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What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
De los foros de Blu-Ray.com
This is indeed strange, I have the first two in 4K, why did they drop the ball on this one? Ugh! I'll probably just watch it on Disney+ then, not spending money on this when they'll just double-dip a 4K next year...
Y le responden:
1. It was a box office disappointment as was Death on The Nile.
2. Venice was greenlit by Bob Chapek who enjoyed the 20th Poirot franchise and wanted it to continue.
3. Nile’s 4K was already prepped by 20th so Disney just made the disc.
4. Nomadland’s 4K disc was cancelled but Nile’s was not, more than likely due to Chapek.
5. Chapek is out, Iger is in. So no 4K disc for this one.
6. Probably, 85% chance, no follow up either. So it is the end unless another studio steps in.
7. In the US, it is streaming exclusively on Hulu. It is on Disney+ outside of the US.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Pues anda que no hay disappointments en taquilla que salen en 4K.
Robert A. Harris:
I've always enjoyed (and respected) Kenneth Branagh's work, and that continues with his (first?) three loose adaptations of the work of Agatha Christie.
A Haunting in Venice is viscerally quite different from the previous two - Murder on the Orient Express (2017) and Death on the Nile (2022), in that the earlier two were photographed using 65mm film, or a combination of 65mm and high resolution digital.
All three were shot by Harris Zambarloukos, and for the third he chose to go digital.
For those who may be unaware of Ms Christie, she was a writer of mysteries - who-done-its - and her most famous is probably And Then There Were None. One might presume that Mr. Branagh will eventually cover her entire output, which would be a good thing.
A Haunting in Venice, even though it was released as a 4k DCP, has arrived via Fox/Disney as "only" a Blu-ray, but that Blu-ray is of the first order. Colors, densities, all beautifully rendered, and nice blacks besides.
An intelligent, high-end piece of work, and great fun, in the mode of Knives Out - again for those who are unaware of Christie.
And now for the facts that everyone is awaiting. There's no mystery that Disney has created a wonderful slipcover for the First Edition.
Designed elegantly, with a matte finish, and inks set over a reflective background, creating an overall iridescent appearance, especially within the skyline of the upper quadrant of the obverse.
On top of that, the image is embossed on five or six levels, with the title logo set off higher than other areas, in pearlescent gold. I've requested that my corporate subsidiary, which sells rare home video packaging on eBay and other areas order five hundred copies. This could be part of the slipcover gold rush of 2023-24.
Image – 5
Audio – 5 (DTS-HD MA 7.1)
Pass / Fail – Pass
Plays nicely with projectors - Yes
Worth your attention - 7.5
Slipcover rating - 5
Highly Recommended
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.