Criterion Catch-Up, Part 2: Broadcast News (DVD/ Blu-ray Comparison)

I don't watch a lot of rom-com's but, hey, when a movie's good it's good.  And Broadcast News is great.  Now, some of you Broadcast News fans out there probably just braced at me calling it a rom-com, because it certainly has a lot more than just that going on in the film.  It's a witty satire of American television journalism, and another of James L. Brooks' great comic takes on humanity.  But still, at its heart...
William Hurt is an anchor man who's cursed with success, based on his good lucks rather than his talent or intelligence.  Meanwhile Holly Hunter and Albert Brooks are dedicated, sincere journalists whose ambitions are constantly thwarted by the mundane bureaucracy of the news division they work for.  They're trapped in a bit of an unfortunate love triangle that mirrors their struggling careers, and they all live under the shadow of the great network anchor, Jack NicholsonRobert Prosky, Joan Cusack, and (in a tiny role) John Cusack, co-star.
William Hurt is always great, and drawing in the forces of Albert Brooks and Jack Nicholson onto one screen is what we go to movies for.  Some of Hunter's ennui with being a working woman in a man's world might not have aged well; and not unlike Sidney Lumet's Network, all the jaded cynicism directed towards TV news feels downright naive compared to how it's all turned out in 2017.  But James Brooks is a master (bearing in mind that I'll Do Anything was not his fault), and this is some of his best work.  It sure took the Criterion Collection long enough to give it a proper special edition.
I'd been living with 20th Century Fox's no frills DVD since it was originally released back in 1999.  And you guessed it, being that old, it's sure not anamorphic.  But that's all we had all the way up until HD.  Admittedly, I think the 2004 UK DVD might've been anamorphic, but really, this is how we treat our American classics?  It was nominated for seven Academy Awards, including best picture, director, lead actor, lead actress, supporting actor (Albert Brooks, of course!) and original screenplay.  You'd think they could at least give us a DVD that fills up our whole screen here in its home country?  Well, yes, finally Criterion did just that, releasing separate DVD and blu-ray editions in 2011.  I've got both here, along with the original 1999 disc.
1999 Fox DVD top; 2011 Criterion DVD mid; 2011 Criterion blu top.
So yeah, just the fact that the original DVD is non-anamorphic makes the Criterion an essential upgrade.  Criterion's new 4k scan of the original 35mm negative really handles the grain nicely and brings out the crispness.  It's not just the HD, even the Criterion DVD is noticeably sharper and clearer than the Fox disc.  The Criterion is slightly matted to 1.83:1, which gives us a sliver more around the edges than the 1.82:1 framed Fox DVD.  One thing I can't help but notice after our previous Criterion comparisons, though, is that their color timing is greener again.  This time, though, I would accept that it may be more a case of Fox being overly red, but still, I'm waiting for the day when somebody at Criterion announces: "my god, my monitor's been mis-calibrated for years!"  😜

Audio-wise, Fox gave us a respectable stereo mix (and a French dub for the easily amused), with English and Spanish subtitles.  Criterion ditches the foreign language options, but upgrades that stereo mix to a freshly transferred DTS-HD track, and optional English subs.
Extras-wise, Fox gave us nothing but a fullscreen trailer.  La De Dah.  But Criterion understands what the people want!  First up, we get a very affable audio commentary by Brooks, backed up by his editor Richard Marks.  Next, there's a neat little documentary about Brooks, which runs a little over half an hour, with several of his key past collaborators, including Marilu Henner and Julie Kavner, taking us through his history in television and film.  More exciting, though, is a collection of deleted scenes, including an alternate ending, with optional commentary by Brooks.  And in an instance of Criterion digging extra deep, which I really appreciate, they conduct an all-new on-camera interview with Susan Zirinsky, the real-life counterpart of Holly Hunter's character that Brooks based her on.  Then Criterion throws in the original EPK, including standard promo featurette and almost 20 minutes of on-set interviews and B-roll footage.  We also get the trailer and an 19-page booklet with notes by film critic Carrie Rickey.  Top marks all around, that's how you make a satisfying special edition.
Seriously, jokes about green tints aside (look at Nicholson's shirt color, that's a genuine white; it's fine... right?  What color shirt is that guy standing next to Albert supposed to be wearing?), this is a top notch release from Criterion.  And thank goodness for that, because the alternatives are miserably slim.  But this release doesn't need poor competition to shine; it could compete with the best work of any blu-ray label.  There's nothing but good news to report about Criterion's edition of Broadcast News.

