Leviathan (1989)
Adventure, Horror, Thriller, Science Fiction • 1h 38m
Overview
Underwater deep-sea miners encounter a Soviet wreck and bring back a dangerous cargo to their base on the ocean floor with horrifying results. The crew of the mining base must fight to survive against a genetic mutation that hunts them down one by one.
Director: George P. Cosmatos
Director: George P. Cosmatos
Disney 4K Blu-ray for the 4K Theatrical Cut or 2002 Vista Series DVD for the Director's Cut, alleycat's DC restoration better
Theatrical Cut: Disney 4K Blu-ray caps
Director's Cut: 2002 Vista Series DVD, alleycat's DC restoration better
Closest to original: 1994 Hollywood Pictures LaserDisc, other LDs are probably the same
Blu-rays only have 5.1 upmixes but probably fine
Director: George P. Cosmatos
Disney 4K Blu-ray for the 4K Theatrical Cut or 2002 Vista Series DVD for the Director's Cut, alleycat's DC restoration better
Theatrical Cut: Disney 4K Blu-ray caps
Director's Cut: 2002 Vista Series DVD, alleycat's DC restoration better
Closest to original: 1994 Hollywood Pictures LaserDisc, other LDs are probably the same
Blu-rays only have 5.1 upmixes but probably fine
A new Lionsgate 4K Blu-ray with DV upcoming including with the rest of the films.
Eagle Pictures Italy > StudioCanal UK, better compression than StudioCanal
A new Lionsgate 4K Blu-ray with DV upcoming including with the rest of the films.
Eagle Pictures Italy > StudioCanal UK, better compression than StudioCanal
Director: George P. Cosmatos
Arrow 4K Blu-ray: the 2.0 and 4.0 mixes are said to be particularly strong against the muted / dull 5.1
Director: George P. Cosmatos
Arrow 4K Blu-ray: the 2.0 and 4.0 mixes are said to be particularly strong against the muted / dull 5.1
Director: Billy Wilder
Criterion 4K Blu-ray > Capelight/Kino Lorber which has heavy noise reduction and opening snare hit is missing, Capelight is slightly better encoded than Kino Lorber
Director: Billy Wilder
Criterion 4K Blu-ray > Capelight/Kino Lorber which has heavy noise reduction and opening snare hit is missing, Capelight is slightly better encoded than Kino Lorber
Criterion 4K Blu-ray scheduled for October 2026 release
1991 Orion LaserDisc vs 2024 Arrow 4K Blu-ray
Criterion 4K Blu-ray scheduled for October 2026 release
1991 Orion LaserDisc vs 2024 Arrow 4K Blu-ray
Kino Lorber Blu-ray or Germany Blu-ray but no comparison available
Germany Blu-ray lacks English subtitles. Kino Lorber Blu-ray has English subtitles but is OOP
Kino Lorber Blu-ray retains both the French and German dialogue in their native languages.
Kino Lorber Blu-ray or Germany Blu-ray but no comparison available
Germany Blu-ray lacks English subtitles. Kino Lorber Blu-ray has English subtitles but is OOP
Kino Lorber Blu-ray retains both the French and German dialogue in their native languages.
Director: John M. Stahl
Indicator Blu-ray is encoded by FiM and likely better than Kino Lorber Blu-ray
Director: John M. Stahl
Indicator Blu-ray is encoded by FiM and likely better than Kino Lorber Blu-ray
Director: Fritz Lang
Director: Fritz Lang
Director: Ivan Reitman
Plaion German 4K Blu-ray > US Kino Lorber see comparison and caps
Kino Lorber has an exceedingly poor encode, only slightly improved by the DV layer.
Original matrixed Dolby Stereo: Universal US Blu-ray
Dolby Atmos remix: Plaion DE 4K Blu-ray
Universal's BD uses the same transfer as the old LaserDisc and sounds a bit better than Plaion's, which has worse dynamics.
Plaion's Atmos remix is tastefully done and preserves the original mix's characteristics, the 5.1 track on Kino's release is overly aggressive and unbalanced.
Director: Ivan Reitman
Plaion German 4K Blu-ray > US Kino Lorber see comparison and caps
Kino Lorber has an exceedingly poor encode, only slightly improved by the DV layer.
Original matrixed Dolby Stereo: Universal US Blu-ray
Dolby Atmos remix: Plaion DE 4K Blu-ray
Universal's BD uses the same transfer as the old LaserDisc and sounds a bit better than Plaion's, which has worse dynamics.
