The Terminal (2004)
Comedy, Drama • 2h 8m
Overview
An Eastern European tourist unexpectedly finds himself stranded in JFK airport, and must take up temporary residence there.
Director: Steven Spielberg
Cast: Tom Hanks, Catherine Zeta-Jones, Stanley Tucci, Chi McBride, Diego Luna, Barry Shabaka Henley, Kumar Pallana, Zoe Saldaña, Eddie Jones, Jude Ciccolella, Corey Reynolds, Guillermo Díaz, Rini Bell, Stephen Mendel, Valery Nikolaev, Michael Nouri, Ana Maria Quintana, Bob Morrisey, Sasha Spielberg, Susan Slome, Mik Scriba, Jim Ishida, Carlease Burke, Stephon Fuller, Dan Finnerty, Anastasia Basil, Lydia Blanco Garza, John Eddins, Kenneth Choi, Cas Anvar, Conrad Pla, Danette MacKay, Ian Finlay, Janique Kearns, Eddie Santiago, Kevin Ryder, Dusan Dukic, Mark Ivanir, Matt Holland, Benny Golson, Buster Williams, Mike Ledonne, Scott Adsit, Robert Covarrubias, Terry Haig, Jeff Michael, Dilva Henry, Michelle Arthur, Thinh Truong Nguyen, Sandrine Kwan, Carl Alacchi, Tanya van Blokland, Evelyne de la Chenelière, Laurie Meghan Phelps, Ryan Stockstad
Director: Steven Spielberg
Director: Steven Spielberg
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
Paramount 4K Blu-ray Purist choice: Blu-ray
Paramount 4K Blu-ray new improved master with color grading and slight issues. Blu-ray is old master with original color grading
Blu-ray 5.1
The Paramount 4K Blu-ray has a much better new scan that removes the original extremely dated color grading. This is an improvement on one hand but a definite revisionist change on the other. There is the expected grain management and slight HDR issues in addition to encoding quirks from Paramount. It is a giant improvement over the original Blu-ray but the color change and other issues means that the Blu-ray is one to keep for purists to have the as-is original iteration of the film's presentation. Audio wise the film has been remixed into Atmos but it merely seems like a slightly tweaked and frankly tamed version of the original 5.1. Of the two I prefer the Blu-ray 5.1. The original Blu-ray was Dolby TrueHD and the reissue Blu-ray in the four film Blu-ray collection boxset was DTS-HDMA.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
Paramount 4K Blu-ray Purist choice: Blu-ray
Paramount 4K Blu-ray new improved master with color grading and slight issues. Blu-ray is old master with original color grading
Blu-ray 5.1
The Paramount 4K Blu-ray has a much better new scan that removes the original extremely dated color grading. This is an improvement on one hand but a definite revisionist change on the other. There is the expected grain management and slight HDR issues in addition to encoding quirks from Paramount. It is a giant improvement over the original Blu-ray but the color change and other issues means that the Blu-ray is one to keep for purists to have the as-is original iteration of the film's presentation. Audio wise the film has been remixed into Atmos but it merely seems like a slightly tweaked and frankly tamed version of the original 5.1. Of the two I prefer the Blu-ray 5.1. The original Blu-ray was Dolby TrueHD and the reissue Blu-ray in the four film Blu-ray collection boxset was DTS-HDMA.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
Paramount 4K Blu-ray heavily revisionist. Purist option: 35mm scan, Blu-ray, DVD or LaserDisc
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 Blu-ray is showing its age but does not have any of these digital alterations. It is from the scan done by Laser Pacific and is the highest quality unaltered master we have. The DVD was done by Lowry Digital and had much scrubbing and processing of grain in addition to edge enhancement. The letterbox LaserDisc was the first widescreen release and is very good for its time. There was also a rare SVHS release using the letterbox LaserDisc master.
