Two of the more expensive, musical-oriented box-office disappointments from the late ‘70s have been remastered on 4K UHD – but between Martin Scorsese’s NEW YORK, NEW YORK (163 mins., 1977, PG; MVD) and Robert Altman’s POPEYE (113 mins., 1980, PG; Paramount), there’s little doubt which picture remains entertaining while the other comes off as a one-note letdown.
The latter is NEW YORK, NEW YORK, an expensive attempt by Scorsese and writers Earl Mac Rauch and Mardik Martin to work the nostalgia of the post-WWII big-band era in with the improvisational dramatic nature of Scorsese’s ‘70s films. Despite its girth in terms of running time, it’s an extremely straightforward picture wherein aspiring singer Liza Minnelli is basically let down by her self-destructive, saxophonist husband Robert DeNiro over and over again, even as her career takes off and his remains, comparably, anchored to the ground.
John Kander and Fred Ebb contributed a handful of original songs – most significantly the title tune, which later became a classic with Frank Sinatra’s 1980 recording – to “New York, New York,” but this is a flaccid effort that even its producers, Irvin Winkler and Robert Chartoff, admit fails to work in the disc’s archival documentary. Scorsese felt it too, blaming his drug use at the time for the production going out of control and failing to find a grounding point for viewers. Watching DeNiro essentially play a jerk for the entire duration of the film isn’t much fun; neither are his arguments with Minnelli, who’s more dialed back here until she gets a chance to let it rip with the climactic “Happy Endings” musical number (which was, incredibly, cut after preview screenings before its later home video restoration).
Even then, though, there’s just no relief from the overwhelming downbeat tone of “New York, New York,” which failed to appeal to older audiences and younger viewers alike. It’s an experiment that’s ambitious and compelling, yet matching the very contemporary dialogue, and DeNiro’s performance in particular, with the intentionally old-fashioned sets by Boris Leven and Laszlo Kovacs cinemtography – all meant to evoke the mood and stylistic flourishes of the 1940s – doesn’t come together.
MVD’s 4K UHD (1.85) debuts a new 4K scan of the OCN with HDR10. This is a good looking transfer that’s leaps and bounds ahead of previous releases of the picture, including the Blu-Ray housed 136-minute cut which is included here in an old HD master and represents what most audiences initially watched in 1977. The audio is not quite as accomplished, limited by its source fidelity in either 5.1 or a similarly mixed 2.0 DTS MA presentation; Ralph Burns’ adaptations are fairly constrained and the dialogue sometimes muddled, especially for a film of this type.
Extras are carried over from MGM’s old laser and DVDs including deleted scenes, commentary by Scorsese and critic Carrie Rickey, a photo gallery, select scenes commentary from DP Laszlo Kovacs, and from its 2007 Special Edition Blu-Ray, interviews with Minnelli and a two-part documentary which is honest in its assessment about the film’s failure.
Though initially tagged as a flop as well, Robert Altman’s big-budget filming of the legendary comic strip hero/animated star POPEYE (113 mins., 1980, PG; Paramount) – an expensive Robert Evans/Paramount-Disney co-production – still made out fairly well at the box-office.
It’s at least a visually appealing spectacle, with elaborate Malta sets from Wolf Kroeger and a tuneful Harry Nilsson score — it’s just a weird movie that mixes comic book-styled antics with Altman’s observational lens, plus a muttering Robin Williams performance at its core. Nevertheless, it’s interesting that, when we watched it with our-then 1st grader a few years back, he warmed to the movie much in the same way I enjoyed it on home video back in the ’80s as a kid – Altman’s movie succeeds in bringing the “Thimble Theater” crew, from Olive Oyl (Shelley Duvall) to Wimpy (Paul Dooley) and Bluto (Paul Smith), to life in a way that feels both organic to the EC Segar comics as well as Altman’s own, unique cinematic sensibilities.