Plaion's Atmos remix is tastefully done and preserves the original mix's characteristics, the 5.1 track on Kino's release is overly aggressive and unbalanced.
Director: Guy Hamilton
Director: Guy Hamilton
Director: Sidney Lumet
1.85:1: Kino Lorber 4K / Capelight 4K
1.66:1: Criterion 4K but low pass filtered
Comparison between the 4Ks, Criterion on the AR choice
Criterion Blu-ray/4K Blu-ray
Other discs have unnecessary filtering and sound worse, the difference isn't substantial but audible
Director: Sidney Lumet
1.85:1: Kino Lorber 4K / Capelight 4K
1.66:1: Criterion 4K but low pass filtered
Comparison between the 4Ks, Criterion on the AR choice
Criterion Blu-ray/4K Blu-ray
Other discs have unnecessary filtering and sound worse, the difference isn't substantial but audible
Director: Wong Kar-Wai
2010 US Kino Lorber or 2012 UK Artificial Eye
2017 JP Kadokawa Blu-ray has the best encoding out of all the older discs.
Kino Lorber and Artificial Eye Blu-ray use the same master, between the two the PQ on Kino's release is slightly better, but the difference is negligible.
The 4K restoration (Criterion, 4K etc) are cropped to 2.35:1, have revisionistic colour grading and other changes.
Caps: old master, old master vs 4K restoration
Wong Kar-Wai on the framing:
With Fallen Angels, I have changed the format to cinemascope, because it was originally what I had intended to release the film in. When we were cutting the film, we accidentally turned the Steenbeck on anamorphic instead of standard. I felt that the film looked much more interesting because it enhanced the distance of the characters on top of the extreme wide angle that we shot on. Back then, it was impossible to shoot a film in standard and release it in anamorphic. With this restoration, we have successfully fulfilled this wish.
Director: Wong Kar-Wai
2010 US Kino Lorber or 2012 UK Artificial Eye
2017 JP Kadokawa Blu-ray has the best encoding out of all the older discs.
Kino Lorber and Artificial Eye Blu-ray use the same master, between the two the PQ on Kino's release is slightly better, but the difference is negligible.
The 4K restoration (Criterion, 4K etc) are cropped to 2.35:1, have revisionistic colour grading and other changes.
Caps: old master, old master vs 4K restoration
Wong Kar-Wai on the framing:
With Fallen Angels, I have changed the format to cinemascope, because it was originally what I had intended to release the film in. When we were cutting the film, we accidentally turned the Steenbeck on anamorphic instead of standard. I felt that the film looked much more interesting because it enhanced the distance of the characters on top of the extreme wide angle that we shot on. Back then, it was impossible to shoot a film in standard and release it in anamorphic. With this restoration, we have successfully fulfilled this wish.
Director: Bert Stern
Director: Bert Stern
More Adventure on Blu-ray
Directors: Andrew Adamson & Vicky Jenson
2011 Blu-ray (4K Blu-ray is upscaled; former PDI animator Jonathan Gibbs confirms the film was originally rendered at 1828 pixels wide to save space)
Universal 25th Anniversary 4K Blu-ray with Dolby Vision and Atmos
2011 Blu-ray (4K Blu-ray is upscaled; former PDI animator Jonathan Gibbs confirms the film was originally rendered at 1828 pixels wide to save space)
The old 2 disc DVD has extras missing from 4K Blu-ray
Directors: Andrew Adamson & Vicky Jenson
2011 Blu-ray (4K Blu-ray is upscaled; former PDI animator Jonathan Gibbs confirms the film was originally rendered at 1828 pixels wide to save space)
Universal 25th Anniversary 4K Blu-ray with Dolby Vision and Atmos
2011 Blu-ray (4K Blu-ray is upscaled; former PDI animator Jonathan Gibbs confirms the film was originally rendered at 1828 pixels wide to save space)
The old 2 disc DVD has extras missing from 4K Blu-ray
Director: Fred M. Wilcox
2026 Arrow 4K Blu-ray
Director: Fred M. Wilcox
2026 Arrow 4K Blu-ray
2001 DVD for uncensored cut with rock and extras
Disney Blu-ray; 4K Blu-ray only has an Atmos remix with a phasing issue
2001 DVD for uncensored cut with rock and extras
Disney Blu-ray; 4K Blu-ray only has an Atmos remix with a phasing issue
Director: Robert Altman
Paramount Blu-ray
Popeye was mixed for a failed Vistasonic system with 4 discrete tracks (L/C/R/S). That mix has never been released on home video in its original form.
