John Wayne and director John Ford produced over a dozen movies together, concluding their collaboration with a picture that, while being deemed a lark by most involved, nevertheless became a beloved outing for its fans: DONOVAN’S REEF (116 mins., 1963; Kino Lorber). A South Seas comedy that takes the more lighthearted elements of Ford and Wayne’s works – as evidenced by the “roughhousing” here between Wayne and co-star Lee Marvin – and mixes them together with a rather poignant family drama, “Donovan’s Reef” wasn’t the Old West sendoff that some western fans wanted – but on its own terms, it’s a disarming little movie with beautiful Hawaiian locales and the stars having great fun on-screen.
Wayne plays Donovan, a WWII vet spending his days on the fictional, beautiful French Polynesian island of Haleakaloha, running the local saloon and playing de facto uncle to the young children of his service buddy Jack Warden, the island’s doctor. No sooner than another ex-pat colleague of theirs, Gilhooley (Marvin), literally washes ashore does Warden take off for several weeks of work, leaving Donovan to deal with the unexpected arrival of Warden’s estranged, much older daughter Elizabeth Allen – fresh from Boston and hoping that her father has violated a clause that will enable her to take full control of the “Dedham Shipping Company” back home.
Longtime Wayne/Ford veterans Frank Nugent and James Edward Grant’s original script provides Wayne with an ideal comic foil in Marvin’s Gilhooley, a romantic lead in Allen, and several cute kids that he pretends to be the father of – a plot element that leads to Allen’s mounting suspicion that all may not be what it seems. Yet the story plays secondary to the overriding genial tone of the piece, seasoned with broad supporting performances from Cesar Romero as the island’s Governor, Dorothy Lamour as Gilhooley’s long-suffering girlfriend, and Marcel Dalio as the local French priest. Ford’s bawdy humor is on full display during the saloon sequences, yet there’s a strong heart beating here through its sensitive elements (the eldest of Warden’s three young children worries that the charade over her real father is due to her being only “half white”) that are handled in a low key, effective manner. Cyril Mockridge’s score, heavily incorporating the Hawaiian tune “Pearly Shells,” is likewise tuneful and moving, no more so than during the movie’s lovely, understated final shot.
“Donovan’s Reef” wasn’t deemed a classic film for Wayne or Ford, but I’d bet it made many “personal favorite” lists amongst older viewers during the ‘60s and ‘70s, where it routinely played on TV. My Dad loved this movie, and enjoyed watching it around Christmas time particularly (the film has a cute seasonal scene of yuletide being enjoyed in the South Seas).
He would have especially gone crazy over Kino Lorber’s 4K UHD, which sports a beautiful, pinpoint-detailed Dolby Vision HDR (1.85) master that features all of the movie’s Hawaii locations and warm colors in a spectacular new transfer. Everything about this new master blows away the previous HD presentation you could see via streaming (“Donovan’s Reef” incredibly never made it to Blu-Ray before now also), which was blurry in places and much less satisfying. The mono sound is clear and robust also.
In addition to the movie debuting here on Blu-Ray as well, there are two commentary tracks, one featuring author Joseph McBride, who provides a focus on Ford/Wayne, and Dwayne Epstein, a biographer of Marvin. Ford’s 1957 short ‘The Growler Story” is also included along with the trailer in Kino’s two-disc package. Highly, and warmly, recommended!
After turning out a number of teen movie classics in the 1980s, John Hughes essentially bid adieu to the genre with the 1991 comedy CAREER OPPORTUNITIES (83 mins., PG-13; Kino Lorber). This Universal release was mostly disposed of by the studio, opening in March 1991 after months of delays, and generating scant box-office – especially compared to the juggernaut of Hughes’ production “Home Alone,” which was still playing in theaters at the time. While Hughes himself was about to continue down a path of increasingly family-friendly big-screen fare, “Career Opportunities” is nevertheless worth seeking out as an attractively lensed widescreen effort that features the especially attractive Jennifer Connelly at the height of her on-screen appeal.
Hughes produced and penned this original script, which is assembled out of bits and pieces from other, better films of his. The slender 83-minute feature focuses on the relationship between two young high school grads – the fast-talking BS-artist Jim Dodge (Frank Whaley) and uber-popular town beauty Josie McClellan (Connelly) – who become acquainted at the local Target one night after hours. He’s just trying to hold down a steady job as the “night clean up boy” – she’s trying to get away from the town and her rich father. A few montages of them rummaging through Target (including a nice shot of soundtrack cassette tapes circa ’89, when the movie was filmed) and a couple of incisive conversations lead to them developing an improbable bond – one that gets challenged when a pair of robber brothers (played by actual siblings Durmot and Kieran Mulroney) break in.
