Welcome to New Movie Releases Theatre and home. This site will be dedicated to brand movies that are coming to the Movies, Movies that are out already, what people are saying about that movie you are interested in. and also what’s coming out for home release. Will also have information on downloadable content so enjoy =)
n September, Paramount Home Media Distribution will bring Indiana Jones: The Complete Adventures to Blu-ray. Director Steven Spielberg's beloved adventure series stars Harrison Ford (Blade Runner) as the title character, an archaeologist and college professor whose perpetual search for rare and mysterious treasures puts him in great danger.
The set will include all four of Indy's adventures, including:
Raiders of the Lost Ark
Indiana Jones and the Temple of Doom
Indiana Jones and the Last Crusade
Indiana Jones and the Kingdom of the Crystal Skull
The collection will make the Blu-ray debut of the first three pictures; only Indiana Jones and the Kingdom of the Crystal Skull is now available on the format.
Paramount's four-disc package offers each film in its 2.39:1 original aspect ratio with 5.1 DTS-HD Master Audio tracks. Steven Spielberg and his sound designer Ben Burtt supervised the A/V restoration work; Paramount's press release describes the work done on Raiders of the Lost Ark, noting that the feature "has been meticulously restored with careful attention to preserving the original look, sound, and feel of the iconic film. The original negative was first scanned at 4K and then examined frame-by-frame so that any damage could be repaired. The sound design was similarly preserved using Burtt's original master mix, which had been archived and unused since 1981. New stereo surrounds were created using the original music tracks and original effects recorded in stereo but used previously only in mono. In addition, the sub bass was redone entirely up to modern specifications and care was taken to improve dialogue and correct small technical flaws to create the most complete and highest quality version of the sound possible while retaining the director's vision."
While Paramount has yet to provide a complete list of supplementary details, the studio has indicated in the Indiana Jones press release that the collection would contain a "collection of documentaries, interviews, featurettes, and new bonus features."by josh katz
Five years have passed since director Sam Raimi and his leading man, Tobey Maguire, put the finishing touches on their Spider-Man trilogy. But because the lucrative Spider-Man 3 took such a beating from critics Sony Pictures wisely decided against extending the series and, instead, went back to drawing board on a re-imagined reboot.
director Marc Webb was brought on board. Andrew Garfield and Emma Stone were hired to play Peter Parker and his teenage crush, Gwen Stacy, respectively. But from the very first scene in The Amazing Spider-Man, it's crystal clear that Webb is viewing our hero’s origin through a different prism. The reboot is necessary to better understanding this rejuvenated take on a classic Marvel mythology.
We were lucky enough to sit down with the cast of Webb’s Amazing Spider-Man during a recent press day in New York City. And while we talked at length about the importance of Spider-Man to our superhero-obsessed culture and the direction of this new franchise, we found five extremely important items revealed by the actors during a busy press day. Here’s what we learned about The Amazing Spider-Man. We hope it helps get you excited for this thrilling chapter in the spectacular hero’s historic journey.
1. No one is bigger than the mask
Andrew Garfield has been telling anyone who’ll listen how excited the 28-year-old actor is to be playing teenage Peter Parker. And one of the great thrills, according to Garfield, was trying on the Spider-Man mask for the first time. One thing I thought Webb got right over Raimi, however, was allowing Garfield to leave his mask on in key fight sequences. It seems in the original three Spider-Man films, Tobey Maguire was removing his mask every chance he got. The conclusion to Spider-Man 3 essentially boiled down to Maguire vs. Topher Grace instead of Spider-Man vs. Venom. And nobody wants to see that. Garfield keeps the mask on, and he tells me the reason for that is because no actor is bigger than the mask, itself.
“I think the only time the mask comes off is when it’s necessary,” he says. “There’s a scene with a boy on a bridge where I need to chill him out and say that I’m just a dude. My mask gets taken off by Capt. Stacy. And then there’s another mask-off moment which had a justification before but they cut out that moment. But yeah, I feel like that’s a very important thing because the mask is always going to be much bigger than the actor. Even Peter Parker can’t live up to the mask. The mask is everything, and it gives him the power and the anonymity that he needs.”