The older 5.1 track appearing on older DVD/BD releases sounds excellent. It appears to be a slight upmix of the original mix, only splitting the surrounds and adding LFE. It sounds close to the old analog LaserDisc, which is likely the original mix in a matrixed form.
The 5.1 included on the UHD is a new remix which significantly differs from previous tracks. There are new foley effects all over the place. Music is jarringly spliced in from different sources. Unlike the old 5.1 which had clearly discrete surrounds, the channels surrounds overlap somewhat with the fronts here.
Details on the new mix from Paramount's former head of restoration: https://youtu.be/P-AmjqViJyE?t=788
The 2.0 tracks on all DVDs/BDs are just downmixes of their respective 5.1 mixes.
Samples
Director: Robert Altman
Paramount Blu-ray
Popeye was mixed for a failed Vistasonic system with 4 discrete tracks (L/C/R/S). That mix has never been released on home video in its original form.
The older 5.1 track appearing on older DVD/BD releases sounds excellent. It appears to be a slight upmix of the original mix, only splitting the surrounds and adding LFE. It sounds close to the old analog LaserDisc, which is likely the original mix in a matrixed form.
The 5.1 included on the UHD is a new remix which significantly differs from previous tracks. There are new foley effects all over the place. Music is jarringly spliced in from different sources. Unlike the old 5.1 which had clearly discrete surrounds, the channels surrounds overlap somewhat with the fronts here.
Details on the new mix from Paramount's former head of restoration: https://youtu.be/P-AmjqViJyE?t=788
The 2.0 tracks on all DVDs/BDs are just downmixes of their respective 5.1 mixes.
Samples
Director: Phillip Noyce
Director: Phillip Noyce
Directors: Gary Trousdale & Kirk Wise
Directors: Gary Trousdale & Kirk Wise
Directors: Aaron Blaise & Robert Walker
Directors: Aaron Blaise & Robert Walker
Director: Peter Faiman
Australia Cut: Australia Fox DVD
International Cut: Paramount Blu-ray
Encore Cut: Germany Winkler Film 4K Blu-ray
US Paramount 4K Blu-ray, unsure whether it's the International cut released by Paramount or the Encore Cut
Australia Cut: Australia Fox DVD
International Cut: Paramount Blu-ray
Encore Cut: Germany Winkler Film 4K Blu-ray
Australia Cut: Laserdisc
The film exists in three versions:
- the original Australian cut (~104 minutes at 24fps/~100 minutes at 25fps);
- the American/international version (~98 minutes at 24fps/~94 minutes at 25fps) trimming some exposition in the Outback first half of the film and some shorter extensions of a few seconds in the New York section, altering some of the dialogue – including censoring a "fuck" to "screw" – but featuring one additional dialogue extension not in the Australian version (a comparison of the two cuts can be found at Movie Censorship);
- the Australian Encore Cut (~95 minutes at 24fps/~91 minutes at 25fps) which uses the international version source so it already has those alterations but also removes approximately three minutes consisting of parts of two scenes featuring Mick grabbing the crotch of a cross-dressing prostitute and a later sequence when he does the same thing at a party to a woman with a deep voice (a comparison of the international version and the Encore Cut can be found at Movie Censorship).
Director: Peter Faiman
Australia Cut: Australia Fox DVD
International Cut: Paramount Blu-ray
Encore Cut: Germany Winkler Film 4K Blu-ray
US Paramount 4K Blu-ray, unsure whether it's the International cut released by Paramount or the Encore Cut
Australia Cut: Australia Fox DVD
International Cut: Paramount Blu-ray
Encore Cut: Germany Winkler Film 4K Blu-ray
Australia Cut: Laserdisc
The film exists in three versions:
- the original Australian cut (~104 minutes at 24fps/~100 minutes at 25fps);
- the American/international version (~98 minutes at 24fps/~94 minutes at 25fps) trimming some exposition in the Outback first half of the film and some shorter extensions of a few seconds in the New York section, altering some of the dialogue – including censoring a "fuck" to "screw" – but featuring one additional dialogue extension not in the Australian version (a comparison of the two cuts can be found at Movie Censorship);
- the Australian Encore Cut (~95 minutes at 24fps/~91 minutes at 25fps) which uses the international version source so it already has those alterations but also removes approximately three minutes consisting of parts of two scenes featuring Mick grabbing the crotch of a cross-dressing prostitute and a later sequence when he does the same thing at a party to a woman with a deep voice (a comparison of the international version and the Encore Cut can be found at Movie Censorship).
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