Yes, it’s “The Breakfast Club” meets “Home Alone” – sort of – though the presence of the robbers is relegated to the final third – as a crude means of providing a dramatic resolution to the story – and apparently was further diminished in the editing room before release. Most of “Career Opportunities” deals with the very Hughesian connection between its two leads, and both Whaley and Connelly do a nice job in those scenes conveying believable dialogue that makes both characters appealing – at least in the short time they spend together. Alas, due to the film’s brevity and lack of overall narrative development, first-time feature director Bryan Gordon (who would go on to a long career in TV) isn’t able to make much of an impression with the finished product – one that Hughes reportedly was unhappy with, right down to him allegedly asking to have his credit removed from.
Despite its obvious shortcomings, “Career Opportunities” is still a likeable little film that’s long resided on many a Hughes or Connelly buff’s Blu-Ray wish list – and while it took years, fans in 2021 were able to finally cross the movie off from the roster of “absent-in-HD” titles. Now Kino Lorber is back with a fresh new scan that’s an appreciable enhancement on its previous Blu-Ray, thanks to a new 4K scan of the OCN (2.35) along with a new 2.0 stereo track that’s notably superior to the previous BD’s soundtrack offerings (which sounded like they suffered from volume normalization). Still, one element that does not help the film is Thomas Newman’s score, which is often noisy and offers little support to the material.
Extras include the 1990 theatrical trailer (which notably doesn’t mention the yet-to-be-released “Home Alone”), which houses numerous bits not used in the film, plus a commentary by Chicago film festival programmer Erik Childress, who astutely dissects the picture’s strengths and weaknesses plus Hughes’ problems with the picture (and the studio as well). All-new to the UHD and its accompanying Blu-Ray are a commentary by Bryan Gordon and interviews with both cinematographer Donald McAlpine plus Dermot and Kieran Mulroney.
SNEAKERS 4K UHD (126 mins., 1993, PG-13; Kino Lorber): “High concept” thriller from “WarGames” scribes Walter Parkes and Lawrence Lasker became Phil Alden Robinson’s follow-up to his 1989 hit “Field of Dreams.” Robert Redford leads a top-notch ensemble cast (Sidney Poitier, River Phoenix, Mary McDonnell, Ben Kingsley, Dan Aykroyd, David Strathairn) through a breezy but overlong tale of hackers blackmailed by nefarious government types into obtaining a secret “black box.” James Horner’s score is terrific and the performances are engaging, though the sluggishly-paced film never becomes much more than moderately entertaining, and is saddled with a good amount of Clinton-era lefty political preachiness as well (no surprise perhaps since the movie opened a few weeks ahead of the ‘92 election).
Kino Lorber’s 4K UHD (1.85) offers a new 4K scan of the 35mm OCN and Dolby Vision HDR grading that looks a whole lot more contemporary than the old HD master seen on HD-DVD. Extras include archival extras (Robinson, Lasker/Parkes commentary; Making Of) plus another commentary by Robinson and DP John Lindley and the trailer. The Blu-Ray is likewise remastered from the same 4K scan.
Also new from Kino on 4K UHD, Chevy Chase and Goldie Hawn have a ball in Colin Higgins’ entertaining 1978 comedic thriller FOUL PLAY (116 mins., PG), with Chevy as a ‘Frisco detective who aids librarian Goldie Hawn in preventing a plot to assassinate the Pope.
TV producers Thomas L. Miller and Edward K. Miklis produced this amiable, albeit overlong, farce, with Dudley Moore offering able support as “Stanley Tibbets” and Burgess Meredith also popping up as one of Hawn’s neighbors. The Charles Fox score is standard fare, though it did yield a Barry Manilow smash, “Ready To Take A Chance Again,” which is performed over the movie’s prolonged opening and end credits sequences.
Kino Lorber’s 4K UHD boasts another fresh 4K scan of the 35mm OCN (1.85) with Dolby Vision HDR, nicely capturing the picture’s strong location cinematography. On the audio side, the movie’s original mono soundtrack was re-mixed to 5.1 and, presented here in DTS MA, it sounds terrific (the 2.0 track is a fold-down of this remix). Extras include a featurette tribute to Colin Higgins and a new commentary by Bryan Reesman and Max Evry.