Paramount’s 4K UHD (2.35) is spectacular, serving up a lovely Dolby Vision HDR presentation enhancing detail and color, all to the movie’s benefit. On the audio end, the original 5.1 Dolby TrueHD mix is delightful in its multi-channeled, full bodied sound (a much weaker 2.0 track is also included). The featurettes from the studio’s 2020 Blu-Ray are carried over, including a candid look back on the production with then-new and recent interviews (Williams appears in a 2014 conversation), a still gallery, and the trailer.
Also New From Paramount
ENEMY AT THE GATES 4K UHD/Blu-Ray Limited Edition Steelbook (131 mins., 2001, R; Paramount): Jean-Jacques Annaud’s lavish epic is a true story of a Russian sharpshooter (one of Jude Law’s best roles), popularized by military propaganda, whom the Germans decide to rub out by bringing in a vicious marksman (Ed Harris) while the Battle of Stalingrad rages on in the wintry Russian landscape of WWII.
Annaud is one of the few directors currently alive who can make a classically-constructed film that feels like it could have been made exactly the same way decades before, and the 2001 “Enemy at the Gates” is a well-mounted, powerful piece of filmmaking that’s flawed in its pacing and certain narrative decisions (the Rachel Weisz love interest angle should have either been augmented or cut completely), but is striking in how it details the direct conflict between two individuals while thousands are dying in the battle surrounding them.
Backed by a superb James Horner score and individual set-pieces that inspired a litany of WWII video games (the “Call of Duty” series in particular), “Enemy at the Gates” has aged well and debuts on 4K UHD in a Limited Edition Steelbook from Paramount.
The Dolby Vision HDR (2.35) provides added detail to Robert Fraisse’s scope cinematography, with the production designed by the great Wolf Kroeger. The Dolby TrueHD 5.1 sound, meanwhile, reprises the original sound design, offering a masterful mix of Horner’s highly effective original score (it works great once you put the “Schindler’s List” influence aside) and potent sound effects.
Extras reprieved from the original DVD include two documentary featurettes: a promotional featurette on the production as well as a more interesting, 22-minute piece consisting of interviews with the cast and Annaud, who dives into greater detail surrounding the historical background of the actual event. A handful of interesting, but not integral, deleted scenes are included along with a Digital HD code and the excellent theatrical trailer in HD.
THE SAINT 4K UHD/Blu-Ray Limited Edition Steelbook (116 mins., 1997, PG-13; Paramount): After reading all the bad reviews that accompanied “The Saint”’s original release, I decided to pass on seeing the Val Kilmer revamp of the old Roger Moore series in theaters, though I did get a lot of “the movie was great!” reactions from several of my usually reliable friends back at the time.
After watching the movie on video, I can see why viewers did overlook the film’s shortcomings and enjoy the picture – this “Saint” has to be one of the most purely romantic spy pictures ever made, with strong chemistry between Kilmer and Elisabeth Shue (ok, so she’s not entirely believable as a cold fusion scientist) overcoming a few gaps in logic and plot. Director Phillip Noyce (of “Dead Calm” and Jack Ryan fame) makes good use of the Russian locales and his cast, and spends enough time on the love story so that we actually care about the characters and what happens to them. The movie also boasts atmospheric cinematography by Phil Meheux and a terrific Graeme Revell score that deftly incorporates Edwin Astley’s classic TV theme into its superb mix of synths and strings.
“The Saint” makes for a great date movie all around, and Paramount’s Steelbook now preserves the movie’s good-looking visuals in a quality Dolby Vision HDR (2.35) presentation with TrueHD 5.1 audio. Noyce’s archival commentary is the sole extra, which is a disappointment since the film was doctored in post-production, changing the ending among other things. The Blu-Ray and a Digital HD code are also included with the original theatrical artwork housed on the Steelbook.
Coming Soon From Paramount: “Yellowstone” may have ended but creator Taylor Sheridan is at least enjoying the residuals – albeit not the creative involvement – from the two current spinoffs of his hit series.
