years, might not really notice and/or be bothered that much, but it's still an... odd practice. And it doesn't stop with this 4K release either, which sits comfortably alongside its predecessors as another "well, if you haven't seen it for a few years and aren't doing a direct comparison, you'll probably get along just fine with this as a nice little 4K release". There's practically zero bass. Nothing tested my subwoofer. The mix has rolled off bass at around 45Hz and falls off by about 8 to 10 db. This is the same mix that I've always known, but I would have liked to have seen this touched out. I'm not saying it has to have Dune levels of bass, but when the charges go off I want to feel it. That's basically no bass in the mix, and I love bass, so for me, that's a little disappointing.

Plot: What’s it about? Video: How does it look? Audio: How does it sound? Supplements: What are the extras? The Bottom Line Plot: What’s it about? Pacino and De Niro: The Conversation (SD, 10 Min) – A detailed analysis of Pacino and De Niro's characters, their powerhouse performances, and the filming of their restaurant scene. Academy Panel reuniting Mann, Pacino and De Niro and moderated by Christopher Nolan– Running just over an hour is this conversation with actors Al Pacino and Robert De Niro as well as director Michael Mann. This is moderated by director Christopher Nolan, who is proving himself to be quite the film buff as well as film director. And our friends at the Warner Archive Collection have revealed a pair of new catalog Blu-ray titles streeting in July, including The Frisco Kid (1979) on 7/12 and Adventures of Don Juan (1948) on 7/19!Century Fox's 1080 version but which seems somewhat emphasized here, which almost makes things look monochromatic or even desaturated scattered along the bottom third, each casting a long shadow. Some studio logos and legalese appear along the bottom in off-white. Pacino and De Niro – The Conversation: A 10-minute featurette which explores the complex dynamic between the two main protagonists, what exactly made their showdown so electric on screen, how they went about capturing the footage and more. 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.