Also New on 4K UHD
DIRTY HARRY 4K UHD (102 mins., 1971, R; Warner)/THE OUTLAW JOSEY WALES 4K UHD (136 mins., 1976, PG; Warner)/PALE RIDER 4K UHD (115 mins., 1985, R; Warner): A trio of Clint Eastwood favorites premiere in 4K UHD from Warner this month, offering the first HDR-enhanced presentations of titles that have been well-traveled in home video history, though never looking as good as they all do here.
The original DIRTY HARRY kicks off the batch, with Don Siegel’s 1971 classic looking nifty in a dazzling new remaster (2.39) with HDR10 that adds detail and heightened contrasts to Warner’s previous HD presentation. The movie introduced Eastwood’s “Dirty” Harry Callahan to the masses with a decidedly un-P.C. protagonist that packs a punch even today; it’s a genre benchwork in every facet from Lalo Schifrin’s score to Siegel’s pacing and staging of the movie’s action sequences.
Warner’s UHD includes two Eastwood documentaries (“The Man From Malpaso” and “A Cinematic Legacy: Fighting For Justice”), five featurettes, commentary by Richard Schickel, and a Digital HD code. On the sonic side, Warner’s Dolby Atmos remix offers a reworking of a previous 5.1 remix while the original 2.0 mono is included in a DTS MA track.
In the late ‘60s, Clint Eastwood stepped out of his association with the great Sergio Leone and starred in several westerns of his own: “Hang ‘Em High” was followed by “High Plains Drifter” and one of his finest westerns, THE OUTLAW JOSEY WALES, an exciting “revisionist” take on the genre that expanded its star’s emotional range beyond “The Man With No Name.”
Eastwood’s title character is a Missouri farmer who sees his wife and son murdered by pro-Union renegades. After joining a Confederate militia, and seeing his fellow soldiers wiped out by the same Kansas “Redlegs” who killed his family, Wales refuses to surrender and carries on his personal quest for revenge while picking up a number of travelers (including Chief Dan George’s Cherokee and Sondra Locke as the granddaughter of Paula Trueman’s Yankee widow) en route to Texas.
“Wales” was steeped in behind-the-scenes controversy since writer Phil(ip) Kaufman guided the film through pre-production and began directing the picture before Eastwood himself took over after sparring with Kaufman on set. Despite the bickering between the two, the resulting film is one of Eastwood’s most satisfying exercises in the western genre, offering a more varied tone than his iconic Leone pictures, a dash of humor, exciting set-pieces and splendid Bruce Surtees cinematography.
A superb Blu-Ray becomes an (unsurprisingly) even more impressive UHD here thanks to Warner’s HDR10 (2.39) presentation of the movie, “Josey Wales” benefiting from Surtees’ location work throughout. In addition to a new Dolby Atmos remix (and the original 2.0 DTS MA mono) and Digital HD code, supplements include a commentary by Richard Schickel; the featurette “Eastwood’s West” with Oliver Stone, Morgan Freeman and James Mangold on-hand; the prior retrospective Making Of; a vintage production featurette; and the trailer. New to this package are the doc “Clint Eastwood: A Cinematic Legacy – Reinventing Westerns” and featurettes “The Cinematography of an Outlaw: Crafting Josey Wales” and “An Outlaw and an Antihero.”
Eastwood’s penultimate western, PALE RIDER, has never enjoyed the cult status that “Josey Wales” has carried, nor the box-office and critical achievements Clint’s 1992 genre swan song, “Unforgiven,” generated. Still, that this Summer of ‘85 release – along with “Silverado,” one of several pictures that comprised a short-lived “western revival” that year – has debuted on 4K UHD this month is likely a sign the movie has remained popular with fans over the years.
Eastwood’s effective reworking of “Shane” and even elements from his own “High Plains Drifter” is a superior film to the latter, offering Clint as a mysterious hero dubbed “Preacher” caught between a feud between a mining company and prospectors trying to make it in a small California gold-rush town. Michael Butler and Dennis Shryack’s script was criticized for being overly familiar, but Eastwood’s utilization of well-worn genre components is effective throughout, with more appealing characters than “High Plains Drifter” and a stronger supporting cast (Michael Moriarty, Carrie Snodgress, Sydney Penny) to match. The movie is also low-key, particularly in its handling of its arguably supernatural elements, which makes repeat viewing all the more rewarding.