While “Dutton Ranch” did well on Paramount+, MARSHALS (552 mins., 2025-26; Paramount) features “Yellowstone”’s prodigal son, Kayce Dutton, who’s now saddled up with a team of U.S. Marshals solving assorted crimes, enabling Kayce to raise his son while embracing his background as both a cowboy and a Navy SEAL. Star Luke Grimes’ natural charisma and strong production values keep “Marshals” afloat, but it was jarring, as a longtime “Yellowstone” fan, to see Kayce and the “Yellowstone” surroundings – as well as several cast members – returning in a bland CBS crime procedural, complete with PG-level profanity and violence. Subsequently, whether or not you can accept Kayce’s further adventures in this format will be based on your enjoyment of network crime dramas and the formula this falls into. Paramount’s Blu-Ray of the series’ top-rated first season includes 1080p (1.78) transfers and 5.1 TrueHD soundtracks.
Also upcoming from Paramount is Season 3 of REACHER (368 mins., 2025-26), which this time finds Alan Ritchson’s Reacher posing as a bodyguard for the son of nefarious Zachary Beck, hoping to rescue a missing DEA agent and take down a drug ring in the process. Fans of the Amazon Prime series should enjoy these action-packed episodes, new on Blu-Ray (1.78, 5.1 DTS MA), as well as all the above titles, on August 25th.
Severin New Releases
While “New York, New York” and “Popeye” may have sputtered commercially, John Travolta was strutting his stuff into worldwide box-office receipts upon the 1977 release of “Saturday Night Fever.” That picture’s success led to a brief burst of disco-related features, including “Xanadu” and “Can’t Stop the Music,” as well as regional releases in various overseas markets that attempted to cash in on the fad.
Severin’s DISCO ITALIANA includes three, all-Italian exploitation pictures making their worldwide video and/or disc premieres.
In fact, the “Discosploitation” fun kicks off with AMERICAN FEVER (91 mins., 1978), which follows Mircha Carven as “Tony” (naturally), a gas station attendant hoping to make it in America in Claudio Giorgi’s drama. Scanned in 4K (1.85), Severin’s disc offers a superb new transfer with both Italian and English dubs, commentary by Nathaniel Thompson and Howard S. Berger, plus an interview with critic Alan Jones.
JOHN TRAVOLTO: THE FACE WITH 2 LEFT FEET (100 mins., 1979) is an amusing comedy where Giuseppe Spezia plays a club worker who becomes a Travolta wannabe, just in time to romance a disco queen. This full-length cut has never been released domestically and includes another 4K transfer with a soundtrack CD copy, commentary by Thompson, Berger and Eugenio Ercolani, trailers and another featurette with Alan Jones on-hand.
The third feature, GREASE ROCK (91 mins., 1979), is arguably the best of the lot, following another hapless sort (Monty Ray Garrison) who, with the help of a visiting American (Auretta Gay), attempts to dance his way into the big time. A good mix of comedy, romance and music permeates Michele Massimo Taranti’s film, scanned in 4K for Severin’s Blu-Ray (1.85, English/Italian mono). Extras include a commentary by Thompsonj and Ercolani, an Alan Jones interview and the trailer.
Available separately from Severin, and more fun than any of the Italian pics, is the British indie THE MUSIC MACHINE (91 mins., 1979). Ian Sharp’s film was shot in the late ‘70s in Camden locales including the famed “The Music Machine,” where a local kid (Gerry Sundquist) attempts to win a competition and appear in a big-screen movie. Phil Meheux shot “The Music Machine,” which is better appreciated for its well-rounded characters – especially the protagonist’s relationship with his parents, including mom Brenda Fricker – and sense of time and place as opposed to its musical numbers. A full run of interviews and Alan Jones’ Camden locations featurette grace Severin’s recommended Blu-Ray (1.85, mono).
