Alfred Molina
13 Films
Alfred Molina
13 Included Films
Alfred Molina (born Alfredo Molina; May 24, 1953) is a British and American actor. He is known for his leading roles and character actor roles on the stage and screen. In a career spanning over five decades, he has received a Drama Desk Award as well as nominations for two British Academy Film Awards, a British Independent Film Award, an Independent Spirit Award, five Screen Actors Guild Awards, and three Tony Awards. He first rose to prominence in the West End, earning a nomination for the Laurence Olivier Award for Best Newcomer in a Play for his performance in the production of Oklahoma! in 1980. He received Tony Award nominations for his roles on Broadway, playing Yvan in Art (1998), Tevyein Fiddler on the Roof (2004), and Mark Rothko in Red (2009). He returned to Broadway playing Professor Serebryakov in a revival of Uncle Vanya (2024). On film, he made his debut as Satipo in Raiders of the Lost Ark (1981). He went on to receive two BAFTA Award nominations for his roles as Diego Rivera in Frida (2002) and Jack Mellor in An Education (2009). His other notable films include Prick Up Your Ears (1987), Enchanted April (1992), Boogie Nights (1997), Chocolat (2000), Luther (2003), The Da Vinci Code (2006), and Love Is Strange (2014). He has voiced characters in Rango (2011), Monsters University (2013), Ralph Breaks the Internet (2018), and Frozen II (2019). He is also known for his portrayal of Otto Octavius/DDoctor Octopus in Sam Raimi's Spider-Man 2 (2004) and the Marvel Cinematic Universe film Spider-Man: No Way Home (2021). On television, Molina has received two nominations for the Primetime Emmy Award for Outstanding Supporting Actor in a Limited or Anthology Series or Movie for his roles as Ben Weeks in the HBO movie The Normal Heart (2014) and Robert Aldrich in the FXminiseries Feud: Bette and Joan (2017). His other notable television credits include Meantime (1983), Murder on the Orient Express (2001), and Three Pines (2022). Description above from the Wikipedia article Alfred Molina, licensed under CC-BY-SA, full list of contributors on Wikipedia.
35mm/70mm scan, Japan WOWOW Broadcast version, letterbox LaserDisc or DVD for purist version, Paramount 4K Blu-ray heavily revisionist
35mm/70mm scan, Japan WOWOW Broadcast version, letterbox LaserDisc or DVD for purist version, Paramount 4K Blu-ray heavily revisionist
1992 LaserDisc Dolby Surround, DVD 5.1 (70mm mix), 1991 Japan LaserDisc PCM (Dolby Stereo home version)
The Paramount 4K master is HEAVILY revisionist in that all of the effects and opticals were redone and tweaked with errors and issues. There has been grain management (moments of stagnating grain and haloing) and the encoding isn't great hence the typical Paramount noise in the image. (especially skies) The HDR is a bit bright in the highlights. The color timing and Atmos remix are thankfully taming the excessively overdone terrible Blu-ray in those areas but neither is fully accurate. The Atmos remix sounds lifeless and essentially tames the crazy LFE of the Blu-ray remix that never stopped while also spreading the sound around overhead. The music is absolutely lifeless here. If it weren't for the visual changes it might be possible to regrade the picture master and just live with the encoding noise. As it is, purists will want the LaserDisc, DVD or Japan WOWOW broadcast of the Laser Pacific master which is the same master used for the awful Blu-ray just without the hideous color grading applied.
The DVD was handled by Lowry Digital and is overscrubbed like crazy plus had all sorts of DVD era edge enhancement and other issues. It instigated the digital changes of the boulder rod and snake reflection removals. The ONLY widescreen versions of the film without ANY changes are the 1992 LaserDisc and the 1999 final release VHS.