Another superb new HDR10 (2.39) transfer adorns Warner’s UHD here, and in terms of the three discs, “Pale Rider”’s upgrade is the most substantial from Blu-Ray of the lot, with dp Bruce Surtees’ images looking healthier and more consistent than ever before. The disc also includes two new featurettes: “The Diary of Sydney Penny” is a brief but welcome new interview with the actress while “Painting the Preacher” examines Surtees’ fine work on the movie. Given that “Pale Rider” never had any extras produced for any previous home video release, these inclusions, along with a trio of docs (“The Eastwood Factor,” “Eastwood Directs – The Untold Story” and the same “Reinventing Westerns” doc as seen in the “Josey Wales” disc), makes for a highly recommended UHD all told.
Western fans will also want to check out The Complete Series Blu-Ray box of CHEYENNE (5560 mins., 1955-62; Warner Archive), a long-running, classic TV western created by Roy Huggins (“The Fugitive”) and starring Clint Walker. Shot in black-and-white, the ABC series starred Walker as “Cheyenne Bodie,” a cowboy searching for peace of mind following the Civil War. Into his travels come an array of guest stars, including L.Q. Jones, James Garner (in the opening episode, prior to him playing another western TV hero, “Maverick”), Dan Blocker and Lorne Greene (future “Bonanza” stars), Lee Van Cleef, Michael Landon, Angie Dickinson, Connie Stevens, Ellen Burstyn, and Alan Hale, Jr.
“Cheyenne” was all Walker’s show as the series never held any supporting, regular characters, even of the quasi-recurring variety. This kept the series in a fresh framework from episode to episode, each story a standalone effort with the good-hearted Cheyenne doing his best to help whoever needed his assistance.
Behind the scenes, “Cheyenne” endured a great deal of turmoil through Walker’s contractual issues with Warner, which lead to him leaving the series for a time midway through its run. Ty Hardin’s character Bronco Layne became a de facto replacement, and when Walker did return, “Bronco” was spun off into a hit series of his own. Walker, meanwhile, reportedly continued to be unhappy despite the series’ consistently high ratings whenever it did air.
Warner’s gorgeous Blu-Ray box-set sports seven specifically packaged seasons of the series, all remastered in crisp B&W 4K scans from the original negatives. Detail and grain are superlative across the package, with clear 2.0 DTS MA mono sound in a highly recommended release for classic western fans.
WHAT LIES BENEATH 4K UHD/Blu-Ray (130 mins., 2000, PG-13; Shout!): Widely dismissed by some critics back in its day for its cliched components and over-reliance on red herrings, this agreeable homage to Alfred Hitchcock by director Robert Zemeckis – arguably the last decent movie he directed in a career that’s mostly gone off the rails since – makes for a serviceable thriller, filled with stylish sequences and a strong performance by Michelle Pfeiffer as a Vermont housewife tormented by visions of spirits.
As soon as her daughter heads off to college, Pfeiffer begins spying on a couple adjacent to her and scientist husband Harrison Ford’s scenic lakeside home. After watching what she believes to be a murder next door (shades of “Rear Window”), Pfeiffer begins seeing what she believes to be the presumed dead woman’s ghost walking through her home — and what follows thereafter, following a slow start, becomes increasingly spooky and entertaining thanks to Zemeckis’s direction.
Not that it doesn’t take a while for “What Lies Beneath” to get there, however. The screenplay — credited to Clark Gregg and Sarah Kernochan — offers up a slow pace and a collection of under-developed supporting players who prevent the movie’s sluggish first half from becoming fully suspenseful. Zemeckis and company attempt to infuse the material with a few laughs and several references to Hitchcock (right down to a moody, Bernard Herrmann-like score from Alan Silvestri), but it’s pretty much padding until the film comes to life in the second half.
At that point, “What Lies Beneath” does become an engaging, loopy supernatural thriller with a climax that fortunately doesn’t degrade into a special effects show (a la “Poltergeist”), and instead attempts to keep things along an even, thriller-like keel — albeit with a frantic finale that recalls many of Zemeckis’s past efforts. Pfeiffer and Ford turn in some of their best work of that era (especially Ford in an atypical career role) and the director has fun staging several set-pieces, the likes of which eluded much of his work over the years since.