2. Emma Stone knows this doesn’t end well for Gwen Stacy
As does everyone who’s ever read Spider-Man comics. In The Amazing Spider-Man #121, Gwen Stacy’s knocked off the George Washington Bridge by The Green Goblin. It’s a devastating moment, a crucial component to Peter Parker’s emotional formation, and a turning point that helps turn him into the selfless hero he is to become. (Raimi sort of tried to pay homage to this scene in his first Spider-Man movie, only he used Mary Jane Watson. Then he let her live, which was so dreadfully wrong, you have to wonder why he even bothered staging the famous bridge sequence in the first place.)
Stone doesn’t die in Webb’s Spider-Man, but there are enough indications in this film to suggest that future installments will bring in Norman Osborn and his alter ego, the Green Goblin … and if that’s the case, Gwen Stacy’s probably in for a fall.
When I asked Stone about this, she was honest. “We’ve discussed a lot of this,” she says about conversations with producers regarding Gwen’s future. But when I push and ask how much she can discuss with me, she says with a smile, “Probably none of it. But what you are referring to is one of the reasons why I wanted to play the character.”
I give it one last push, saying that this movie goes to great lengths to say that those close to Peter might one day be in danger, assuming this is a direct reference to Gwen. “I’m assuming, too,” Stone replies, as the smile grows wider.
Gotcha. Mums the word … for now.
3. Character comes first
conservations swirling around the first three Spider-Man films usually focused on the villains, whether it was Alfred Molina’s masterfully subtle turn as Doctor Octopus in Spider-Man 2 or Topher Grace’s woeful miscasting as Venom. That hasn’t been the case with Webb’s Amazing Spider-Man.
The focus, so far, has been on Garfield’s fragile Peter Parker and his tangible chemistry with Stone’s headstrong Gwen Stacy. It’s part of the reason Sony went with Webb, who seamlessly paired Joseph Gordon-Levitt with Zooey Deschanel in Summer. And it’s the reason Denis Leary wanted to make The Amazing Spider-Man his first post-Rescue Me project.
“Normally with these bigger-budget action films, it’s impossible to take one of those on when you’re writing your own dramatic TV series,” Leary tells me. “But I got a call from Marc. And I hadn’t even thought about this until he started talking about it. Most of the time, when you look at a movie like this, you have to be concerned because it’s probably six months worth of work, and most of it is run-and-gun, and there’s very little acting involved. But Marc was talking about making some kind of character-actor piece. Which I didn’t think was really the truth until we started shooting. And that’s what we did. We were always concerned about the emotional foundation of the story. So it did not feel like we were shooting this big movie. It felt like we were telling the story of these people, which is unusual in this arena.”
4. The Lizard isn’t all bad
You can’t say this about most of Spidey’s enemies. The Green Goblin’s sinister, and Venom’s a murderous sociopath. But the Lizard wants to do the right thing, and that was key to Rhys Ifans figuring him out.
“What I saw in the material is that this wasn’t a run-of-the-mill, cloak-and-dagger bad guy,” Ifans tells me about Dr. Curt Connors and his reptilian alter ego. “He’s a human being with very real emotions, issues, anxieties, hopes and dreams, which he’s pursuing throughout the film. You know, unfortunately, to the detriment of himself and others. But we all make mistakes! … Up until the very last moment, [Connors] is acting selflessly, and on behalf on humanity. What he doesn’t recognize is that … he doesn’t look ahead to the chemical makeup of a reptile, and how that affects his humanity.”
5. Spider-Man has more in common with Shakespeare than you thought
an iconic actor who has forgotten more about film and theater than most of us will ever know. And when it came time to approach the pivotal, tragic role of Peter Parker’s Uncle Ben, Sheen says he looked to Shakespeare … and the audience should, as well.
“If a story is really, really good, it will hold up to being retold,” Sheen says about Spider-Man. “We know, for example, how Hamlet ends. Why do we go see it again? We know how Aida ends. Why do we go? Because it’s part of our culture. We want to see it reinvigorated. We want to breath new life and energy. We want to see new faces play these parts. That’s all part of our expanding imagination. And we have the capacity to do unbelievable things now with special effects. The good thing about these franchises, the ones that are successful, is that they secure the studio’s investments in other films. If, for example, Sony gets a huge return on Spider-Man, you know that they’re going to make a lot more and different films, which employ a lot more people. And that’s the best news about these movies.”by sean o 'connell
we shared a sneak peek video of how Dolby’s new Atmos surround system would work. The whole thing sounded pretty amazing, but it’s hard to get a feel for just how cool it is from reading about it or watching a video on your computer.