Criterion Catch-Up, Part 1: The Ice Storm (DVD/ Blu-ray Comparison)

I've got some exciting new titles on pre-order, but they're still a ways away; and in the meantime, I've still got plenty of older titles I've been itching to get onto this site.  So, dull story short, just like the Scream Factory Catch-Up series I did last year, this time we're having a Criterion Catch-Up.  And to start us off, I'm going to finally return us to some Ang Lee (after having only covered his underrated Lust Caution back in 2015) with 2001's The Ice Storm.
Ang Lee got his start directing his own, quite good original screenplays: Pushing Hands, The Wedding Banquet, Eat Drink Man Woman.  And this is only his second film of another writer's work, in this case James Schamus's adaptation of a novel by Rick Moody.  Lee leans into the period of the piece, set in 1970's upscale Connecticut, where two families struggle with their repressed dysfunction.  Very stylized costumes, props and locations threaten to, but never distract from the smart writing and the particularly excellent cast: Kevin Kline, Sigourney Weaver, Joan Allen, Tobey McGuire, Christina Ricci, Elijah Wood and a young Katie Holmes.  In fact, Ang Lee's deft direction manages to steer it from being just a cute, nostalgic writer's indulgence to a genuinely human tragedy.  It's just one of those perfect storms where all the right elements came together.
20th Century Fox originally gave this a pretty solid DVD release back in 2001.  Anamorphic widescreen, a couple of extras.  But in 2008, Criterion released it on DVD again, with a new transfer and substantially more special features, as it was now a 2-disc set.  But it was still DVD-only until Criterion revisited it in 2013 as a single-disc blu-ray release.  Well, I've got all three releases right here, so let's have a look.
top: 2001 Fox DVD, mid: 2008 Criterion DVD; bottom: 2013 Criterion blu.
Well, despite the five years difference between the Criterion releases (you know, as opposed to your traditional combo-pack or concurrent release), nothing seems to have changed between those two releases, except for the blu obviously being in HD.  The color-timing is distinct between Fox and the Criterions, though, with the latter demonstrating a distinct lean towards the yellowish green side of things.  Criterion's transfer was "supervised and approved" by both Ang Lee and the DOP, Frederick Elmes, but there's no denying that the Fox disc has more naturalistic colors.  Like, in the first shot, the whites are white, where they're now green on the Criterion discs.  So I guess that green push is what the filmmakers wanted.  That or they just have their assistants sign off on whatever for an easy check like David Cronenberg.  😜
top: 2001 Fox DVD, mid: 2008 Criterion DVD; bottom: 2013 Criterion blu.
...Sorry, that was just a snarky Shivers reference.  Anyway, this is not a "Controversial Blu."  There is a clear uptick in detail and image quality between both the 2001 and 2008 DVDs and then the 2008 DVD and 2013 blu.  You're definitely getting a true upgrade each time.  And despite all three releases being slightly letterboxed to 1.85:1, the Criterion versions definitely find more information on both sides and the top.  But... I'm noticing a little haloing around edges, and maybe some unsharpening mask or a similar tool making tiny details flare out.  Grain also appears to have been a bit smeared away on the blu.  Basically, this looks like an old master, like they just used the one from their 2008 DVD.  So it's okay, but definitely not reference quality in 2017.
So let's talk extras!  The Fox disc didn't have much; it was no special edition.  But they did at least put on a few airs to dress it up a little.  Their main extra is a little 'making of' featurette with clips of the film, interview clips from Lee, Moody and just about all of the stars, and a few glimpses of shooting behind the scenes.  They also threw in the trailer, several bonus trailers, and an insert.

Criterion stomps all over that, giving this film the special features it deserves.  Ang Lee and Elmes do a good audio commentary.  There's an excellent 36-minute documentary with all the stars, an over 20-minute talk with Rick Moody, plus on-camera interviews with Elmes, production designer Mark Friedberg and costume designer Carol Oditz.  Then there's a film festival discussion with Lee and screenwriter James Schamus and four deleted scenes, with optional commentary by Schamus.  Plus, there's the trailer and a nice 20-page booklet with notes by film critic Bill Khron.  Oh, and the extras are identical, by the way, between the 2008 and 2013 Criterion releases.  So yeah, they really deliver a thoroughly satisfying special edition, but it's just a little irritating that they didn't include the vintage featurette from the previous DVD to round everything out.  Oh well.
So hey, unless Arrow wants to come out and surprise us with a fancy new 4k thing, this is a pretty strong release and the best we're likely to see.  There's room for improvement to be sure, but no reason not to be happy with what we've got.  And if Arrow ever does tackle this film, they'd better license those Criterion extras, because those guys really brought their A game on this one.  It would take a new 4k scan of the OCN, all the Criterion negatives and that Fox featurette for me to consider going back to the well again at this point.

