David Mamet
1 Film
David Mamet
1 Included Film

David Alan Mamet (/ˈmæmɪt/; born November 30, 1947) is an American playwright, author, and filmmaker. He won a Pulitzer Prize and received Tony nominations for his plays Glengarry Glen Ross(1984) and Speed-the-Plow (1988). He first gained critical acclaim for a trio of 1970s off-Broadway plays: The Duck Variations, Sexual Perversity in Chicago, and American Buffalo. His plays, Race and The Penitent, respectively, opened on Broadway in 2009 and premiered off-Broadway in 2017. Feature films that Mamet both wrote and directed include House of Games (1987), Homicide (1991), The Spanish Prisoner (1997), and his biggest commercial success, Heist (2001). His screenwriting credits include The Postman Always Rings Twice (1981), The Verdict (1982), The Untouchables (1987), Hoffa (1992), Wag the Dog (1997), and Hannibal (2001). Mamet himself wrote the screenplay for the 1992 adaptation of Glengarry Glen Ross and wrote and directed the 1994 adaptation of his play Oleanna (1992). He created and produced the CBS series The Unit (2006–2009). Mamet's books include: On Directing Film (1991), a commentary and dialogue about film-making; The Old Religion (1997), a novel about the lynching of Leo Frank; Five Cities of Refuge: Weekly Reflections on Genesis, Exodus, Leviticus, Numbers and Deuteronomy (2004), a Torah commentary with Rabbi Lawrence Kushner; The Wicked Son (2006), a study of Jewish self-hatred and antisemitism; Bambi vs. Godzilla, a commentary on the movie business; The Secret Knowledge: On the Dismantling of American Culture (2011), a commentary on cultural and political issues; Three War Stories (2013), a trio of novellas about the physical and psychological effects of war; and Everywhere an Oink Oink: An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood (2023), an autobiographical account of his experiences in Hollywood. Description above from the Wikipedia article David Mamet, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Director: Josh Safdie
Entertainment in Video GBR UHD Blu-ray
Entertainment in Video GBR UHD Blu-ray
Entertainment in Video GBR UHD Blu-ray
The GBR UHD and CAN UHD both do not have the low-pass that the USA UHD has. The GBR UHD has some general blockiness and chroma artifacting issues, but the CAN UHD has at least a handful of scenes where the encode completely falls apart and massive macroblocks are visible. The CAN UHD also does not have hardcoded forced subtitles for the newsreel scene like the USA and GBR. The grade is the same between all three discs. Selected the GBR as it was the most balanced option with no low-pass and no overly distracting encode issues.
The GBR UHD, like the USA UHD, has incorrect L5 that can be edited in the RPU.
The Atmos mix is the same between the USA UHD and the GBR UHD save for the amount of dynamic objects: the GBR has 15 to the USA's 11. Because sound quality is identical and the extra dynamic objects do not appear to be silent, the GBR track was selected. The GBR UHD also has a DD-EX compatibility track and a lossless version of the commentary track that is in Dolby Digital on the USA and CAN UHDs.
Director: Josh Safdie
Entertainment in Video GBR UHD Blu-ray
Entertainment in Video GBR UHD Blu-ray
Entertainment in Video GBR UHD Blu-ray
The GBR UHD and CAN UHD both do not have the low-pass that the USA UHD has. The GBR UHD has some general blockiness and chroma artifacting issues, but the CAN UHD has at least a handful of scenes where the encode completely falls apart and massive macroblocks are visible. The CAN UHD also does not have hardcoded forced subtitles for the newsreel scene like the USA and GBR. The grade is the same between all three discs. Selected the GBR as it was the most balanced option with no low-pass and no overly distracting encode issues.
The GBR UHD, like the USA UHD, has incorrect L5 that can be edited in the RPU.
The Atmos mix is the same between the USA UHD and the GBR UHD save for the amount of dynamic objects: the GBR has 15 to the USA's 11. Because sound quality is identical and the extra dynamic objects do not appear to be silent, the GBR track was selected. The GBR UHD also has a DD-EX compatibility track and a lossless version of the commentary track that is in Dolby Digital on the USA and CAN UHDs.
1 film