That being saiif you happened to catch Pixar’s Brave this weekend, you may have gotten your first exposure to the new system. The Disney partner’s animated tale has the distinction of being the first film to use the new technology – which makes the traditional 7.1 surround sound system most theaters use today seem pretty lame in comparison.
At the heart of the new tech is the system’s reliance on more speakers than ever before – 64 in all, including ones across the ceiling of the auditorium – which will allow sound designers to mix in up to 128 sound elements into a scene. This is an unprecedented level of precision for sound technicians to work with and should lead to the creation of some realistic sound effects in movies. IEEE Spectrum spoke to Will Files, the re-recording mixer who oversaw the Atmos version of Pixar’s film.
“Since you can’t make the audience feel heat or cold, or smell the ocean, you use sounds to help provide the feeling you want the audience to have. Take the concept of visual resolution – it’s the same idea with sound. Many more points of sound in a room create a higher resolution field that sounds more natural.”
As an example of this in action, there’s a scene in Brave where the wind blows through the castle. With Atmos, the sound has a more natural and realistic effect as it jumps from speaker to speaker in correlation with the onscreen action as opposed to the 7.1 set-ups “zones.”
If you're unsure if there's a Dolby Atmos-equipped theater in your area, here's a list of locations.
Expect Atmos to become the new theatrical standard for sound moving forward – the early reaction appears to be positive. Did you see Brave in Atmos this weekend? If you did, let us know what you thought of the experience by leaving a comment below.by mike bracken
A man wrestles with the lingering consequences of a childhood wish in this live-action comedy from Family Guy creator Seth MacFarlane. As a young boy, John Bennett wanted nothing more than for his beloved teddy bear Ted (voice of MacFarlane) to come to life. Incredibly, that wish was granted. But now that John (Mark Wahlberg) is all grown up, his boyhood dream has become a nightmare nuisance. Mila Kunis, Joel McHale, and Giovanni Ribisi co-star. ~ Jason Buchanan, Rovi
director Guy Ritchie's Sherlock Holmes: A Game of Shadows will prove woefully inadequate. If you've never watched a single episode of Sherlock, though, Ritchie's Game of Shadows will prove... mildly inadequate. More action-packed, bullet-riddled, convoluted and over-the-top than the first Robert Downey Jr./Jude Law Holmes/Watson team-up, the sequel ups every ante imaginable, often to its detriment. Ritchie and company all but forsake Arthur Conan Doyle's original detective stories and re-purpose Holmes as a spinning, grinning, gunslinging martial arts master, leaving one to wonder why Ritchie didn't replace good sir Robert with Jackie Chan. Gone too is much of Sherlock's deductive wiles, replaced by even more voracious wit, silly disguises and butt-of-the-joke comedy. Mysteries unravel with nearly nonsensical complexity too, clues take a back seat to whatever furious fisticuffs lie in wait around the next corner, and Moriarty, Holmes' great nemesis, is the only real scene-stealer to be had. Oh, it's all wildly entertaining, in a brainless summer blockbuster sort of way. But it misses the mark again and again, muddying the waters with wall-to-wall action, abandoning reason with rapidfire flashbacks and impossible logic puzzles, and tossing aside almost everything that makes the Steven Moffat-run BBC series an accessible cerebral thrill-ride and Ritchie's first Sherlock Holmes, flawed though it may be, a fun, popcorn-fueled diversion.
"If we can stop him, we shall prevent the collapse of Western civilization. No pressure."
Dogged detective Sherlock Holmes finally meets his match in Professor James Moriarty, this time in the light of day, face to face, intellect to intellect, even fist to fist. Moriarty, growing tired of the perpetual cat and mousing, steps out of the shadows and devotes himself to taking Holmes out of the equation. Rather than come at his adversary head on, though, the murderous professor targets Sherlock's companion Dr. Watson (Jude Law, Hugo, Contagion) and his fiancé, Mary Morstan. Of course, Moriarty has his eyes set on a bigger, grander prize and it falls to Holmes and Watson to figure out the madman's endgame. With the help of a feisty gypsy named Simza,Sherlock's brother Mycroft (Stephen Fry, Alice in Wonderland, V for Vendetta), landlady Mrs. Hudson and bumbling do-gooder Inspector Lestrade, Holmes and Watson race to uncover Moriarty's devious plot and stop him from bringing Europe, and the world, to its knees.
