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4K UHD Blu-rays / Re: 4K UHD Movie Deals !
« Last post by SRW1000 on November 12, 2026, 07:38:27 PM »
Walmart also has started their Black Friday sale with multiple titels on sale:  4k uhd movies - Walmart.com
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4K UHD Blu-rays / Re: 4K UHD Movie Deals !
« Last post by SRW1000 on November 12, 2026, 07:20:28 PM »
There are some deals going on at Amazon right now.  The semi-annual Criterion 50% off deals are available for selected titles.

In addition, there are some random price decreases like Obsession (2026) - Collector's Edition 4K Ultra HD + Blu-ray + Digital for just $12.99.

Interview with the Vampire (4K Ultra HD + Digital) for $12.99

Bugonia - Collector's Edition 4K Ultra HD + Blu-ray + Digital for $12.99

Mars Attacks! (4K Ultra HD + Digital) for $12.99

Here's a link that may take you to all the titles between $10-15:  https://www.amazon.com/s?i=movies-tv&bbn=2958935011&rh=n%3A2958935011%2Cp_n_price_fma%3A10346817011%2Cp_n_condition-type%3A6461716011%2Cp_n_format_browse-bin%3A9397930011&dc&rnid=2650303011&xpid=VZ3qc-R8uD7vs

These all may end up going on sale for less during their Black Friday and Cyber Monday Sales so you may want to wait, or you could always return them unopened for a refund if the price drops.
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https://i.imgur.com/yBv8Qye.png

From the Warner Bros. Clockwork press release:

KEN RUSSELL’S THE DEVILS
   
THE DIRECTOR’S CUT. RESTORED. REMASTERED.
   
WARNER BROS. CLOCKWORK WILL RELEASE THE DEFINITIVE VERSION OF KEN RUSSELL’S MASTERPIECE IN A 3-DISC 4K UHD + BLU-RAY COLLECTOR’S EDITION AND STANDARD 4K UHD EDITION ON APRIL 20, 2027 – THE FIRST TIME EVER THAT THE FILM WILL BE AVAILABLE IN THESE FORMATS

Ken Russell’s The Devils, the 4K restoration of the definitive, uncensored director’s cut will be available for purchase on 4K UHD Blu-ray Disc on April 20, 2027. Following Warner Bros. Clockwork’s theatrical release of this version that has been 55 years in the making, the film arrives in 4K UHD for the first time ever. The 3-disc Collector’s Edition will include the 4K UHD presentation of the director’s cut as well as all three versions of the film for the first time ever on Blu-ray. The standard 4K UHD edition will include the director’s cut and new bonus material.

Both the Collector’s and Standard 4K UHD editions are now available to pre-order online at major retailers.  Two versions of the 4K UHD disc will be available for purchase: the 4K UHD + Blu-ray Collector’s Edition as well as a standard 4K UHD Edition. The Collector’s Edition includes a rigid slipcase with an 8-panel 3-disc holder and 96-page book. There is more than 14 hours of material, including the Director’s Cut encoded by Fidelity in Motion on a 4K UHD disc; the Director’s Cut, UK X-rated cut and US R-rated cut on a Blu-ray disc; and a Blu-Ray disc including never-before-seen bonus material. The standard 4K UHD includes more than 4 hours of material in a slipcase with an 8-panel 1-disc digipak. This disc includes the Director’s Cut encoded by Fidelity in Motion and new bonus material. Pre-orders for both products begin today.

Ken Russell’s The Devils is the definitive cut of “The Devils”, and no other director’s cut formally exists. This cut was originally reconstructed in 2004 under the supervision of Ken Russell and the film’s editor Michael Bradsell with the collaboration of Mark Kermode. The 4K restoration was completed using the original camera negative at WB Water Tower Color, with audio restoration completed using original composite 35mm mag film at WB Sound.