The 4K Blu-ray audio is seemingly an Atmos remix of the 5.1 found on the Blu-ray which itself is very similar to the DVD 5.1. All are presumably based on the 70mm Dolby six track mix. The Atmos is more processed and moves the sound around more so it is inferior to the older 5.1 iterations. On release, Last Crusade had Dolby 70mm with stereo surrounds, Dolby Stereo SR for 35mm and was mixed in a THX sound theater to ensure the ultimate in technical quality in 1989. The DVD was supposedly made from the 70mm mix and the Blu-ray 5.1 seems to bring that into lossless. This is unconfirmed but each seems to be a healthy and accurate version of the original audio. However, the LaserDisc despite only having matrix PCM stereo is punchier and livelier as a listening experience. Despite not being discrete it arguably sounds better than the 5.1 versions. Some who remember seeing each of the original release versions claim to remember the 35mm Dolby DR as sounding better than the 70mm Dolby. This is a case where both sound great and it's up to fans to decide which they prefer. Both are essential for any Indy collection and the LaserDisc is very cheap. The VHS hifi seems to be the same 2.0 matrix with format differences so it can also be compared against the DVD and Blu-ray 5.1 versions.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
Paramount 4K Blu-ray heavily revisionist. Purist option: 35mm scan, Blu-ray, DVD or LaserDisc
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 Blu-ray is showing its age but does not have any of these digital alterations. It is from the scan done by Laser Pacific and is the highest quality unaltered master we have. The DVD was done by Lowry Digital and had much scrubbing and processing of grain in addition to edge enhancement. The letterbox LaserDisc was the first widescreen release and is very good for its time. There was also a rare SVHS release using the letterbox LaserDisc master.
The 4K Blu-ray audio is seemingly an Atmos remix of the 5.1 found on the Blu-ray which itself is very similar to the DVD 5.1. All are presumably based on the 70mm Dolby six track mix. The Atmos is more processed and moves the sound around more so it is inferior to the older 5.1 iterations. On release, Last Crusade had Dolby 70mm with stereo surrounds, Dolby Stereo SR for 35mm and was mixed in a THX sound theater to ensure the ultimate in technical quality in 1989. The DVD was supposedly made from the 70mm mix and the Blu-ray 5.1 seems to bring that into lossless. This is unconfirmed but each seems to be a healthy and accurate version of the original audio. However, the LaserDisc despite only having matrix PCM stereo is punchier and livelier as a listening experience. Despite not being discrete it arguably sounds better than the 5.1 versions. Some who remember seeing each of the original release versions claim to remember the 35mm Dolby DR as sounding better than the 70mm Dolby. This is a case where both sound great and it's up to fans to decide which they prefer. Both are essential for any Indy collection and the LaserDisc is very cheap. The VHS hifi seems to be the same 2.0 matrix with format differences so it can also be compared against the DVD and Blu-ray 5.1 versions.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
Paramount 4K Blu-ray heavily revisionist. Purist option: 35mm scan, Blu-ray, DVD or LaserDisc.
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 Blu-ray is showing its age but does not have any of these digital alterations. It is from the scan done by Laser Pacific and is the highest quality unaltered master we have. The DVD was done by Lowry Digital and had much scrubbing and processing of grain in addition to edge enhancement. The letterbox LaserDisc was the first widescreen release and is very good for its time.
The 4K Blu-ray audio is seemingly an Atmos remix of the 5.1 found on the Blu-ray which itself is very similar to the DVD 5.1. All are presumably based on the 70mm Dolby six track mix. The Atmos is more processed and moves the sound around more so it is inferior to the older 5.1 iterations. On release Temple of Doom had 70mm, 35mm Dolby Stereo and mono mixes. The mono was for 16mm and other outlets and is presumably close to if not a mixdown of the stereo. It is seemingly the last Lucasfilm title that had a mono mix made. The Dolby Stereo is one of the most aggressive matrix mixes ever made and is still a blast to this day on the letterbox LaserDisc release. It is more aggressive than any of the 5.1 discrete versions which is either due to studios taming the audio later or the 35mm mix being handled a bit differently to the 70mm mix. In terms of releases today, the LaserDisc still sounds better than DVD, Blu-ray or 4K Blu-ray because of this factor.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
Paramount 4K Blu-ray heavily revisionist. Purist option: 35mm scan, Blu-ray, DVD or LaserDisc.