The particulars of the mystery at the heart of A Game of Shadows is completely secondary to the razzle dazzle visuals and punch-drunk action of Ritchie's whirlwind detective yarn. Style trumps substance for a whiz-bang hour and a half, redeemed only by an invigorating, smartly paced third act that delivers a more intriguing adaptation of Doyle's storiesand a more satisfying battle of the wits; one that doesn't involve dispatching dozens of henchmen, being caught in a shootout on a train, or fleeing from an entire battalion of heavily armed troops. It's in that third act too that Downey Jr. and Law are finally, finally given a chance to sink their teeth in. No pithy barbs for pithy barbs' sake, no curly wigs or cheesy stage beards, no inconceivably advanced martial arts zaniness; just well crafted, character-driven chess gamemanship that's more Holmes-n-Watson than anything that comes before it. Come to think of it, the only constant in the film is Harris. The perfectly nefarious antithesis of the great detective, Harris' Moriarty is a villain's villain, staying one step ahead of Sherlock till the very end, besting Holmes again and again and again. Harris convinces, not just as a twisted professor with a staggering intellect, but as a megalomaniac hellbent on manipulating major world powers to his whim. His scenes come as a reprieve from all the visual rambunctiousness, and he seems the only actor at peace with cooing his lines rather than spitting them out with increasing intensity. Moriarty's intensity lies in his cold, deliberate certainty, and his hubris and frightening insightfulness hangs in the air like a thick London fog.
Kieran and Michele Mulroney's script can be as baffling and overwhelming as Sherlock's problem-solving montages, and often just as difficult to follow. The gypsies are extraneous; a dull means to an unnecessary end that wastes Rapace and mucks up the works. Reilly, Hudson or even Rachel McAdams (unceremoniously dismissed from Ritchie's two-movie adaptation in the opening minutes of the sequel) would have been a far more interesting female tag-along, and made the stakes that much higher for Holmes and Watson. In fact, most of the characters in A Game of Shadows are squandered. Inspector Lestrade and Mrs. Hudson are MIA for most of the film, Mycroft is relegated to exposition, nudist sight gags and comic relief, and Reilly's Mary Morstan is fantastic... for the whopping ten minutes she's on screen. Worse, the story they inhabit sometimes amounts to a disjointed, discombobulated mess. Still, it all comes down to expectation. If you're expecting a blazing blockbuster crammed with 'splosive action, slapdash comedy and slow-mo jaw punches, the Sherlock Holmes sequel won't disappoint. If you're hoping for something as sharply penned or cunning as Steven Moffat's Sherlock series, you'll shake your head, cross your arms and demand Ritchie's head on a platter. And if you have great affection for Doyle's original stories, brace yourself for a beating. A Game of Shadows is fun and frivolous, with a terrific third act that saves it from its own self-important smugness, but don't think too hard. Thinking won't get you anywhere.
A Game of Shadows hits the ground running with a fit and faithful 1080p/AVC-encoded video transfer that, stylistic quirks aside, rarely falters. As was the case with the first Sherlock Holmes, Oscar-winning cinematographer Philippe Rousselot's photography has been subjected to dramatic color-grading but remains perfectly suited to Ritchie's at-times almost monochromatic, late 19th century newsprint palette. Sepia hues dominate the image, with washed out earthtones, antiqued whites, dusty yellows, overcast blues and grays, and deep, coal-stained blacks. Detail is impressive throughout, even though the film's slow motion shots, captured with high speed Phantom cameras, tend to be naturally soft. Grain is intact, edges are clean and well-defined, textures are crisp and nicely resolved on the whole, and delineation is, all things considered, reasonably revealing. Better still, artifacting, banding, aliasing and other oddities are held at bay, and the few shortcomings you'll encounter trace back to the source, not inadequacies with Warner's encode. Fans of Ritchie's Sherlock Holmes films won't be left wanting.
Warner's DTS-HD Master Audio 5.1 surround track takes its shot and hits its target dead center, delivering an exacting, punch-for-punch, sternum-thumping lossless experience that doesn't let up or relent. The LFE channel is bold, bombastic and discriminating, throwing its full weight behind every meaty thunk, explosive thoom and heavy boom Ritchie unleashes, all while imbuing weighty elements with convincing heft and presence. The rear speakers ignite the already immersive soundfield as well with convincing, ever-careening directional effects, devious cross-channel pans, and remarkable dynamics. A Game of Shadows isn't just loud and unruly, though -- despite being both from time to time -- it's playful and mischievous too, embracing every broad stroke of composer Hans Zimmer's dueling themes: the light, impish blend of Celtic and Romanian music for Holmes and the orchestral, Schubert-inspired pieces for Moriarty. All the while, dialogue is clear, distinct and intelligible, without a lost line or buried voice to complain about. A Game of Shadows may be the lesser of Ritchie's Sherlock Holmes films, but the sequel's DTS-HD Master Audio mix foils the first film's dreams of sonic domination.