What To Expect Out Of Bruno Mattei's Zombie Comeback Films

I was always curious about Bruno Mattei's two comeback zombie films, ever since I saw news of their production on mhvf.  But between them being shot on DV, back in the earlier, rougher days of shooting films on digital, and the accusation of it being an Uwe Boll rip-off, I stayed away.  Even when Severin put them out together in 2015, I still hemmed and hawed.  Why DVD only?  Was that some sort of concession even from the company that these were crap films weren't worth anyone's time?  I mean, the bad kind of crap, like those budget digital films that Netflix used to stuff its catalog with, not delightful crap like classic Mattei.  Well, I did finally bite the bullet - it helps that the DVDs are nice and cheap - and guess what?  They're classic Mattei crap!  😍
So the first film is 2006's Island Of the Living Dead.  Now, I've seen Boll's House Of the Dead, but fortunately for me, I forgot almost all of it almost immediately after watching it, because that made the more supernatural sequences seem even more surprising and creative.  By the time I was watching Island, it felt more original and amusing than it if I'd kept recalling similar moments from House.  Basically, a bunch of sea-faring treasure hunters shipwreck on an island, which is of course overrun by zombies.  But it takes a step further out of left field when they take shelter in a haunted house, and each character experiences a different type of encounters with the undead.  The captain has a drink with the long deceased captain of a similar ship, and another character is chased by grim reapers.  Even if its never entirely original, it still makes things a little more interesting than just your generic zombie flick.  Although don't worry, there's still plenty of your pure, lurching zombie hordes just waiting for the characters to realize that you need to shoot them in the brain, too.
The dubbing is terrible, even by Italian horror standards, but with Mattei, that just winds up adding to the films' charms.  Yes, the film is shot on digital, and so doesn't have that nice filmic look of Hell Of the Living Dead and other vintage titles.  But once you accept it, it's fine.  In fact, it might almost better suit the tone of the film.  After all, this ain't Suspiria.  But Mattei still has the style of lighting and framing to, in some aspects, raise these films above the level of our local backyard productions.  The complete unevenness of the film's quality syncs with the action on scene.  Something new is always being thrown in front of the camera to keep you in your seat, and it works.  The zombies will Flamenco dance if they have to!  The line between laughing at and with the film is completely erased in that way very few cult filmmakers could achieve, constantly flipping you from laughing at how cheesy something is to being genuinely entertained the way the filmmaker intends.  The effects range from laughable to effective, the atmosphere is in high gear, and it's gory just the way horror fans like it.
Then we have the sequel, Zombies: The Beginning.  It's still a Mattei zombie flick and all that entails, but as much as it possibly can, it shifts in tone.  Where Island was a moodier, supernatural piece, this time the zombies are caused by sci-fi means, and we're following a team of Aliens-like marines looking to blow them all apart.  It is a legit sequel, though, with the survivor of the first film being brought along with the marines like Sigourney Weaver in Aliens; though amusingly they had to cheat the ending of Island in the beginning of this one, like those old 1930's serials.  If you like one film, you're going to like the other; but I found this one a little less engrossing.  The characters in Island were stock, cliche and poorly written, sure; but they still stood out from each other.  Here the marines are mostly generic, so you're not too involved when one lives or dies in any particular scene.  And without the supernatural stuff, the zombie action is a little more plain... except for the outrageous, over-the-top nutty moments that mostly come at the conclusion.  So, overall this is a weaker film, but on the other hand, we're treated to scenes like this:
Now, I said Severin put these out.  Strictly speaking, each film's DVD release in the USA was from Intervision.  But in 2011, Severin took over the production and marketing of Intervision's releases, so these are essentially Severin releases with Intervision logos on the cases.  Both of these came out at the same time in February 2015, on DVD only.  There has never been an HD release of either film, though there were a few previous, foreign DVDs.  But these are uncut, in English, inexpensive and have the best extras.  So go for these.  Also, I love how they totally ape the old VHS cover of Gates of Hell for Zombies.
Top two: Intervision's Island DVD; second two Intervision's Zombies DVD.
Both discs are anamorphic at 1.78:1, but as you can see, they have some black matting on the left hand side, particularly the first film (by Zombies, it's really just a sliver).  So really these films are 1.77:1.  They're not interlaced, but detail is really soft and compressed.  I don't know if that issue lies with the DVD transfers, though, or if the film looked like that straight out of the camera.  These films are colorful with no interlacing or other issues; but they're far from HD.  I mean, even farther than most modern, SD DVDs.  But apparently Mattei was making his films on HDCAM at this point, so again, I don't know how much better these movies ever looked, even projected theatrically.  I'd definitely be super curious if a blu ever came out, but I really don't expect we'll live to see one.