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 Blu-ray is showing its age but does not have any of these digital alterations. It is from the scan done by Laser Pacific and is the highest quality unaltered master we have. The DVD was done by Lowry Digital and had much scrubbing and processing of grain in addition to edge enhancement. The letterbox LaserDisc was the first widescreen release and is very good for its time.
The 4K Blu-ray audio is seemingly an Atmos remix of the 5.1 found on the Blu-ray which itself is very similar to the DVD 5.1. All are presumably based on the 70mm Dolby six track mix. The Atmos is more processed and moves the sound around more so it is inferior to the older 5.1 iterations. On release Temple of Doom had 70mm, 35mm Dolby Stereo and mono mixes. The mono was for 16mm and other outlets and is presumably close to if not a mixdown of the stereo. It is seemingly the last Lucasfilm title that had a mono mix made. The Dolby Stereo is one of the most aggressive matrix mixes ever made and is still a blast to this day on the letterbox LaserDisc release. It is more aggressive than any of the 5.1 discrete versions which is either due to studios taming the audio later or the 35mm mix being handled a bit differently to the 70mm mix. In terms of releases today, the LaserDisc still sounds better than DVD, Blu-ray or 4K Blu-ray because of this factor.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
Universal 4K Blu-ray Trilogy Steelbook 2025, but has more DNR than old 4K
Universal 4K Blu-ray Trilogy Steelbook 2025, but has more DNR than old 4K
https://forum.blu-ray.com/showpost.php?p=23286334&postcount=7340
Universal 4K Blu-ray Trilogy Steelbook 2025, but has more DNR than old 4K
Universal 4K Blu-ray Trilogy Steelbook 2025, but has more DNR than old 4K
https://forum.blu-ray.com/showpost.php?p=23286334&postcount=7340
Director: Steven Spielberg
"Director's Cut" (Theatrical cut with minor changes): Universal 4K Blu-ray
Theatrical Cut: VHS
TV Cut: Fan restoration
"Director's Cut" (Theatrical cut with minor changes): Universal 4K Blu-ray
Theatrical Cut: VHS TV Cut: Fan restoration
1993 MCA LaserDisc (with EQ adjusted)
Director: Steven Spielberg
"Director's Cut" (Theatrical cut with minor changes): Universal 4K Blu-ray
Theatrical Cut: VHS
TV Cut: Fan restoration
"Director's Cut" (Theatrical cut with minor changes): Universal 4K Blu-ray
Theatrical Cut: VHS TV Cut: Fan restoration
1993 MCA LaserDisc (with EQ adjusted)
Director: Steven Spielberg
Director: Steven Spielberg
Director: Steven Spielberg
Director: Steven Spielberg
Director: Steven Spielberg
2D version: Warner Bros 4K Blu-ray
3D version: Warner Bros 3D Blu-ray or Apple Vision Pro
2D version: Warner Bros 4K Blu-ray
3D version: Warner Bros 3D Blu-ray or Apple Vision Pro
Director: Steven Spielberg
2D version: Warner Bros 4K Blu-ray
3D version: Warner Bros 3D Blu-ray or Apple Vision Pro
2D version: Warner Bros 4K Blu-ray
3D version: Warner Bros 3D Blu-ray or Apple Vision Pro
International Warner Bros 4K Blu-ray
International Warner Bros 4K Blu-ray > US Paramount 4K Blu-ray for the US Cut.