Maximum Movie Mode (HD, 129 minutes): Robert Downey Jr. hosts Warner's latest Maximum Movie Mode Picture-in-Picture track. More an actor's video commentary than a full overview of the production, it's chatty, erratic, snarky... everything you'd expect from a Downey Jr. one-man-show. Those hoping for a more in-depth look at the film will be disappointed; fans of Ritchie's leading man will be thoroughly entertained. (Pressing the right arrow key skips from one MMM bit to the next, which helps skip past the gaps that frequent the track.)
A Game of Shadows Movie App: Expand your movie experience with behind-the-scenes video, script-to-screen comparisons, maps, character bios and other goodies by downloading the free Game of Shadows movie app to your mobile device or tablet and syncing it with the film. If you're a special feature junkie, the Movie App is the only way to get all of the content you'd expect to find on a new Blu-ray release. It would be more ideal if everything was also available on the disc itself, but since movie apps seem to be the latest BD fad, expect to see more and more app-exclusive content in the future.
Focus Points (HD, 35 minutes): The Maximum Movie Mode's "Focus Point" featurettes are available from the main menu as well. Segments include "Holmesavision on Steroids," "Moriarty's Master Plan Unleashed," "Sherlock Holmes and Dr. Watson: A Perfect Chemistry," "Meet Mycroft Holmes," "Sherlock Holmes: Under the Gypsy Spell," "Guy Ritchie's Well-Oiled Machine," and "Holmes Without Borders."
Sherlock Holmes: A Game of Shadows isn't a bad film or a failed sequel. It just takes a few too many steps in the wrong direction; an action-oriented path that, if followed any further, will only lead Holmes and Watson to ruin. There's still plenty of fun to be had in Ritchie's entertaining romp, but fans of Doyle's original stories or Steven Moffat's excellent BBC series would be wise to lower their expectations. Fortunately, Warner's Blu-ray release is more rewarding thanks to a strong video presentation, a pound-for-pound DTS-HD Master Audio 5.1 surround track, and a decent collection of extras. Chances are you've already deduced how you'll react to A Game of Shadows. Buy or rent accordingly.by blu-ray.com
Abraham Lincoln: Vampire Hunter owes a great deal of thanks to the geniuses who invented wire work, the Wachowski brothers for Bullet Time, Bram Stoker, and Seth Grahame-Smith for coming up with a great initial idea, but it owes audiences an apology for never being better than the sum of its parts.
Just to be clear:I was just hoping for it to be as imaginative as its title. Grahame-Smith hits the same Lincoln plot points you learned in grade school, like Abe growing up in Indiana, hating slavery, and being a stealthy axeman. Mary Todd even goes so far as to comment on how honest he is.Of course artistic license must be taken, like his mother being killed by a vampire. But how do I know, I haven't seen the coroner's report.
When Abe learns more about the vamps from Henry Sturgess he takes to hiding in plain sight as a lowly clerk in a general store, so he can chop the local ghoulies into little tiny pieces without anyone noticing. He slays the bad guys in the manner one would expect, with entrepreneurs and African-American friends by his side. Soon he stops slaying vampires and becomes the most powerful man in America, but the vampires still want to inaugurate him as the Dead-ident of the United States.
Director Timur Bekmambetov's films,are always good for intense CG that seems too ambitious and cutting-edge to be pulled off properly. And although visually noteworthy, I always have trouble with their stories. They have plenty of super cool spinning bullet shots but are about assassins that like to weave fabric. They just miss the mark. Lincoln is by far the most coherent, but it relies solely on the gimmick that it's funny to have an ex-President using a silver-coated axe to fight mythical creatures. There's nothing else there. Combined with chase scenes on top of horses and tons of slowed-down flips and spins, it just feels like a more-interesting-than-usual effects reel for a digital effects company.