New From MGM
PROJECT HAIL MARY 4K UHD (156 mins., 2026, PG-13; MGM/Alliance): A tad overrated, but still well executed, sci-fi adventure stars Ryan Gosling as a school teacher sent out to the cosmos on a mission to save Earth from a sun suddenly in peril. In so doing, he confronts his own cowardice and necessitates the help of “Rocky,” a being from another galaxy likewise trying to save their home from a similar fate.
Phil Lord and Christopher Miller’s film, a Drew Goddard-scripted adaptation of Andy Weir’s book, is – like Weir’s previous book-turned-movie “The Martian” – sturdy all the way around, but also derivative — heavily — of other genre pictures like “2001” and “E.T.,” and also sags in a bloated mid-section. And, much like “The Martian,” the movie dramatically peters out a little, ending on a satisfying but not especially heart-tugging note.
Maybe one of the best sci-fi movies though “for people who don’t like sci-fi,” MGM brings the box-office smash to 4K UHD (2.39) in a gorgeous looking Dolby Vision HDR presentation. The Dolby Atmos sound is excellent also, featuring a better-than-average Daniel Pemberton score. Extras include deleted scenes, a featurette, and a Lord/Miller commentary.
THE SHEEP DETECTIVES Blu-Ray (109 mins., 2026, PG; MGM/Alliance): It didn’t sound promising on paper but this unusual tale of a shepherd (Hugh Jackman) who reads to his beloved flock of sheep every night until he perishes, leaving a mystery behind – only one that his sheep have to solve on their own! Craig Mazin adapted Leione Swann’s book “Three Bags Full” for this whimsical and quite moving mix of mystery, talking-animal picture and kids’ fantasy, all bundled up in an appealing package by director Kyle Balda. A number of stars voice the sheep and it all ends on a surprisingly satisfying, poignant note. MGM brings the well-reviewed “Sheep Detectives” to Blu-Ray August 25th featuring a fine 1080p (2:1) transfer and Dolby Atmos sound.
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Neon New Releases
HOKUM 4K UHD/Blu-Ray (107 mins., 2026, R; Neon): Adam Scott plays a writer who travels to Ireland in order to spread his late parents’ ashes when he gets wrapped up in the story of a witch – one that’s also, allegedly, haunting the very room he’s staying in at a local, rural inn. Director Damian McCarthy lands some effective jump scares in a film that doesn’t seem entirely cohesive in terms of its overarching tone, with Scott’s personal journey contrasting with fright sequences that seem to come out of a different place; at least it ends on a note not nearly as bleak as one might anticipate, and Scott delivers a worthwhile performance. Neon’s 4K UHD (2.39) includes a solid transfer, a Making Of, commentary with the director, teaser and trailer.
EPIC: ELVIS PRESLEY IN CONCERT 4K UHD/Blu-Ray (97 mins., 2025, PG-13; Neon): “Elvis” director Baz Luhrmann slides to the documentary side for this portrait of the King’s famed residency in Las Vegas, and in particular, footage and interviews culled from the beginning of Presley’s time there. Archival footage, much of it shown for the first time, comprises this new look at Elvis on stage, with Neon’s 4K UHD (2.35) including 5.1 DTS MA sound and a Blu-Ray disc.
Also new from Neon is EXIT 8 (95 mins., 2025, PG-13), a Japanese thriller about a man stuck in an endless subway elevator. This adaptation of the hit video game includes a Q&A with director Ghenki Kawamura, a Making Of, the trailer, a 1080p (1.85) transfer, and 5.1 DTS MA Japanese audio with English subtitles.
HUNGRY DVD (93 mins., 2026; Decal): A killer hippo makes life treacherous for tourists going down the Louisiana bayou in this low-rent UK/Malta co-production featuring Joaquim De Almeida. James Nunn’s film comes to DVD sporting a 16:9 (2:1) transfer and 5.1 sound along with a Making Of featurette.
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