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Here’s a look at a pair of crime thrillers filled with tough guys and available on home entertainment.
Coogan’s Bluff (Kino Lorber, R-rated, 1.85:1 aspect ratio, 94 minutes, $29.95) — In 1968, the pre-“Dirty Harry” collaboration between budding matinee idol Clint Eastwood and director Don Siegel led to a violent crime thriller now returning to Blu-ray format with the largest collection of extras ever presented.
Mr. Eastwood starred as the rebellious Arizona Deputy Sheriff Walt Coogan, who was punished for his behavior by being sent to New York and extradited murderer James Ringerman (an insane Don Stroud).
After being treated like a bully by the Big Apple cops and lingering on his duty, he bluffs to get custody of the prisoner. Of course, Ringerman escapes and instead of returning to Arizona in disgrace, Coogan pursues the killer.
This bold effort continued to shape Mr. Eastwood’s tough-guy image with a sense of humor, and his performance is bolstered by the feisty, wise Lee J. Cobb as a tired and seasoned cop. Susan Clark as Lieutenant McElroy and the bewitched love interest and parole officer, Julie Roth.
However, the giddy treatment of female characters such as rape, prostitution, hippie nudity, and Coogan’s assumption that every attractive woman wants him, tarnishes this early example of the genre.
High-definition transmission can provide good cleaning with the appearance of some dirt, streaks, and light spots, but clarity is top-notch and a slight amount of film grain remains faithful to the film source.
More impressive, however, the colors are vibrant throughout (even fake blood is an orangey red), accentuated by a rooftop outdoor display with Coogan’s burgundy suit and Roth’s yellow jacket and red hair against a clear blue sky.
The best extras: Viewers get a pair of new optional solo commentary tracks.
First, director and writer Alex Cox (“Sid and Nancy” and “Repo Man”), a Spaghetti Westerns aficionado, offers an intermittent overview of the production, over-explaining and examining the plot, exploring key actors and crew with trivia and touches. On similarities to Siegel’s crime drama “Madigan” and the evolution of the 1960s crime film genre.
Then, the short-lived cop drama “Sledge Hammer!” Best known for writer Alan Spencer. – offers a more light-hearted, lecture-style, seamless commentary on the film’s more detailed, gimmicky deconstruction from the credits’ font style, weapon types, acting styles, locations, and offers more about the career of Mr. Eastwood and his tropes.
Viewers also get a bivalent feature.
Begin with a nearly nine-minute contemporary interview with Mr. Stroud (now in his 70s), focusing on his role in the film and working with Mr. Eastwood and Mr. Cobb, navigating the motorcycle chase, and the effect the film had on him. thriving career.
Next, an almost all black-and-white old episode from 1970 called “At Home with Clint Eastwood” answers questions in and around the star’s Carmel, California home. In a classic, somewhat forced interview, he explains why he had a double tub scene with the leading ladies, his love of animals, and what pisses him off.
Hitman’s Wife’s Bodyguard (Lionsgate Home Entertainment, R-rated, 2.39:1 aspect ratio, 100 minutes, $30.99) — Director Patrick Hughes has reunited the main cast of the 2017 blockbuster to deliver another violent action comedy thriller this summer.
Now available in ultra-high definition, the story takes from the latest movie, where disgraced elite bodyguard Michael Bryce (Ryan Reynolds) takes a relaxing leave to take the advice of a therapist and reevaluate his life.
While on vacation, he is pulled back into a rescue operation when the con man and wife Sonia (Selma Hayek) of the extraordinary assassin Darius Kincaid (Samuel L. Jackson) seek help in spreading his mob-held love.
However, caught by Interpol agent Bobby O’Neill (Frank Grillo), the trio are dragged into another crisis. They must stop the evil plans of Greek shipping magnate Aristotle Papadopoulos (Antonio Banderas), who threatens to cut Europe’s central data link and destroy the electricity grid and the economy.
Enormous amounts of screaming, F-bombs, and headshots of blood greet audiences throughout the Tex Avery-style action as the stars devour the landscape.
The cast is really fun, especially Mr. Reynolds, who often acts like a test dummy, is harassed and battered but still comes back for more.
The result is a rather pointless yet silly fun movie that tries hard to laugh but offers its fair share of high-octane action moments.
The stunning location all over Italy looks breathtaking in ultra-high definition format as viewers take quick trips to Capri, Rome, Portofino and Tuscany and take a break in Athens, Greece.
The clearly expensive, action sequences, highlighted by a shoulder rocket-wielding assassin in a helicopter firing explosive shells at the trio crossing a bridge, are equally impressive to admire.
The best extras: Viewers learn how fun it is to make an action movie through a collection of four demos that offer approximately 30 minutes of the making.
Episodes cover the cast and their love for each other, especially Mr. Reynolds, some of the more difficult practical stunt jobs performed, and a glimpse into the production design.
An optional commentary piece with Mr Reynolds, Mr Jackson and Ms Hayek is needed because I know it will be full of bullshit.
The new and improved comment system is coming soon.
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