Audio wise, Raiders is EXTREMELY complex. Like the Star Wars trilogy it had three specific release mixes with variations and differences plus a fourth mix that was not used. The mono mix had unique bits and has never been officially released though you can hear bits of it on the 2003 bonus DVD and in the Raiders in Concert live symphony performances. The Dolby Stereo is roughly what was used on all pre-widescreen editions on VHS, Beta and LaserDisc in the 80's. The best iteration of that is the 1991 Japan LaserDisc reissue with PCM digital sound. This iteration is more of a home version as it doesn't really have much surround. Yet it retains dynamic range unlike the 1985 home video remix of Star Wars' Dolby Stereo track. The 70mm Dolby six track magnetic audio was supposedly used in making the excellent sounding 5.1 made for the DVD release. Before the release the film was mixed in the very short lived VistaSonic process which was Paramount backed. This was dropped very last minute as the system had tons of playback issues and the film was apparently hastily remixed in Dolby formats. When the first letterboxed transfer showed up on the 1992 Paramount LaserDisc release all of a sudden the Dolby Surround encoded matrix track it contained is without question the best sounding mix of Raiders you can find anywhere. It is more aggressive than the Dolby Stereo, more punchy than the DVD 5.1 and even contains a unique different sound effect which indicates it is clearly a different mix. It is unknown if this is the abandoned VistaSonic mix or a new quiet Dolby Surround home mix akin to the 1993 Star Wars Definitive Collection remix. To this day, the LaserDisc Dolby surround is the best sounding version of Raiders you are likely ever to hear. Even though it isn't discrete.
The Blu-ray remix though supervised by Ben Burtt went overboard on making everything aggressive and modernized. The LFE is virtually nonstop even in dialogue scenes. It is a textbook case of revisionist audio desecration. The 4K Blu-ray Atmos merely tames the LFE and reduces impact even more by moving around more elements and adding more processing. Both of these remixes are a crime.
DFIC extensive review: https://youtu.be/evsrJOTIjdA
35mm/70mm scan, Japan WOWOW Broadcast version, letterbox LaserDisc or DVD for purist version, Paramount 4K Blu-ray heavily revisionist
35mm/70mm scan, Japan WOWOW Broadcast version, letterbox LaserDisc or DVD for purist version, Paramount 4K Blu-ray heavily revisionist
1992 LaserDisc Dolby Surround, DVD 5.1 (70mm mix), 1991 Japan LaserDisc PCM (Dolby Stereo home version)
The Paramount 4K master is HEAVILY revisionist in that all of the effects and opticals were redone and tweaked with errors and issues. There has been grain management (moments of stagnating grain and haloing) and the encoding isn't great hence the typical Paramount noise in the image. (especially skies) The HDR is a bit bright in the highlights. The color timing and Atmos remix are thankfully taming the excessively overdone terrible Blu-ray in those areas but neither is fully accurate. The Atmos remix sounds lifeless and essentially tames the crazy LFE of the Blu-ray remix that never stopped while also spreading the sound around overhead. The music is absolutely lifeless here. If it weren't for the visual changes it might be possible to regrade the picture master and just live with the encoding noise. As it is, purists will want the LaserDisc, DVD or Japan WOWOW broadcast of the Laser Pacific master which is the same master used for the awful Blu-ray just without the hideous color grading applied.
The DVD was handled by Lowry Digital and is overscrubbed like crazy plus had all sorts of DVD era edge enhancement and other issues. It instigated the digital changes of the boulder rod and snake reflection removals. The ONLY widescreen versions of the film without ANY changes are the 1992 LaserDisc and the 1999 final release VHS.