The film stars Oliver Reed and Academy Award Winner Vanessa Redgrave.  In 1971, the film received Best Director awards from two of the most prestigious institutions in the world: the 33rd Venice International Film Festival and the U.S. National Board of Review. Its critical reception in the following decades has only become more impassioned, championed by artists and film historians including Guillermo del Toro and Mark Kermode.

About the Film

In Ken Russell's The Devils, the legendary and controversial 1971 masterpiece returns in a stunning new 4K restoration, presenting the director's definitive vision for the first time. In 17th-century Loudun, charismatic priest Father Grandier (Oliver Reed) finds himself at the center of a political and religious conspiracy when the tormented Sister Jeanne (Vanessa Redgrave) becomes consumed by obsession. As accusations of possession, corruption, and witchcraft ignite mass hysteria, a shocking struggle for power threatens to destroy an entire community. Written and directed by Ken Russell, this visually breathtaking epic remains one of cinema's most provocative and enduring works.

Ken Russell’s The Devils 3-Disc 4K Ultra HD + Blu-ray Collector’s Edition contains the following:

  • The first ever 4K UHD presentation of Ken Russell’s The Devils – the uncensored, definitive director’s cut – encoded by Fidelity In Motion with a newly restored monaural soundtrack.
  • The first ever official Blu-ray presentations of Ken Russell’s The Devils, the uncensored, definitive director’s cut (114 mins); the UK X-Rated version (111 mins); and the US R-Rated version (108 mins), with a newly restored monaural soundtrack.
  • Unedited 2004 audio commentary with Ken Russell, Michael Bradsell, Mark Kermode & Paul Joyce
  • Never-before-seen extended scene
  • New extended version of the documentary Hell on Earth: The Desecration and Resurrection of The Devils (2002) featuring additional interview footage with Ken Russell
  • New 4K remaster of the short film Amelia and the Angel (1958 ) directed by Ken Russell
  • New compilation of camera slates
  • New interview with Guillermo del Toro on The Devils and the legacy of Ken Russell
  • New introduction by Kleber Mendonça Filho at the first ever screening of Ken Russell’s The Devils in Brazil
  • New extended interview with Mark Kermode on The Devils and the reconstruction of the definitive director’s cut
  • New behind-the-scenes featurette on the picture and sound restoration
  • Never-before-seen archival interviews with Vanessa Redgrave and Oliver Reed
  • Never-before-heard archival audio interviews between critic Richard Crouse and cast/crew
  • Never-before-seen costume sketches by Shirley Russell with audio commentary by Victoria Russell
  • Excerpt of Rupert Russell’s documentary Mad Dad, featuring never-before-seen Russell family photos
  • 2004 Q&A with Ken Russell and Mark Kermode following the first ever screening of Ken Russell’s The Devils at the BFI Southbank NFT1
  • 2010 Film at Lincoln Center Q&A with Ken Russell and Vanessa Redgrave
  • Director of Devils (1971) featurette with behind-the-scenes footage and a Ken Russell interview
  • Behind-the-scenes footage with commentary by Michael Bradsell
  • Archival Trailers
  • 2026 Theatrical Trailer
  • 96-page book with never-before-seen photography and production materials, excerpts of the original continuity script, new essays by Mark Kermode and Linda Ruth Williams, and newly unearthed archival crew interviews
  • and more…

Ken Russell’s The Devils 4K Ultra HD Blu-ray Disc Standard Edition contains the following:

  • The first ever 4K UHD presentation of Ken Russell’s The Devils – the uncensored, definitive director’s cut – encoded by Fidelity In Motion with a newly restored monaural soundtrack.
  • Unedited 2004 audio commentary with Ken Russell, Michael Bradsell, Mark Kermode & Paul Joyce
  • New interview with Guillermo del Toro on The Devils and the legacy of Ken Russell
  • 2004 Q&A with Ken Russell and Mark Kermode following the first ever screening of Ken Russell’s The Devils at the BFI Southbank NFT1
  • Behind-the-scenes footage with commentary by Michael Bradsell
  • Director of Devils (1971) featurette with behind-the-scenes footage and a Ken Russell interview
  • Archival Trailers
  • 2026 Theatrical Trailer