Audio-wise, we just get basic, Dolby Stereo tracks.  It's all dubbed, so it sounds quite clean.  There are no subtitles or other options.
The primary extra on each disc is a roughly 20-minute featurette with the film's screenwriter, Antonio Tentori, who you probably remember from Grindhouse's Cat In the Brain release.  He's actually quite informative and interesting, telling us everything from his experiences with Fulci to how there was meant to be a third and final film to this zombie trilogy, but Mattei didn't live to see it through.  Island's featurette also includes some comments from the producer, Giovanni Paolucci.  So while we're not talking full-on special editions, these featurettes are quite satisfactory.  Each disc includes the film's theatrical trailer, and Island also has an "international sales promo," which is essentially a five minute highlight reel.  Not really worth watching once you already own the film, but I'm glad they stuck it on there since they had it anyway.
So I definitely recommend these DVDs if you're interested in the films.  But do I recommend the films?  Well, yes, if you know what you're getting into.  These are fun Mattei zombie films.  Yes, they're shot on old digital cameras, but you'll be glad you pushed yourself to get past that.  But bear in mind, these are also shoddy, trashy films by most mainstream standards, so the majority of people around the world are gonna hate 'em.  This stuff's for a select audience only.  If you're a fan of Hell Of the Living Dead like me, though, wondering if said select audience would include you, then I'm happy to report, yes, these are a kick.

Back To David Lynch's Mulholland Drive (DVD/ Blu-ray Comparison)

a little pilot-only scene and character
Mulholland Drive seemed to be a comeback film for David Lynch. He got an Academy Award nomination as Best Director for it, despite or perhaps partially because of its long and painful birth process. It was originally shot as a ninety-odd minute television pilot for ABC. A sort of second Twin Peaks. But the network ultimately declined it, and it never aired. A year or two later, Lynch teamed up with the French film company Studio Canal to buy it from ABC bring back the cast, and film all new material to flush it out into a feature film and a complete, self-contained story (the pilot, naturally, was left open-ended, as it was meant to lead into an entire series worth of events).

So it played well theatrically, and eventually in 2002, Universal gave us the slightly controversial DVD. Thanks to Lynch's eccentricity and probably a slight misunderstanding of the medium, it is presented without chapter stops, as per his wishes. As a pleasant surprise, however, it turns out the DVD does have chapter stops, a lot even, they're just not indicated by a chapters menu. But they're there. It also doesn't have any special features (despite some good, on-set interviews being available, as we'll come to later) except for a single page insert with "10 Clues to Unlocking This Thriller." And finally, Lynch personally censored one scene from the film for its home video release. A brief shot of Laura Herring, featuring some below the belt nudity, was optically fogged despite playing uncut in theaters, apparently to prevent nude photos from circulating on the internet.

Meanwhile, in Europe, Studio Canal released a 2-disc special edition. And in 2010, they even upgraded it to blu-ray, something which has yet to happen in the states. So, not for the first time, Lynch fans were compelled to import.

Update: 4/30/15 - 4/6/17 - 5/8/17 - 6/8/17: There is no end!  The Criterion blu did come out, so I updated this post with that.  Then I updated it with the Concorde blu, and now I'm updating it yet again with the new Studio Canal blu (not to be confused with the previous Studio Canal blu).  This one creates even more new special features and uses the updated 4k scan that debuted on the Criterion disc.  Is it the ultimate, definitive Mulholland Drive release?  Is it worth replacing an older edition for?  Let's solve the mystery.
Mulholland Drive is pretty great, but even as a big Lynch fan, I do have minor issues with it. They mostly boil down to what I see as the more conventional characters and story points: like the stuff with the hitmen and the director's subplot. I can't say what was in the writers' heads, of course, but I suspect these elements are concessions for more mainstream television viewers who wouldn't appreciate Lynch's usual work, and as such is more archetypal and less humanistic and compelling than, say, his next film, Inland Empire, even though it's a far less popular work of his. At any rate, even if that's not true about why that material is in there, those points give that impression, which comes down to the same thing. But even accepting all of my quibbles, it's still a smart, creative and gripping drama, with all of Lynch's strengths here in force.