International Warner Bros 4K Blu-ray, is significantly better than the US Paramount 4K Blu-ray (even with FEL Baked in and Dolby Vision), with more grain retention and detail
SDR Comparisons: International Warner Bros 4K Blu-ray vs US Paramount 4K Blu-ray: https://slow.pics/c/TEPHtKjl
HDR Comparisons: International Warner Bros 4K Blu-ray vs US Paramount 4K Blu-ray: https://slow.pics/c/hIFe11Hx
Comparisons in SDR using L8 Trim from CM v4.0 (both UHDs can use CM v4.0): Remux vs USA UHD: https://slow.pics/c/mkrhVtpl
The International Cut, which contains alternate, more violent shots in the final act, hasn't been released on home video to date.
International Cut contains alternate, more violent shots in the final act.
International Warner Bros 4K Blu-ray
International Warner Bros 4K Blu-ray > US Paramount 4K Blu-ray for the US Cut.
International Warner Bros 4K Blu-ray, is significantly better than the US Paramount 4K Blu-ray (even with FEL Baked in and Dolby Vision), with more grain retention and detail
SDR Comparisons: International Warner Bros 4K Blu-ray vs US Paramount 4K Blu-ray: https://slow.pics/c/TEPHtKjl
HDR Comparisons: International Warner Bros 4K Blu-ray vs US Paramount 4K Blu-ray: https://slow.pics/c/hIFe11Hx
Comparisons in SDR using L8 Trim from CM v4.0 (both UHDs can use CM v4.0): Remux vs USA UHD: https://slow.pics/c/mkrhVtpl
The International Cut, which contains alternate, more violent shots in the final act, hasn't been released on home video to date.
International Cut contains alternate, more violent shots in the final act.
Director: Peter Weir
Director: Peter Weir
Director: Tony Scott
Director: Tony Scott
Director: Haskell Wexler
Criterion Blu-ray is slightly better than MoC Blu-ray: while both are from a 4K restoration approved by director, MoC is more sharpened but gamma is flatter see caps
Paramount DVD and potentially Paramount LaserDisc see blah-ray
Criterion and MoC Blu-ray has the same audio, and additional (destructive) hiss reduction was applied, and one segment was made significantly louder.
Also, every home video release except the 1982 Paramount VHS cassette replaces Wild Man Fischer's 'Merry-Go-Round' in the roller derby scene with a version of 'Sweet Georgia Brown' by Brother Bones. Two very different songs, and one must assume that the tone of the scene has changed considerably
Director: Haskell Wexler
Criterion Blu-ray is slightly better than MoC Blu-ray: while both are from a 4K restoration approved by director, MoC is more sharpened but gamma is flatter see caps
Paramount DVD and potentially Paramount LaserDisc see blah-ray
Criterion and MoC Blu-ray has the same audio, and additional (destructive) hiss reduction was applied, and one segment was made significantly louder.
Also, every home video release except the 1982 Paramount VHS cassette replaces Wild Man Fischer's 'Merry-Go-Round' in the roller derby scene with a version of 'Sweet Georgia Brown' by Brother Bones. Two very different songs, and one must assume that the tone of the scene has changed considerably
Paramount 4K Blu-ray but poor encode, no alternatives though
Paramount 4K Blu-ray but poor encode, no alternatives though
Director: Jon Favreau
US Universal Blu-ray with both cuts, Kino Lorber Blu-ray (extended cut only) included in the disappointing 4K Blu-ray and International Paramount Blu-ray (both Theatrical and Extended Blu-rays in different countries) have similar encoding.
US Universal Blu-ray with both cuts, Kino Lorber Blu-ray (extended cut only) included in the disappointing 4K Blu-ray and International Paramount Blu-ray (both Theatrical and Extended Blu-rays in different countries) have similar encoding.
Kino Lorber 4K Blu-ray disappointing review
Director: Jon Favreau
US Universal Blu-ray with both cuts, Kino Lorber Blu-ray (extended cut only) included in the disappointing 4K Blu-ray and International Paramount Blu-ray (both Theatrical and Extended Blu-rays in different countries) have similar encoding.
US Universal Blu-ray with both cuts, Kino Lorber Blu-ray (extended cut only) included in the disappointing 4K Blu-ray and International Paramount Blu-ray (both Theatrical and Extended Blu-rays in different countries) have similar encoding.