BASICS
Ken Russell’s The Devils Collector’s Edition
MSRP: $76.66
Ultra HD Blu-ray Languages: English, Parisian French, Italian, German, Castilian Spanish
Ultra HD Blu-ray Subtitles: English SDH, Parisian French, Latin Spanish, Dutch, Castilian Spanish, Italian, German, Danish, Finnish, Norwegian, Swedish
Director’s Cut Run Time: 114 minutes
UK X-Rated Run Time: 111 minutes
US R-Rated Run Time: 108 minutes
Director’s Cut Rating: NC-17 for sexual content/graphic nudity
US Cut Rating: R
UK Cut Rating: 18
Physical Street Date: April 20, 2027
   
Ken Russell’s The Devils Standard Edition
MSRP: $36.66
Ultra HD Blu-ray Languages: English, Parisian French, Italian, German, Castilian Spanish
Ultra HD Blu-ray Subtitles: English SDH, Parisian French, Latin Spanish, Dutch, Castilian Spanish, Italian, German, Danish, Finnish, Norwegian, Swedish
Director’s Cut Run Time: 114 minutes
Director’s Cut Rating: NC-17 for sexual content/graphic nudity
Physical Street Date: April 20, 2027

About Warner Bros. Clockwork

Warner Bros. Clockwork is a home for singular filmmakers who powerfully connect with audiences theatrically across the world. The label builds on Warner Bros.’ longstanding legacy of producing socially relevant, provocative, and culturally resonant cinema for audiences globally. Upcoming films include TI AMO!, the new film by Academy Award®-winner Sean Baker; THE BRIGANDS OF RATTLECREEK directed by Park Chan-wook; the new Mary Bronstein film NASTY starring Jenna Ortega and Rose Byrne; and the new film by Academy Award®-nominee Noah Baumbach.

WARNING:  Trailer contains flashing images



Here's a clip that shows the before and after restoration shots:



Russell's works have often been controversial, but none more so that this film.  I think he'd be surprised at what an absolutely lavish release this is getting.  Check out the before and after clip to see just how much better this looks.  It's a must have for Russell fans.
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From the Cauldron Films press release:

Cauldron Films is proud to announce the worldwide UHD debut of Jack the Ripper on Dec 15, featuring a new 4K restoration in a Limited Slipbox 4k UHD/Blu-Ray Combo.

Klaus Kinski stars as history's most infamous unidentified murderer in Jesús Franco's lurid 1976 interpretation of Jack the Ripper. In late-19th-century London's Whitechapel district, a succession of brutal murders targeting prostitutes has left the neighborhood terrified. Inspector Selby (Andreas Mannkopff) becomes consumed with stopping the killer, while the investigation takes on an increasingly personal dimension as his girlfriend Cynthia (Josephine Chaplin) is drawn into danger.

Made during Franco's prolific collaboration with Swiss producer Erwin C. Dietrich, Jack the Ripper combines the fog-shrouded streets, period settings and Gothic atmosphere of classic European horror with the director's characteristic appetite for sex and violence. Kinski brings an unsettling intensity to the central role, while Herbert Fux and longtime Franco collaborator Lina Romay appear in supporting roles. The result is a distinctive Euro-horror variation on the Ripper legend, balancing traditional Gothic imagery with the more explicit sensibilities of 1970s exploitation cinema.

Cauldron Films presents the film's worldwide 4K UHD debut in this Limited Edition two-disc 4K Ultra HD and Blu-ray combo, restored from a 4K scan of the negative and the best available materials. The 2160p UHD presentation features Dolby Vision HDR and HDR10 compatibility, with English audio offered in 5.1 surround, 2.0 stereo and 2.0 mono, accompanied by optional English SDH subtitles. An audio commentary by Ryan Verrill and Dr. Will Dodson provides additional historical and critical context.

