Universal

35mm mix: 1991 Universal LaserDisc marginally better than StudioCanal 4K Blu-ray. Shout! Factory 4K Blu-ray is downmix.

70mm mix: StudioCanal 4K Blu-ray. Shout! Factory 4K Blu-ray is remix.

2020 Shout! Factory 4K slightly better than StudioCanal in HDR10. Similar in DV

Shout! Factory 4K Blu-ray (caps)

But it is not well-compressed see caps

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.

> US Kino Lorber see comparison and caps

Kino Lorber has an exceedingly poor encode, only slightly improved by the DV layer.

Universal Blu-ray has a higher bitrate DTS-HD 5.1 track

OOP Arrow LE has a bonus disc

Carlito’s Way was released theatrically in both Dolby Stereo and DTS. The 2.0 on the Arrow UHD is the original stereo mix, unknown if the 5.1 mix on the  Arrow disc is the original DTS mix.

The 1997 LaserDisc has more high end detail in the audio than the new restoration

The US uses the end credits score “Beside You” from composer Michael Kamen, while in other markets it is Simply Red “Besides You”.

> Criterion 2024 4K Blu-ray > Film4 4K Blu-ray

• Criterion 2026 redid the encoding and none of the blocking issues any more, see disc info and nicolas' review

• Criterion 2024 encode struggles with brighter areas of the image but still superior to Film4

Film4 4K Blu-ray is on a BD-66, both Criterion releases are on BD-100 discs. 

Criterion 2024 release bitrate: 94.67 mbps

Criterion 2026 release bitrate: 93.66 mbps

Film4 bitrate: 62.00 mbps

The 5.1 track is a new mix from the original elements, rather than a straight transfer.

Criterion booklet notes:
> High Art is presented in the aspect ratio of 1.85:1. Supervised and approved by director Lisa Cholodenko, this new 4K restoration was undertaken by the Academy Film Archive and the UCLA Film & Television Archive, in conjunction with the Sundance Institute, using the 35 mm original camera negative. The 5.1 surround soundtrack was remastered from the DA-88 edit masters and mix masters. Funding was provided by the Academy of Motion Picture Arts and Sciences, Frameline, the Sundance Institute, and the UCLA Film & Television Archive, with laboratory services by Roundabout Entertainment, Red Hook Post, and Monkeyland Audio.

(caveat: it's missing a minute of footage, plus usual PAL speed-up)

All Blu-ray tracks originate from the same transfer, but with strong noise gating and terrible EQ, adding a compensatory bass and treble boost, sounding boomy and accentuating the hiss despite less detail.