Kino Lorber 4K Blu-ray disappointing review
Director: Wes Craven
Theatrical: Paramount 4K Blu-ray
Uncut Director's Cut: Either the Germany Kinowelt DVD, the Japan DVD, the Scandinavian DVD, or the US LaserDisc. Fan preservation is likely better quality.
Theatrical: Paramount 4K Blu-ray
Uncut Director's Cut: Either the Germany Kinowelt DVD, the Japan DVD, the Scandinavian DVD, or the US LaserDisc. Fan preservation is likely better quality.
2011 Blu-ray/2021 4K Blu-ray
The 2011 Lionsgate Blu-ray is incredibly poor for every Original Trilogy film; older processed older DVD-era masters with heavy use of DNR, sharpening and edge enhancement with a really dull color grade. The 4K Blu-ray is miles better. The DTS-HD 5.1 across all three films appears to be the same on both the Blu-ray and 4K Blu-ray, and they appear to be the untouched theatrical 5.1 mixes.
The Uncut version has more violence: https://www.movie-censorship.com/report.php?ID=256325
Director: Wes Craven
Theatrical: Paramount 4K Blu-ray
Uncut Director's Cut: Either the Germany Kinowelt DVD, the Japan DVD, the Scandinavian DVD, or the US LaserDisc. Fan preservation is likely better quality.
Theatrical: Paramount 4K Blu-ray
Uncut Director's Cut: Either the Germany Kinowelt DVD, the Japan DVD, the Scandinavian DVD, or the US LaserDisc. Fan preservation is likely better quality.
2011 Blu-ray/2021 4K Blu-ray
The 2011 Lionsgate Blu-ray is incredibly poor for every Original Trilogy film; older processed older DVD-era masters with heavy use of DNR, sharpening and edge enhancement with a really dull color grade. The 4K Blu-ray is miles better. The DTS-HD 5.1 across all three films appears to be the same on both the Blu-ray and 4K Blu-ray, and they appear to be the untouched theatrical 5.1 mixes.
The Uncut version has more violence: https://www.movie-censorship.com/report.php?ID=256325
Director: Karyn Kusama
Paramount 4K Blu-ray (4K Ultra HD Blu-ray release is a significant upgrade from the 2006 Blu-Ray and features Dolby Vision and HDR10)
Paramount 4K Blu-ray (4K Ultra HD Blu-ray release features a 5.1 channel DTS-HD Master Audio; 2006 Blu-Ray featured a lossy DD track)
Paramount 4K HD Blu-Ray's video and audio are significant upgrades from the previous 2006 Blu-Ray. ViaVision's 4K UHD Blu-Ray features the same 4K video scan, but has 2 audio commentary tracks included on the 4K disc; Paramount's 4K does not (the commentary tracks are available only on the included Blu-Ray).
Director: Karyn Kusama
Paramount 4K Blu-ray (4K Ultra HD Blu-ray release is a significant upgrade from the 2006 Blu-Ray and features Dolby Vision and HDR10)
Paramount 4K Blu-ray (4K Ultra HD Blu-ray release features a 5.1 channel DTS-HD Master Audio; 2006 Blu-Ray featured a lossy DD track)
Paramount 4K HD Blu-Ray's video and audio are significant upgrades from the previous 2006 Blu-Ray. ViaVision's 4K UHD Blu-Ray features the same 4K video scan, but has 2 audio commentary tracks included on the 4K disc; Paramount's 4K does not (the commentary tracks are available only on the included Blu-Ray).
More Comedy on Blu-ray
Director: Jean Renoir
The Criterion 4K Blu-ray has marginally better detail and grain structure than ESC 4K Blu-ray
The ESC France 4K Blu-ray is an SDR grade erroneously presented in HDR, but if your player can force the HDR into SDR it looks very good.
