Scarface (4k+Br)

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I just feel like buying these in the next-generation formats every time they come out wouldn't make sense, financially, for me... Fine film grain is apparent throughout - even when it could appear a bit noisy on the old Blu-ray, it's still apparent but more refined and less chunky looking without any signs of digital tampering. To that side, fine details have never looked better! Facial features, costuming, the Miami architecture - everything is on full display here. Maybe that's why I couldn't take my eyes off it this viewing? I felt like I was truly seeing everything better than before! As I said, there is still some softness here and there, but that's by design. That hotel room with the infamous chainsaw sequence has never looked grimier - and therefor - beautiful! Likewise, when Tony reaches his peak, that mountain of cocaine in front of him even offers up small granular details that I'd never noticed before. Michelle Pfeiffer, and Steven Bauer. From New York City's Beacon Theater, April 19th, 2018. Discussions include project origins, the film's violence and

disc. The picture maintains an organic grain structure; some may find it slightly dense but it's very handsome and complimentary to this There are some absolutely timeless films I grew up with and will always consider "legends" such as Scarface, The Exorcist, GoodFellas, Casino and a plethora of others...still, when I revisit some of them now later in life, I feel like they don't have the same "impact" on me as when I enjoyed them years ago on the VHS format or on broadcast; I can't really explain it, but this just occurred over the past couple of nights when I took the DVDs of GoodFellas and Casino off my shelf to watch (upscaled to 4K via my Cambridge Audio CXUHD UHD Blu-ray player) and I just wasn't mesmerized and "floored" the way I used to be viewing these. Maybe because I've seen them SO many times and can recite the dialogue line-for-line that they've just lost their impact; don't know what it is.NEW! Scarface: 35th Anniversary Reunion (2160p/SDR/27:06): A conversation with Director Brian De Palma and Actors Al

language, the picture in retrospect, the film's rating, performances and the physical demands thereof, the film's lasting legacy, Pacino's burn injury clothes reveal stitching and fabrics with screen-commanding ease. This is a greatly reinforced image that finds stability and accuracy well beyond anyadditional supplements listed below are included on the newly remastered Blu-ray disc included with this set, all of which have been reviewed within the expands one's appreciation of the film and further draws audiences into Tony's blood-soaked world. Facial textures are precise up close and the period

Opening frames, via news footage, follows a boat of Cubans headed to Florida. There’s an unidentified man on board with his son; that man points, and an edit cuts to the American flag. Everyone smiles. It’s serene. Then comes Tony Montana (Al Pacino). overbearing, forced, or phony. Reds find greatly improved saturation and color punch. Whites -- beginning with the text crawl at film's start and moving In those outbursts, Scarface reacts. Montana is meant to be feared. So too are Cuban refugees. Scarface openly criticizes the broken system that lets a Tony Montana infect Miami. If not him, than any desperate American who feels owed their dream, and sees the out in a system openly inviting their want. examples of HDR's strengths come by way of bright neon signs around Miami; beautifully blue skies, pools, and ocean waters; and one of the mostScarfaceis of course an Al Pacino movie through and through, with the powerhouse actor delivering an iconic career high performance that perfectly focussed his particular style of dramatic acting. For these near-three hours he becomes this at-once tragic, passionately aggressive, impressively ambitious, largely unkillable and ultimately grotesque anti-hero, whose initially well-meaning (insomuch as gangsters can be such)quest to fully realise the 'American dream' goes all kinds of wrong. Steven Bauer has a thankless job playing his idiot best friend Manny, a young Mary Elizabeth Mastrantonio is suitably innocent as his sister, and a youngMichelle Pfeiffer is surprisingly cold as the takenwoman he sets his eyes on. The likes of Robert Loggia, F. Murray Abraham and Harris Yulin colour in the different shades of thecriminal underworldhe swims in, and the combination of the ensemble performances,Stone's script and De Palma's direction leaves a memorable, quotable line in almost every single scene.

Of course, some scenes are out of focus, blurred or a little dark - depending on the shots, but I guess they were too expensive to re-shoot. This is not unusual for many films as lighting conditions play a role. Overall, this is a nearly flawless picture and in spite of the dated look to the cars and clothing, it looks like a newer release. The best picture quality come in the sequences when Tony is the top man and they all have mansions. There, everything is clean, strong information, highly detailed and the color is accurate. On the UHD, a 27-minute Tribeca conversation with De Palma, Pfeiffer, and Pacino discusses the production. That’s new. Also, the 1932 Scarface finally makes the jump to Blu-ray after years of being included as a DVD only. Note there’s also a collector’s set with a replica statue –“The World is Ours” piece outside Montana’s office – and it’s made of solid plastic. There’s weight to it. Oliver Stone's screenplay, Brian De Palma's style, Pacino's incredible performance, Scarface is a damned impressive piece of filmmaking. A worthy update of the 1932 original, it features some titans of cinema in their prime bringing their A-Game to every aspect of the production. It's a movie I'm constantly looking at and reevaluating how I feel about it. Sometimes I love it, sometimes I don't get the hype my generation has bestowed upon it. Today, I'm floored by it. few shots do exhibit some softer and smudgier elements which are inherent to the original photography. This is a striking UHD image that is far and

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It was Pacino himself who started the ball rolling on this production, looking to remake the 1932 Chicago gangster thriller of the same name with director Sidney Lumet, who wanted to modernise the setting. Howeverit was only when De Palma came on board as director and hired Oliver Stone to pen the script that things really started heating up, fully realising the basic plot structure - which, in terms of the lead character, his best friend, his boss's girlfriend and his sister, remains intact, along with a variety of assassination attempts and the final siege - into a contemporary piece that seamlessly exchanged Chicago mobsters in the 20s for 80s Cuban refugees, centring on Pacino's immigrant thugTony Montana, who dramaticallyrises through the ranks of the Miami criminal underworld, leaving a bloody bodycount in his wake. forward to other on-screen text and crisp white shirts -- enjoy far greater brilliance than even the remastered Blu-ray can provide. Some of the nicest The HDR color spectrum is a major add that further enhances one's viewing experience. Colors are deeper and more accurate, more intense but never