Supplemental features include He Caught Jack the Ripper, an interview with actor Andreas Mannkopff; Erwin C. Dietrich's Tribute to Jess Franco's Jack the Ripper; Klaus the Ripper, a video essay by Troy Howarth; Whitechapel Shadows, a video essay by Eugenio Ercolani; a deleted scene; and the theatrical trailer.

The Limited Edition packaging includes a rigid slipcase featuring artwork by Adam Perocchi of Readful Things, a folded poster and a full-color booklet with liner notes by Dr. Stella Marie Gaynor and Troy Howarth.

Watch the trailer here:



Jack the Ripper is distributed by MVD Entertainment Group.

What a perfect role for Kinski!  It's amazing that we're getting a 4K scan of this movie; it's a great time to be a collector.
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I've received confirmation from our contact at Warner Brothers that both the Blu-ray and 4K UHD discs have the Atmos TrueHD mix.

The original post has been updated to reflect this.
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A/V Industry News / Re: Gunn is out at DC movies
« Last post by Paul Heroy on November 10, 2026, 01:54:05 AM »
I had high hopes for Gunn given how much I liked some of his MCU work, so it's been a surprisingly disappointing run for him at DC. Hope they can get their act together as they have such a high profile and historic set of characters.
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A/V Industry News / Re: Gunn is out at DC movies
« Last post by Barry on November 09, 2026, 11:14:52 PM »
There was actually a debate on whether or not Superman made money. don’t forget that money also comes from merchandizing, DVD sales, TV and cable rentals, and finally, we do not know how much a movie is worth when they put it on streaming.

in any case, I suspect that they expected and wanted Superman to be a big blockbuster, and it wasn’t. I also suspect that they thought the movie would be better.

Supergirl was a waste and a tremendous loss. So the new owners of Warner Brothers did not feel confident about what was to come. 
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A/V Industry News / Re: Gunn is out at DC movies
« Last post by SRW1000 on November 09, 2026, 07:02:43 PM »
Not much of a shock.   Superman lost money and Supergirl was a huge bomb.

I never thought he was a good fit for the source material.  DC has been floundering for direction for years now.  I wonder how the new guy will do.
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A/V Industry News / Gunn is out at DC movies
« Last post by Barry on November 09, 2026, 02:02:35 PM »
Two  newspaper posts in one day!


James Gunn and Peter Safran Out at DC Studios, Jeremy Latcham Named New President and Chief Creative Officer
Latchman previously served as a lead executive at Marvel Studios through the company’s first few phases of MCU success
Jeremy Fuster

After four years at DC Studios, James Gunn and Peter Safran will not be leading the company through its next chapter under Skydance ownership as they are handing the reins over to new president and chief creative officer Jeremy Latcham.
In a statement, the two executives spoke with pride of their work at the studio and gave Latcham, who worked with Gunn on the "Guardians of the Galaxy" trilogy at Marvel Studios, their blessing. Skydance says that the duo will "return full time to their creative work," which includes post-production on the "Superman" sequel "Man of Tomorrow" and work on other DC projects.
"Four years ago, we set out to unite DC under one creative vision. In that time, we helped restore 'Superman' to the heart of DC, while opening new doors and telling new stories in film and television with 'Peacemaker', 'Creature Commandos,' 'Lanterns' and 'Clayface.' We're immensely proud of the team that turned that ambition into something real, including the actors, crews and executives we had the opportunity to collaborate with," Gunn and Safran said.

"We've shared a creative history with Jeremy going back to Marvel, and we're eager to see the perspective he brings to DC's next chapter. We're excited to return to what drew us to this job in the first place, which is telling the stories we love, including the next chapter of Clark and Lex's journey in 'Man of Tomorrow,'" the duo said.

Latcham was part of the founding core of Marvel Studios under Kevin Feige and worked on global blockbusters like "Iron Man," "The Avengers," and Tom Holland's "Spider-Man" films. Latcham will lead DC's film, television and animation slate, overseeing the creative pipeline, along with production, talent and strategy.