Director: Jean Renoir
The Criterion 4K Blu-ray has marginally better detail and grain structure than ESC 4K Blu-ray
The ESC France 4K Blu-ray is an SDR grade erroneously presented in HDR, but if your player can force the HDR into SDR it looks very good.
Director: George Sidney
2D version: Warner Archive Blu-ray
3D version: Warner Archive 3D Blu-ray
2D version: Warner Archive Blu-ray
3D version: Warner Archive 3D Blu-ray
Director: George Sidney
2D version: Warner Archive Blu-ray
3D version: Warner Archive 3D Blu-ray
2D version: Warner Archive Blu-ray
3D version: Warner Archive 3D Blu-ray
Director: John Waters
Director: John Waters
2025 Sony 4K Blu-ray
2025 Sony 4K Blu-ray
2025 Sony 4K Blu-ray
2025 Sony 4K Blu-ray
1991 Warner Bros LaserDisc (for original mono track)
1996 Warner Bros 25th Anniversary LaserDisc has isolated music and effects track (incorrectly labeled "music minus vocals") not present on any other release
1991 Warner Bros LaserDisc (for original mono track)
1996 Warner Bros 25th Anniversary LaserDisc has isolated music and effects track (incorrectly labeled "music minus vocals") not present on any other release
Director: Ernst Lubitsch
Kino Lorber 4k resto
The audio on the Kino Lorber Blu-ray comes from a better source than the various DVDs and the previous HD version on streaming. This audio is relatively untampered with, and is likely the best available source as no laserdisc was ever issued.
Director: Ernst Lubitsch
Kino Lorber 4k resto
The audio on the Kino Lorber Blu-ray comes from a better source than the various DVDs and the previous HD version on streaming. This audio is relatively untampered with, and is likely the best available source as no laserdisc was ever issued.
Director: Tommy Wirkola
Director: Tommy Wirkola
Director: Ken Hughes
MGM Blu-ray's stereo track.
MGM's 7.1 track is a remix with a few flaws and much worse fidelity. Capelight's stereo and 7.1 track are both from the remix.
The movie was originally premiered as a roadshow release, with a a 70mm 6-Track Stereo mix. This mix, unfortunately has not been released on home video.
The closest thing to that mix, is the stereo track included on the 2010 Blu-ray. It sounds great, with high fidelity and little filtering. It's lossy, but that doesn't matter very much.
Both the DVD 5.1 and the Blu-ray 7.1 tracks (identical on both discs) are a new remix, rather than a repackaging of the original mix. The 7.1 track sounds quite muffled, though not evenly so. The Capelight Blu-ray's lossless stereo track uses the same remix, but with higher fidelity than the surround tracks, sounding significantly less muffled. Compared to the original, this remix sounds wider and more "cleaned up". The remix contains a handful of errors, for example the intermission cue fades out, rather than ending correctly.
Comparison samples
Director: Ken Hughes
MGM Blu-ray's stereo track.
MGM's 7.1 track is a remix with a few flaws and much worse fidelity. Capelight's stereo and 7.1 track are both from the remix.
The movie was originally premiered as a roadshow release, with a a 70mm 6-Track Stereo mix. This mix, unfortunately has not been released on home video.
The closest thing to that mix, is the stereo track included on the 2010 Blu-ray. It sounds great, with high fidelity and little filtering. It's lossy, but that doesn't matter very much.
Both the DVD 5.1 and the Blu-ray 7.1 tracks (identical on both discs) are a new remix, rather than a repackaging of the original mix. The 7.1 track sounds quite muffled, though not evenly so. The Capelight Blu-ray's lossless stereo track uses the same remix, but with higher fidelity than the surround tracks, sounding significantly less muffled. Compared to the original, this remix sounds wider and more "cleaned up". The remix contains a handful of errors, for example the intermission cue fades out, rather than ending correctly.
Comparison samples
Edit History
11/10/2025
Format
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4K Streaming
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Best English-Friendly Release
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4K streaming or Paramount BD
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Best Video Release
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Blu-ray.com
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