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flyonthewall2983 wrote: Wed Feb 06, 2019 8:15 pm Will the special features take up a disc of their own, or on the same disc as the feature?

The commentary will be on both discs. But the rest of the extras will be on the Blu-ray release, which is included as a second disc in the 4KUHD set.

dwk wrote: Thu Jan 31, 2019 4:49 pm Dont forget that Kino has said that they are reasing two UHD discs this year and, depending on how well those two sell, they plan on releasing Leone's Man with No Name trilogy on UHD.

Kino announced the first title as Ridley Scott's Hannibal.

Rather underwhelming, imo, but people seem excited so maybe I'm off-base.

Quality of the film aside, it's recent and high-profile enough to be an adequate trial balloon.

Kino Video is only fourteen months behind Disney in terms of adapting the latest physical media technology, and ??? ahead of Criterion and Arrow.

Because who doesn’t need to see someone eating their own brain in UHD.

Imagine thinking anyone would want to own Hannibal in any format

I'm quite certain tons of people are currently loving this announcement, but I'm too afraid to go on blu-ray.com checking how much they do.

KJones77 wrote: Wed Feb 06, 2019 10:30 pm

dwk wrote: Thu Jan 31, 2019 4:49 pm Dont forget that Kino has said that they are reasing two UHD discs this year and, depending on how well those two sell, they plan on releasing Leone's Man with No Name trilogy on UHD.

Kino announced the first title as Ridley Scott's Hannibal.

Rather underwhelming, imo, but people seem excited so maybe I'm off-base.

Doesn't seem like they have the resources or chops to do justice to the Leone on UHD..

Morbii wrote:Because who doesn’t need to see someone eating their own brain in UHD.

That was the best part in that piece of shit film.

Better than

Spoiler

feeding some of the same human brain to a little kid in the final scene?

I think not.

I only really remember the scene with the brain and the guy being disemboweled at the museum. It's awful in multiple ways because the film actually has a great cast and David Mamet even wrote part of the screenplay with Thomas Harris and Steven Zaillian. And yet...it's this bizarre, unintentionally humorous ( I thought so.) foray into increasingly implausible situations that are presented as dead serious.

There is virtually nothing in the final film that resembles Mamet's original script. You can find that one floating around the Internet, and admittedly it's still not very good. Mamet even retaining screen credit is some real union/agent magic

I remember liking the book very much, thinking that if America wants to make Hannibal Lecter into a hero then we shouldn't blame Thomas Harris for rubbing America's face in it, and the dark joke about the real threat to Clarice not being some crazy cartoon villain but a mid-level boss in the FBI who wants to trash her career was tasty also. Still, the best part of the movie is Gary Oldman, after describing

Spoiler

his hideous disfigurement whereby he removes his own face with shards of broken mirror

, summing up by saying, "Well, it seemed like a good idea at the time."

flyonthewall2983 wrote: Wed Feb 06, 2019 8:15 pm Will the special features take up a disc of their own, or on the same disc as the feature?

The 4K disc will only include the feature and commentary.

The 2nd Blu-ray Disc will include the feature, commentary and all the other SD extras - which should easily fit on a BD50 disc. We would've included a third disc if the extras were in HD.

Thanks for clarifying.

I actually pulled the film off of my shelf a couple of months ago because I wanted to rip the soundtrack CD to my iPod (I picked up the gatefold DVD edition with the soundtrack back when it first came out) and still like the film a lot. It only suffers from not possibly being able to be a satisfying follow up to The Silence of the Lambs, but it really feels like the film embraces that and goes off in its own direction. I love the operatic grand guignol black humour on display throughout, which only feels as if it turns up to this extent again in a Ridley Scott film with Alien: Covenant.

Speaking of which, it is difficult to imagine a film series with as tonally and stylistically different entries as Manhunter, Silence of the Lambs and Hannibal outside of the Alien series! I felt things dipped a bit with Red Dragon (which felt rather mundane) and Hannibal Rising (which I read the book of but have not worked up the enthusiasm to see the film as yet. I kind of have it paired up with that Daniel Craig film Defiance in my head at the moment!), and then the Hannibal series, with all of its revelling in tone and texture as much as storylines and police procedural moments, was excellent. And it should be emphasised that no matter how bizarre the film of Hannibal is, it is actually toned down in many respects from Thomas Harris' novel!

There are some really great sequences here that I love to revisit: the outdoors opera, the final dinner scene, anything involving Giancarlo Giannini's Inspector Pazzi and Hopkins' Lecter trying to figure each other out! I also have a suspicion that the reason why I am so negative towards the idea of biometric i.d's and people just requesting fingerprints (aside from the obvious intrusion into personal space) may come from this film! At the very least if someone wants my fingerprints I would want them to have to put the work into getting them surreptitiously as Pazzi does here! That is a silly aside, but I do think there is something to be made from the contrast between Pazzi's rather more analogue methods of tracking and Lecter watching live opera performances set against the way that Clarice Starling is trapped in mundane boxy rooms in an entirely different country poring over CCTV footage and listening to tape recordings until she manages to muscle her way back into being an active participant in the film at the end (with Hannibal's help!)

Also I think this might be my favourite Hans Zimmer score, from the wonky version of the Blue Danube for Verger's triumphal capture of Lecter, to Let My Home Be My Gallows in the lecture scene, to the gorgeous Mahler-like (mixed with a bit of Wagner's Liebestod) To Every Captive Soul that plays over the finale.

All I remember is how crammed the movie felt, as if Scott wanted every single possible space taken up by whatever accessory he could find. A simple ceiling ? Nope, put 3 or 4 fans there !

I'm just wondering about the parallels that could be drawn between Mason Verger here and the characters in All The Money In The World!

I think it comes through in the film that when Harris finally released the book producers had no idea what to make of it. It seems to me that Harris resented Lecter's popularity and Hannibal the book feels like a deliberate attempt to sabotage that. Colin is absolutely right that the film leaves out some of the bigger excesses from the novel but then it also couldn't resist introducing some of its own even if they ended up being cut (offering bits of brain to the kid on the plane). I'd agree that several setpieces are very good but the overall effect of the film still feels very deflating. Bryan Fuller's take on the other hand is excellent.