Displaying items by tag: Mercury Records

We’ve got a couple quick items of announcement news for you all today, but first I wanted to let you all know that our Release Dates and Artwork section has been updated to include all the latest Blu-ray, DVD, and 4K UHD cover art and Amazon pre-order links. As always, whenever you order literally anything from Amazon after clicking to them through one our links (like this one), you’re helping to support our work here at The Bits and we greatly appreciate it! And don’t forget, you can also support our work here by subscribing to our Patreon or by making a donation via PayPal here. Thank you!

Now then... Paramount has officially set Peter Segal’s Tommy Boy (1995) for 4K Ultra HD and 4K Steelbook release on 3/25. The film has been newly-remastered under the supervision of the director. All the legacy Blu-ray extras will carry over.

Our friends at Kino Lorber Studio Classics are officially bringing Gary Fleder’s Things to Do in Denver When You’re Dead (1995) to 4K Ultra HD and Blu-ray on 4/29. Also coming that day to Blu-ray from KLSC are Kirk Douglas’ Posse (1975) and Richard Friedenberg and James L. Conway’s The Bermuda Triangle (1979).

From Raro Video via KLSC, Lina Wertmüller’s Swept Away (1974) is coming to 4K Ultra HD on 4/29 as well. [Read on here...]

We’ve got three more Blu-ray reviews for you to enjoy today, including...

Stephen’s take on Alan Parker’s Bugsy Malone, as newly released by Paramount as part of their Paramount Presents line-up.

Dennis’ look at Gordon Hessler’s Scream, Pretty Peggy (1973), a Bette Davis title from Kino Lorber Studio Classics.

And Tim’s thoughts on Rob Galluzzo’s new documentary Analog Love: The Art of the Mixtape from Passion River Films.

As always, more new disc reviews are on the way for tomorrow, so be sure to check back then.

In announcement news today, Paramount has just set Warren Beatty’s Reds for release on Blu-ray on 11/30 in honor of the film’s 40th anniversary, newly-remastered from the original camera negative in 4K in a process supervised and approved by Beatty and cinematographer Vittorio Storaro. [Read on here...]