Flatliners

Product Information

admittedly probably don't have the same kind of "wow" factor that, say, a contemporary Christopher Nolan multilayered enterprise might offer, but Visions of Light– Director of photography Jan de Bont (who went onto direct other 90’s films like Twister and Speed) is interviewed here along with chief lighting technician Edward Ayer. hues basically drenching the frame, with detail levels remarkably intact throughout. This has a grittier look than the Sony, and grain admittedly can Joel Schumacher’s Flatliners, which never quite hits the highs of films like The Lost Boys and Falling Down but is mercifully better than Batman & Robin, arrives on 4K Ultra HD courtesy of Arrow Video. The film was restored, and Arrow commissioned a nice batch of bonus features, along with a booklet that sports two essays. If you’re a fan, this is highly recommended.

The native 4K transfer delivers a marked improvement over the two previous HD editions, showing sharper, cleaner details for a majority of the movie's runtime. Of course, being a heavily-stylized and relatively dark film, the video falls on the softer side of things and will not immediately compare with other releases from the same period. However, this is an inherent characteristic of the original photography and appears faithful to the filmmakers' aesthetic intent, but the picture maintains excellent, consistent fidelity throughout with a fine layer of visible grain, furnishing it with an attractive film-like quality. Individual hairs are distinct, the stitching and threading in the clothing are discrete, and the gothic architectural features of the building are plain to make out. When you’ve been in this line of “work” as long as I have, certain trends start to develop. One of those trends involves a rather high-profile title moving from various studios. Such is the case with Flatliners which started out its life (pardon the pun) at Columbia/Tri-Star, then moved over to Mill Creek and now finds itself in the capable hands of Arrow. This is a good thing. Arrow consistently puts out high-quality product and gives most of their releases new transfers. And, thankfully, this TLC by Arrow has resulted in a much nicer and overall more pleasing image. Detail has been cleaned up, colors seem to have a bit more pop and the dark levels (lest we forget, this is a pretty dark film) seem a lot better balanced. The HDR does help with this as well, giving this picture an advantage over its Blu-ray counterpart. Audio: How’s it sound? the like. There may be some who don't like a perceived minimizing of shadow detail since this is so much darker than the original Sony release, but Ireleases, I've aimed to at least come close to capturing some of the same scenes, and maybe even frames, as Marty did so that side by side Restoration (2022, 11 minutes) catches up with production designer Eugenio Zanetti and art director Larry Lundy as they share their inspirations from Greek myths. As they discuss the Chicago shoot, scenes of the locations today are intercut with shots from the film. There is also discussion of working the theme of redemption into the sets using objects wrapped in plastic sheeting as a sign of things being a work in progress. This is helped by the superb rendition of fine grain apparent in the source – again, while it varies according to the required aesthetic, it looks evenly rendered across the image, with no tell-tale signs of clumping or frozen elements, and this brings out that last little note of detail buried deep within its veneer. Again as per the previous release, the grain resembled noise, whereas here, it simply looks incredibly organic and filmic. darker and what I'd call more burnished looking, with an emphasis on almost yellow-orange tones that can give things a painterly air. The film's Additionally, Arrow provides its typically well appointed insert booklet, this one with interesting essays by Amanda Reyes and Peter Tonguette, along

Hereafter– First assistant director John Kretchmer is also profiled and discusses some nuances of the movie. Considering how instrumental it was in the development of the Blu-ray format, and how respected it has become over the course of several years for As mentioned above, Marty wasn't exactly enthusiastic about the now long ago Blu-ray release of Flatliners actually by Sony, but Hungarian, Icelandic, Korean, Norwegian, Polish, Romanian, Slovenian, Swedish, or Turkish subtitles, but does come with the ever popular English SDH There is a surprisingly small photo gallery (13 images) consisting of publicity shots and production stills.

Note: Screenshots are sourced from Arrow's 1080 release. Per Arrow's standard operating procedure, this 4K UHD release does not However it’s the stunning brightness and beautifully robust colours that really shine. Literally in some cases. The previous blu-ray had a slightly overcast sheen to the picture – that has been completely banished on this new image, washed out skin tones now replaced with healthy complexions, and dull skies with wonderfully nuanced and the bright blues of a California summer. And this new brighter and richer sense of colour is perfect for Schumacher’s overt lighting – be it the complex shadow detail of the vampire’s underground lair, the neon sheen of the Boardwalk and its many shops and rides or the blood-red drenched finale set in Grandpa’s house, the colours leap off the screen and leave the previous release in its dust. The only slight note of imperfection in this is that some of the insanely bright whites can bloom a little – never across the whole screen, but in certain highlights, it’s the only very minor blight on an otherwise outstanding image. But all of that is banished with the now clearly observed wonderful twinkling highlights of the glitter that cover the Frog Brothers after their staking of one of the vamps. Eat that Twilight, The Lost Boys did glittery vamps first. And better….