I think the most fun thing to come out of this film is the game my Movies.com co-critic Dave White and our friend Casual Gary were inspired to play afterwards. In order to figure out what the sequel to this film will be, take any figure from history.by grae drake
While the exact technical specifications are still unknown for the individual discs, Universal's press release notes that the fifteen pictures have been "digitally restored from high-quality film elements." The set also includes over fifteen hours of bonus supplements, such as:
Saboteur -
Saboteur: A Closer Look behind-the-scenes featurette
Storyboards for the "Statue of Liberty" setpiece
Alfred Hitchcock's sketches
Production photographs
Theatrical trailer
Shadow of a Doubt -
Beyond Doubt: The Making of Hitchcock's Favorite Film behind-the-scenes featurette
Production drawings by art director Robert Boyle
Production photographs
Theatrical trailer
Rope -
Rope Unleashed behind-the-scenes featurette
Production photographs
Theatrical trailer
Rear Window -
Commentary with Hitchcock's Rear Window: The Well-Made Film author John Fawell
Behind-the-scenes featurettes:
Masters of Cinema
Rear Window Ethics: An Original Documentary
A Conversation with Screenwriter John Michael Hayes
Pure Cinema: Through the Eyes of The Master
Breaking Barriers: The Sound of Hitchcock
Hitchcock-Truffaut interview excerpts
Production photographs
Theatrical trailers
Re-release trailer narrated by James Stewart
Blu-ray exclusive BD Live and Pocket Blu functionalities
The Trouble with Harry -
The Trouble with Harry Isn't Over behind-the-scenes featurette
Production photographs
Theatrical trailers
The Man Who Knew Too Much -
The Making of The Man Who Knew Too Much behind-the-scenes featurette
Production photographs
Trailers
Vertigo -
Two audio commentaries:
Associate producer Herbert Coleman, restoration team Robert A. Harris and James C. Katz, and other Vertigo participants
Filmmaker William Friedkin
Behind-the-scenes featurettes:
Obsessed with Vertigo: New Life for Hitchcock's Masterpiece
Partners in Crime: Hitchcock's Collaborators
The Vertigo Archives feature
Hitchcock-Truffaut interview excerpts
Foreign censorship Ending
100 Years of Universal featurette: The Lew Wasserman Era
Theatrical trailer
Restoration theatrical trailer
Blu-ray exclusive BD Live and Pocket Blu functionalities
North by Northwest -
Commentary by screenwriter Ernest Lehman
Behind-the-scenes featurettes:
Destination Hitchcock: The Making of North by Northwest
North by Northwest: One for the Ages
The Master's Touch: Hitchcock's Signature Style
Cary Grant: A Class Apart
Music-only audio track
Stills gallery
Theatrical trailers and TV spot
Psycho -
Commentary with Alfred Hitchcock and the Making of Psycho author Stephen Rebello
Behind-the-scenes featurettes:
The Making of Psycho
Psycho Sound
In The Master's Shadow: Hitchcock's Legacy
Breakdowns of the "Shower Scene" setpiece:
With and without music
Storyboards by Saul Bass
The Psycho Archives feature
Vintage newsreel: The Release of Psycho
Hitchcock-Truffaut interview excerpts
Posters and Psycho ads
Lobby cards
Behind-the-scenes photographs
Production photographs
Theatrical trailer
Re-release trailers
The Birds -
Behind-the-scenes featurettes:
Blu-ray exclusiveThe Birds: Hitchcock's Monster Movie
All About The Birds
Vintage Universal International newsreels:
The Birds Is Coming
Suspense Story: National Press Club Hears Hitchcock
Tippi Hedren's screen test
Hitchcock-Truffaut interview excerpts
Deleted scene
Original ending
Storyboards
Production photographs
100 Years of Universal featurettes:
Restoring the Classics
The Lot
Theatrical trailer
Blu-ray exclusive BD Live and Pocket Blu functionalities
Marnie -
The Trouble with Marnie behind-the-scenes featurette
The Marnie Archives feature
Theatrical trailer
Torn Curtain -
Torn Curtain Rising behind-the-scenes featurette
Selected scenes scored by Bernard Herrmann
Production photographs
Theatrical trailer
Topaz -
Alternate endings
Topaz: An Appreciation with film historian and critic Leonard Maltin
Storyboards for "The Mendozas" setpiece
Production photographs
Theatrical trailer
Frenzy -
The Story of Frenzy behind-the-scenes featurette
Production photographs
Theatrical trailer
Family Plot -
Plotting Family Plot behind-the-scenes featurette
Storyboards for the chase scene
Production photographs
Theatrical trailer
In addition, the collection comes with a fifty-page book featuring storyboards, costume sketches, correspondence, and rare photographs.by josh katz
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