Audio wise, Raiders is EXTREMELY complex. Like the Star Wars trilogy it had three specific release mixes with variations and differences plus a fourth mix that was not used. The mono mix had unique bits and has never been officially released though you can hear bits of it on the 2003 bonus DVD and in the Raiders in Concert live symphony performances. The Dolby Stereo is roughly what was used on all pre-widescreen editions on VHS, Beta and LaserDisc in the 80's. The best iteration of that is the 1991 Japan LaserDisc reissue with PCM digital sound. This iteration is more of a home version as it doesn't really have much surround. Yet it retains dynamic range unlike the 1985 home video remix of Star Wars' Dolby Stereo track. The 70mm Dolby six track magnetic audio was supposedly used in making the excellent sounding 5.1 made for the DVD release. Before the release the film was mixed in the very short lived VistaSonic process which was Paramount backed. This was dropped very last minute as the system had tons of playback issues and the film was apparently hastily remixed in Dolby formats. When the first letterboxed transfer showed up on the 1992 Paramount LaserDisc release all of a sudden the Dolby Surround encoded matrix track it contained is without question the best sounding mix of Raiders you can find anywhere. It is more aggressive than the Dolby Stereo, more punchy than the DVD 5.1 and even contains a unique different sound effect which indicates it is clearly a different mix. It is unknown if this is the abandoned VistaSonic mix or a new quiet Dolby Surround home mix akin to the 1993 Star Wars Definitive Collection remix. To this day, the LaserDisc Dolby surround is the best sounding version of Raiders you are likely ever to hear. Even though it isn't discrete.
The Blu-ray remix though supervised by Ben Burtt went overboard on making everything aggressive and modernized. The LFE is virtually nonstop even in dialogue scenes. It is a textbook case of revisionist audio desecration. The 4K Blu-ray Atmos merely tames the LFE and reduces impact even more by moving around more elements and adding more processing. Both of these remixes are a crime.
DFIC extensive review: https://youtu.be/evsrJOTIjdA
Director: Richard Donner
Director: Richard Donner
Director: Roger Donaldson
88 Films & Scream Factory 4K Blu-ray
Imprint 4K Blu-ray scheduled for August 2026 release
88 Films tied with Scream Factory 4K Blu-ray (88 Films is FiM encoded)
88 Films and Scream Factory have exclusive extras
Director: Roger Donaldson
88 Films & Scream Factory 4K Blu-ray
Imprint 4K Blu-ray scheduled for August 2026 release
88 Films tied with Scream Factory 4K Blu-ray (88 Films is FiM encoded)
88 Films and Scream Factory have exclusive extras
Director: Jim Jarmusch
Director: Jim Jarmusch
Director: Paul Thomas Anderson
Like previous releases, the 4K Blu-ray was scanned from an interpositive rather than the original camera negative at Paul Thomas Anderson’s request which may explain the softness.
Director: Paul Thomas Anderson
Like previous releases, the 4K Blu-ray was scanned from an interpositive rather than the original camera negative at Paul Thomas Anderson’s request which may explain the softness.
Director: Paul Thomas Anderson
Director: Paul Thomas Anderson
Director: Julie Taymor
Director: Julie Taymor
Director: James Mangold
Arrow 4K Blu-ray in August
Director: James Mangold
Arrow 4K Blu-ray in August
Director: Sam Raimi
Theatrical: Sony 4K Blu-ray
Theatrical: Sony 4K Blu-ray
Director: Sam Raimi
Theatrical: Sony 4K Blu-ray
Theatrical: Sony 4K Blu-ray
Director: Ron Howard
2026 Sony 4K Blu-ray Steelbook
2026 Sony 4K Blu-ray Steelbook added Dolby Vision
Director: Ron Howard
2026 Sony 4K Blu-ray Steelbook
2026 Sony 4K Blu-ray Steelbook added Dolby Vision
Director: Ron Howard
Theatrical: Sony 4K Blu-ray
Extended: Old Sony Blu-ray
Theatrical: Sony 4K Blu-ray
Extended: Old Sony Blu-ray
Director: Ron Howard
Theatrical: Sony 4K Blu-ray
Extended: Old Sony Blu-ray
Theatrical: Sony 4K Blu-ray
Extended: Old Sony Blu-ray
Director: Gore Verbinski
Director: Gore Verbinski
Director: Jon Watts
Theatrical: Sony 4K Blu-ray
Extended/IMAX Cut: Bravia Core Streaming in 4K
Theatrical: Sony 4K Blu-ray
Extended/IMAX Cut: Bravia Core Streaming in 4K
Theatrical: Sony 4K Blu-ray
Extended/IMAX Cut: Bravia Core Streaming in 4K
Theatrical: Sony 4K Blu-ray
Extended/IMAX Cut: Bravia Core Streaming in 4K
13 films