Though a solid box-office hit, “What Lies Beneath” made little noise on home video, with its Blu-Ray premiere coming in a features-less Paramount disc just a few years ago. This Shout UHD sports a majorly enhanced new 4K scan (2.35) with Dolby Vision HDR and both 5.1/2.0 DTS MA sound. This is on all fronts a solid upgrade from that release, the movie appearing darker but also more textured, while Shout has also included a brand-new, feature-length retrospective documentary featuring interviews with Zemeckis, the writers, producer Steve Starkey, Alan Silvestri and many other crew members. A remastered Blu-Ray is also on-hand for this often overlooked picture which represents its director and stars at their best from some 25 years ago – a peak in the director’s case that he’s been hard-pressed to match.
Also New on Blu-Ray From Kino Lorber
THE BERMUDA TRIANGLE Blu-Ray (94 mins., 1979, G; Kino Lorber): Nostalgic, mildly enjoyable Sunn Classic documentary adapts Charles Berlitz’s non-fiction bestseller about the mysterious cases – shipwrecks, lost aircraft, etc. — in and around the “Bermuda Triangle.” The “docudrama” approach from producers James Conway and Charles Sellier is little more than a feature-length “In Search Of…” episode but this is pretty amusing and quite watchable, especially in an HD master (1.85, mono) from Paramount that’s far better than any unfocused old VHS tape you might have previously seen of this seldom-circulated title. Kino’s Blu-Ray also sports a new commentary featuring Conway and moderator Howard S. Berger.
Choppy waves are also part of THE CRUEL SEA (126 mins., 1953), a sturdy and well-acted film following the HMS Compass Rose, a British Royal Navy vessel charged with taking down German U-boats. Stark B&W cinematography, a measured yet compelling pace, and performances from Jack Hawkins, Denholm Elliott, Donald Sinden and Virgnia McKenna make this one of the more beloved British WWII films of its era, presented in a good-looking B&W (1.37) Studio Canal master from Kino Lorber on Blu-Ray. Extras include an interview with Sinden, commentary by critic Simon Abrams, and the trailer.
FILM NOIR: THE DARK SIDE OF CINEMA XXV Blu-Ray (Kino Lorber): 
A trio of noir efforts from Republic Pictures – presented by Paramount in new 4K scans – comprise Kino Lorber’s 25th Blu-Ray box-set of genre thrillers. THE FLAME (97 mins., 1947) finds John Carroll as a scheming low-life who wants his hands on the fortune of his half-brother (Robert Paige), and uses his girlfriend (Vera Ralston) as a pawn to get at it – unknowing that she’s going to fall for him instead! Gig Young, Edward Arnold, Mala Powers and Marie Windsor lead a cast of familiar faces in CITY THAT NEVER SLEEPS (90 mins., 1953), a gritty, Chicago-lensed tale of a handful of characters hovering in and around a police precinct; while Hawaii is the setting for HELL’S HALF ACRE (90 mins., 1954), starring Wendell Corey as a former racketeer being blackmailed and taking the rap after his girlfriend (Nancy Gates) kills one of the crooks sent to set him straight. Supplements across the three discs include new commentaries by podcaster Heath Holland on “Hell’s Half Acre” and “The Flame” plus Imogen Sara Smith on “City That Never Sleeps.”
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Warner Archive New Releases
THE INFORMANT! 4K UHD (108 mins., 2009, R; Warner): Oddball Steven Soderbergh film takes a true story about a corporate whistleblower (here portrayed by Matt Damon) and turns it into a serio-comic rendition of “The Insider.”
Damon gives an amusing, on-target performance as Mark Whitacre, who decides to help out the FBI by informing them about the price-fixing of food additives – all the while digging himself into a hole with a scheme of his own that’s only revealed as the film moves forward. A terrific, breezy score by Marvin Hamlisch sets the mood of Soderbergh’s playful film, which offers character turns from Scott Bakula and Joel McHale (as the FBI agents assigned to the case) plus Clancy Brown, Tom Wilson (“Back to the Future”) and even Tom Smothers. It’s not uproariously funny but “The Informant!” is consistently entertaining and just a bit eccentric at the same time.
Warner debuts “The Informant!” on 4K UHD (1.78, 5.1 DTS MA) in a new Dolby Vision HDR presentation that offers modest gains over its previous, and already good-looking, Blu-Ray edition. Extras include a few deleted scenes plus commentary by Soderbergh and screenwriter Scott Z. Burns.