Latcham, who will begin at DC on Dec. 1, will report to Dana Goldberg and Josh Greenstein, co-chairs of Skydance Motion Picture Group.
"Jeremy brings a deep reverence for DC and its passionate fanbase, recognizing that they are the very foundation of this storied, multigenerational brand," said Goldberg and Greenstein. "Under his leadership, every film and television show will be ushered from start to finish through the prism of the legions of fans who love and champion it. Jeremy's track record exemplifies the excellence he will bring to building out DC and the many beloved characters within it."

"DC's pantheon of characters is among the most iconic in American popular culture. I've had the privilege to help bring some of the most celebrated superhero stories to life on the big screen, and I'm excited and honored for the opportunity to now lead DC Studios into its next era. The chance to steward the incredible cast of DC characters to the screen in a way that excites lifelong fans while introducing their timeless stories to the next generation is a massive responsibility that I do not take lightly," said Latcham.
Gunn and Safran have released three theatrical films since taking over DC Studios, starting with "Superman," which grossed $618 million worldwide amid strong reviews. But the studio's follow-up, "Supergirl," fell flat this past summer, earning just $126.4 million globally. The more modestly budgeted "Batman" villain horror film "Clayface" has fared better, grossing $109 million through its first three weekends in theaters.
On the TV side, Gunn and Safran developed hit shows like the John Cena-led "Suicide Squad" spinoff "Peacemaker" and the animated show "Creature Commandos," as well as the recent hit show "Lanterns."

"James and Peter launched a new era for DC Studios and led it through a period of real transformation, resetting the foundation and building a slate we're incredibly proud of. We're grateful for their passion, contributions and commitment to this legendary brand," David Ellison, chairman and CEO, and Ynon Kreiz, co-CEO, of Skydance said in a statement.

"Jeremy has been a longtime creative partner to both, and we have complete confidence that James and Peter will ensure a smooth, collaborative transition and continue this work with care. We look forward to working with Jeremy to build the next generation of DC storytelling and to doubling down on our commitment to fans," Ellison and Kreiz added.







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New Movies / New York Times, Godzilla Minus Zero Not a Review
« Last post by Barry on November 09, 2026, 11:27:05 AM »
Even for a kaiju movie, “Godzilla Minus One” was a beast.
When it opened in 2023, the movie became the highest-grossing Japanese-language Godzilla movie of all time, surpassing beloved Toho classics like “Shin Godzilla” (2016) and the 1954 original. The film went on to win eight Japan Academy Film Prizes and an Oscarfor best visual effects, the first in the franchise’s history.
Clearly a sequel was called for, even for a franchise with dozens of them. But what would Takashi Yamazaki, the director and screenwriter of “Minus One,” do for an encore?
‘Godzilla Minus Zero’ Review: Reprieve of Destruction
For starters, find a monster for Godzilla to scrap with. There were many to choose from. Over the past eight decades, Godzilla has battled an army of outsized rivals, from giant moths (Mothra) and crustaceans (Ebirah) to alien cyborgs (Gigan) and armored versions of himself (Mechagodzilla).

Yamazaki, who also led the visual effects team, selected King Ghidorah, the winged, three-headed, two-tailed dragon first seen in the Toho feature “Ghidorah, the Three-Headed Monster.” The choice, the director said in an email interview, was personal.


Ghidorah first appeared on screen in 1964, and I was born that same year,” he said. “And 1964 was the Year of the Dragon, which perhaps has something to do with why I love dragons so much.”
Further, in Ghidorah’s cinematic debut, the monster ravages and levels Matsumoto — the city in Japan’s Nagano Prefecture where Yamazaki was born and raised.
In “Godzilla Minus Zero” (in theaters), Yamazaki breaks with all sorts of traditions. The feature is the first in the franchise to receive an R rating (for violent content/bloody images), and, befitting monsters of this size and decibel level, the first Japanese feature film to be shot for IMAX.

