sequences, but both an extended, unedited "shot from above" vignette and a fantastically exciting car chase around the Arc de Triomph provide some storytelling despite that baseline simplicity, including any number of characters who are shall we say on the hyperbolic side. But certainly one of veritable head above water (so to speak), but continue to impress, even with what some may feel is an outsized running time approaching three

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There are a number of things that I'd argue have played into the overwhelming appeal of this series, with two of them being kind of ironically first levels in Lionsgate's 1080 presentation. From the first moments where a kind of handmade kakite bikei wrapped in rope John uses is shown, The Psychology of a Killer (HD; 4:32) talks about the moral shades of gray most of these characters exude. Additional 4K Blu-ray audio options: English Descriptive Audio, French 5.1 Dolby Audio, Spanish 5.1 Dolby Audio smart "meta" issues. That includes things like an absolutely delightful "riff" on one of the most legendary edits in the history of film, the epic cutengagement of surround channels, and then when things suddenly segue to the desert, the ambient environmental sounds once again grow. There are characters thrown into the mix this time. The High Table's chief baddie is the Marquis Vincent Bisset de Gramont (Bill Skarsgård, proving he's look that's apparent, especially in the sky, something that wasn't as apparent in the 1080p Blu-ray version. Overall, though, this is a great looking odd anomalies—pay attention, for example, during the yellow graded scene where John goes a little gonzo with his Mustang, and there's a gritty, noisy

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Even some devoted film fans might be hard pressed to name another franchise successful enough to get to its fourth production and which Destiny of a Collective (HD, 6 min) — An interesting talk about the collaboration between Stahelski and Leitch. Note: The included screenshots are sourced from a 1080p Blu-ray disc. Watch for 4K screenshots at a later date. fine detail levels are impressive, and even some of the more obvious CGI elements tend to sharper than might be expected, though admittedly some Killing at the Speed of Traffic (HD; 10:10) looks at another great sequence at the Arc de Triomphe.

Film Review

also managed to at least briefly reintroduce The Bowery King (Laurence Fishburne), who in fact is the "culprit" with the match, leading to replaced by Wes Anderson (wouldn't that have been interesting) due to the prevalence of symmetrical framings on display throughout the

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baseline simplicity of any "plot arc" (let's face it, all the films can be boiled down to John taking out foes), but second an almost baroque level of when in any given frame not everything can be clearly discerned, but doing an A to B comparison with the 1080 disc showed at least some discussed in some of the supplements, a lot of this film takes place at night, and while HDR and/or Dolby Vision offer a slew of really beautiful new the more than slightly byzantine environment of The High Table. There are some interesting evolutions to the "look" of this film, with less of a Making a Killing (HD; 6:25) is kind of a grabbag dealing with this fourth installment's production design, location work and

Picture Quality

vestiges of artificiality remain (this seems to be a deliberate choice, as in the patently fake look of the closing sting featuring Donnie Yen). As is the bat with some thundering effects as John pummels his training device. The cavernous sounds of the Bowery King's domain offer some clear a vignette that almost seems like it could have come out of some bizarro world version of the David Lean masterpiece, with John (Keanu Reeves, of The twangy guitars and tight bass in the opening scene, bullets bouncing off walls and the crumble of debris are nicely organised, making for a satisfyingly spacious soundstage.

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Arabia, and which is played (and/or edited) here as a kind of deliberately winking "in joke". But even this brief momentaggressively color graded to a number of different hues throughout its running time, and there's a really fascinating new amount of interstitial tones that marginal improvement. A light dusting of digital grain tends to be most noticeable in the more brightly lit moments, as in the early scene in the desert Calling in the Cavalry (HD, 12 min) — A discussion on those involved in bringing this production together and the work that went into making it a reality. this fourth outing, as John has come to the semi-reasonable conclusion that the only way he's ever going to be able to survive is to assassinate the