“The Informant!” is one of those movies that some viewers aren’t going to necessarily “get,” and Soderbergh’s directorial touches are admittedly a bit unusual given the material (for some reason the on-screen graphics and some of Hamlisch’s score reference the ‘70s when the film is set in the early ‘90s). It doesn’t always work but the film, on balance, is still worth a viewing for its offbeat elements and Hamlisch’s score.
Also debuting on 4K UHD this month from Warner is the picture Soderbergh produced that preceded it, THE GOOD GERMAN (108 mins., 2008, R; Warner), an overly stylized, B&W shot adaptation of a Joseph Kanon novel from screenwriter Paul Attanasio. Soderbergh’s picture offers the triangle of George Clooney as an American journalist, Cate Blanchett as his former lover, and Tobey Maguire who’s Blanchett’s current flame in a tale of murder and conspiracy in post-WWII Berlin. Despite the compelling subject and cast, there’s just not a lot of dramatic pull to this stoic affair, though the cinematography in Soderbergh’s film makes for a good-looking Dolby Vision HDR remaster (1.33, 5.1 DTS MA). The trailer is the sole extra in the UHD/Blu-Ray combo pack.
CAPTAIN PLANET AND THE PLANETEERS: The Complete Franchise Blu-Ray (1990-96; Warner): Younger viewers who grew up in the ’90s may well recall “Captain Planet & The Planeteers.” This Turner TV animated cartoon was one of the first “environmentally conscious” kid shows of its kind, finding five diverse children from around the globe brought together by Captain Planet himself (a green-mulleted super-hero) to help save the world. Very heavy-handed at times, “Captain Planet” was still a beloved show for certain kids of that era, and Warner’s Blu-Ray provides a new high-def edition of a “Complete Franchise” release that first premiered on DVD a year ago. This box sports both the original “Captain Planet and the Planeteers” (1990-92) plus “The New Adventures of Captain Planet” (1993-94) in 4:3 transfers with mono (seasons 1-3) and 2.0 stereo (season 4 onward) soundtracks, all in attractive 1080p (1.37) transfers.
Quick Takes
LAST BREATH Blu-Ray (93 mins., 2025, PG-13; Universal): Dramatization of a 2012 true story involving a group of North Sea divers who risked everything to save one of their crew members, trapped below during an ocean storm. Alex Parkinson made a documentary on this back in 2019, and was the right man to helm “Last Breath,” a workable big-screen dramatization starring Woody Harrelson, Simu Liu, Finn Cole and Cliff Curtis, which is unsurprising since we know how the story is going to turn out, yet boasts solid performances and keeps you watching throughout. Universal’s Blu-Ray (2.39) includes 5.1 Dolby TrueHD audio, a Making Of, commentary, and a digital HD code.
A PLACE FURTHER THAN THE UNIVERSE – The Complete Series Blu-Ray (325 mins., Shout Factory): Complete Series of the Madhouse anime “A Place Further Than The Universe” receives a double-disc Blu-Ray edition this week from Shout Factory. Atsuko Ishizuka’s effort includes all 13 episodes from the series in 1080p (1.78) transfers with DTS MA sound in either the original Japanese mix with English subtitles, or an English dub. Special features include a “clean opening” and “clean ending” along with a “Making of the English Dub” featurette detailing the soundtrack recording for the English speaking market.
BATMAN NINJA VS. YAKUZA LEAGUE 4K UHD (89 mins., 2025, PG-13; Warner): Sequel to the 2018 “Batman Ninja” brings back an anime-styled Batman, here doing battle with a group of Justice League-looking villains, the Yakuza League, who’ve invaded Gotham. If you enjoyed the previous installment you might enjoy this original story from writer Kazuki Nakashima and directors Jumpei Mizusaki and Shinji Takagi, utilizing Takashi Okazaki’s character design for a uniquely animated Dark Knight story. Warner’s 4K UHD includes Dolby Vision HDR and 5.1 DTS MA audio, a digital HD code, and two featurettes (“Bringing the League to Japan,” “Anime Action: Choreographing the Fights”).
NEXT TIME: Arrow injects THE ANDROMEDA STRAIN on 4K UHD! Until then, don’t forget to drop in on the official Aisle Seat Message Boards and direct any emails to our email address. Cheers everyone!