Yamazaki’s computer-generated Ghidorah is a quantum leap from the 1964 suitmation original, whose action sequences were performed by a single, seriously overheated actor, Shoichi Hirose, in a cumbersome, full-body costume, and whose multiple heads, wings and tails were controlled by six offscreen puppeteers.
“It’s extraordinary that they were able to achieve so much with those techniques,” Yamazaki said.

In “Zero,” a much larger, much more mobile Ghidorah eats lightning, levitates entire towns, grows extra heads and engages in thrilling dogfights high above the Japanese landscape. (Takayuki Ueki and Eisin Okubo were the visual effects supervisors.)
He also absorbs the life force of all sorts of creatures, including Godzilla.
In a video interview, one of the film’s producers, Kazuaki Kishida, presented an even bigger question about Ghidorah: Can he absorb human life itself? “His strength seems unending,” he said.
And of course, Ghidorah fights Godzilla.
However, unlike similar “Godzilla vs.” marquee battles dating back to “King Kong vs. Godzilla” (1962), there’s no “versus” in the title of “Minus Zero,” and no sight of Ghidorah in the film’s trailers.
Indeed, just who Godzilla was fighting in “Minus Zero” was a much-debated mystery among fans for months — until keen-eared viewers of the trailer heard Ghidorah’s unmistakable roar.

Or three roars — one for each head.
Natsuko Inoue, the film’s sound designer and foley artist, helped bring that roar to life. “The first thing I did was create this harmony of roars between the three heads,” she said in a video call. Each roar was subtly different, she said, with the middle head the alpha.
Inoue recorded the sounds of animals that Ghidorah absorbs to attain their powers (snakes, deer, hawks), and sampled the roars of the original 1964 beast. She also sang.
“Ghidorah’s roar sounds very throaty, and has an almost melodic element to it,” she said. “So I had people, including myself, sing and make different sounds, and those were all sampled in the final roar.”

To build the sound of Ghidorah’s massive wings, she swung around “different rubber objects.” Between the three roars and the flapping wings and the yellow lightning bolts he shoots out of his mouths, it’s a cacophony.
The sound mixer Hisafumi Takeuchi had to ensure the audience heard what they were supposed to hear (dialogue, music) above Ghidorah’s din. “Yamazaki-san likes loud sounds, but I would resist the temptation to just make it louder for the sake of making it louder,” he said in a video interview.

Yamazaki also wanted Ghidorah’s “gravity beams” to actually have an effect on gravity.
“In many of the earlier films, they just tended to make things explode on impact,” he said.
Yamazaki became inspired after seeing a short film made for a limited-time “Godzilla vs. Evangelion” theme park attraction at Universal Studios Japan in which Ghidorah lifts buildings into the air.
He directed his own horrifying scene in which Ghidorah levitates a whirling mass of houses, complete with screaming residents. “By focusing on individuals caught inside them, I thought we could convey the true terror of such an extraordinary situation,” he said.
Even with a rival that’s a flying dragon, aerial sequences in previous Godzilla vs. Ghidorah battles were limited by the technical constraints of suitmation and the fact that Godzilla doesn’t fly. To fight the King of the Monsters, Ghidorah usually had to land.
But Yamazaki really wanted an air battle, particularly after the epic sea battle of “Minus One.”
For Ghidorah’s first scene in “Minus Zero,” Yamazaki has the dragon go up against all-too-human fighter pilots, not Godzilla. The matchup makes for a much more exciting dogfight, one unlike the typical battle between human pilots. “With a kaiju, it’s like being targeted by a wild animal,” he said. “The fear comes from not knowing what kind of attack is coming.”
Even so, Yamazaki knew his two kaiju had to eventually fight, and it had to be big. Early on, he had written “a fight to the death” in the script, but wasn’t sure what that might mean.

“We watched documentaries of animals fighting for their lives, and thought about what such a struggle would look like between enormous monsters that don’t die that easily,” he said.
The result is a battle royale that, without giving anything away, helped “Minus Zero” earn that R rating. “A monster battle isn’t necessarily better just because it’s longer,” Yamazaki said. “I wanted something relatively short that would deliver a tremendous shock.”




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