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Inglourious Basterds [4K Ultra-HD] [2009] [Blu-ray] [Region Free]

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Looking at the 1080p version, which is solid in its own right, the difference is noticeable, but not what I would describe as night and day. Part of what’s helped me change my mood on this film are his later efforts Django Unchained and Once Upon A Time… In Hollywood. Those are far better movies in my book because he laid the groundwork for the kind of films they were with Inglourious Basterds.

However, I can see folks hoping for a more aggressive object-based audio mix and/or a new selection of bonus features being a bit deflated with this release.For the week that ended on October 16th, Walt Disney Home Entertainment's Free Guy topped both the Blu-ray-only and overall packaged media charts, pushing Universal Pictures Home Entertainment's F9: The Fast Saga into second place on both charts in its fourth week. Quick little Update Note 10/6/21] - After spending more time with this for a third viewing in as many days, I noticed some slightly pixelated edges in a few scenes I hadn't noticed before - some small background objects in the Tavern scene, small background objects when Landa is interrogating von Hammersmark about her shoe, and a couple of other scenes. Inglourious Basterds comes to UK 4K Ultra HD Blu-ray courtesy of Universal, in what is presumably an identical release to their recent US 4K counterpart, boasting a subtly very impressive but only intermittently standout upscaled 4K presentation. Maybe someone there will see that their lack of effort could be a death knell for this format in the future; that is, unless they wake up and provide what they had originally promised.

By conflating war and movies, and celebrating teamwork, you could say that Tarantino is slyly trying to defy the auteur theory. Once Upon a Time in Hollywood does add a new, at times appealing wrinkle to this kind of build-up favoring set-piece, concluding stretches of anticipation with crescendos of comedy and pathos instead of violence — think the long sequence of Rick Dalton ( Leonardo DiCaprio) trying to successfully guest star on Lancer — but the overall effect is one of deflation rather than elation. Given that there are no other new additions on this release (Audio, Extras), this video transfer is all to go on.That opening shot of Denis Ménochet’s LaPadite chopping at that stump with the golden dusky yellow setting sun is stunning. Even though it’s made without irony, you can see how this boast is off-putting to Shosanna, perhaps because the sincerity with which he makes the comparison is the problem: the way his belief that his heroism—revered in a propaganda film produced by Joseph Goebbels (Sylvester Groth) that will premiere in Shosanna’s theater—is no different than York’s doesn’t take into account the concept of goodness. There’s a shot on Michael Fassbender that just looks wildly three dimensional and many of the shots down there feature a treasure trove depth of field. The extras are also recycled from the Blu-ray release, including extended and alternate versions of certain scenes, a collection of trailers, and perhaps most interesting, a 30-minute roundtable discussion with Tarantino, Pitt and film critic Elvis Mitchell.

As war rages in Europe, a Nazi-scalping squad of American soldiers, known to their enemy as “The Basterds,” is on a daring mission to take down the leaders of the Third Reich. What makes it even more stupid is that the supplied card slip case IS for the UK and so the case just falls straight out of the slip as it is too big for slim cases. I still feel like this disc offers some refined details and the HDR grading does a great job with improved image depth and some welcome color enhancements.On one side of the coin, you’re getting this pitch-perfect potboiler thriller, and then on the other, you’re getting this goofy bloody splatter 70s exploitation-style action movie. But as the film progressed, I just wasn’t feeling how these very different story elements intertwined. Bolstered with HDR10+, Robert Richardson’s luminous cinematography looks unbelievably resplendent, particularly the film’s striking use of red. Tarantino knows how good it would feel to see Nazis get a bravado-fueled, rewritten comeuppance that makes our act of revenge a more active choice (and, dovetailing with his love suspense, he knows it will feel better if we have to wait for it).

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