So how does it look on blu-ray and how does the DVD stand up against it? And how does each subsequent blu-ray release stack up against its predecessor?  We've got a lot of comparing to do!
1) Universal 2002 DVD 2) Studio Canal 2010 blu 3) Concorde 2011 blu
4) Criterion 2015 blu 5) Studio Canal 2017 blu
So, not a huge difference, but there is an incremental improvement with each release.  Well, except the 2010 Studio Canal and the Concorde.  They're virtually identical.  In fact, Concorde's encode is slightly worse; so it's a tiny step down.  But the older SC blu-ray clears away all the standard def smudginess of the DVD, and Criterion's new 4k scan of the OCN smartens up the image with a touch more clarity and noticeably deeper colors.  They'll be slim upgrades to casual viewers, but aficionados will appreciate each generation's step forward.  And now, again, Studio Canal's 2017 blu uses the same 4k scan as the Criterion, so I have to say I'm surprised how distinct this new one is.  There were rumblings that perhaps Criterion's encoding could be slightly better, and indeed, I'd say it is on the new SC.  If you just want to look at my close-up comparison, Criterion's encoding does leave things like a hint of horizontal lines running across Naomi's upper lip and cheek, for example.  And areas of grain seem patchy, like little block areas.  This is real magnifying-glass-to-the-monitor stuff, but it's there, and SC does do a better job of not having that problem.  However, what's much more obvious is how much grainier the 2017 SC blu looks.  It looks like Criterion tried to de-grain the image a bit, whereas SC has let it all hang out, which perfectionists always prefer.  I could see some casual viewers finding the Criterion more appealing for looking smoother, but if you're the kind of person who reads up on the distinctions between different blu-ray transfers of the same movie, this new version is the best yet.  All five releases feature a slightly letterboxed 1.85:1 aspect ratio, but the new 4k framing has ever so slightly shifted horizontally and vertically.
2010 Studio Canal blu-ray on top; bootleg DV-R of the pilot below
So now there's nothing to be gained from noting that the blu-ray trumps the DV-R of the TV pilot. That's just a low quality bootleg. There is no legit release of the pilot version, so don't run yourself ragged searching. It's no great loss, anyway, since there's very little in the pilot that's not in the film... It's mostly the other way around: there's a lot in the film that's missing in the pilot. But I thought it was worth posting the comparison because we see that, naturally, the 90s television image is full-frame. And since it was shot for TV first and converted to cinema second, Lynch clearly matted the 4:3 image down. So that means in the lower image you're seeing the image open matte, with a lot more picture on the top and bottom; and that's the way it was originally composed to be viewed. It's the OAR, at least for the footage that wasn't added later.

Speaking of interesting, alternate presentations of the footage, The Criterion release is the first uncensored presentation of the film, and yes, Studio Canal's 2017 blu follows suit.  As you may've already been familiar with, Lynch himself blurred a scene of full frontal nudity for the home video release (that played uncensored in the original theatrical run).  It was already a heavily shadowed scene, so casual viewers wouldn't even notice, but a distinct blur was put over Jeanne Bates Laura Harring in one bedroom scene, and that was on the original US DVD, the 2010 Studio Canal blu, the Concorde blu and pretty much every other version.  But by going back to the original film elements for their new 4k scan, Criterion bypassed it (sorry, no screenshot, kids).

As for audio options, the Universal DVD gave us a choice between DTS 5.1 and Dolby Digital 5.1 mixes, but all three blus simply give us uncompressed DTS-HD 5.1 tracks.  Well, Concorde also has a German DTS-HD 5.1 and 2010 Studio Canal gives us Spanish and French DTS-HD 5.1s (2017 SC keeps the French, but drops the Spanish).  They also include Dutch, French and Italian subtitles, while Concorde just have German subs and the original DVD has French and Spanish subtitles.  Only the Criterion and new Studio Canal actually give us (optional) English subtitles... at least for the main feature.
But what about the extras? Like I said, the DVD had nothing, not even the trailer. Just that insert with "clues." The Studio Canal blu-ray trumps even the insert by including a 20 page booklet, which, yes, includes the clues. But there's also some real, meaty extras on the blu as well:

• Introduction by Thierry Jousse - A ten minute lead in by filmmaker Jousse. This, like several of the extras, are in French, but everything's fully subtitled for English viewers.

In the Blue Box - A 28 minute featurette where a bunch of filmmakers (the guy who directed Donnie Darko, the director of Colt 45, etc) talk about the film and their experiences with it.

On the Road To Mulholland Drive - a 24 minute 'making of' documentary, primarily based on interviews with Lynch, Naomi Watts and Laura Herring, inter-cutting between them with some nice behind the scenes B-roll footage. This one's been around a while, even my pilot bootleg DVD has it on there, and was mostly or entirely shot during filming. One wonders why this was left off the Universal DVD. I guess Lynch just didn't want there to be any extras on that?

• Interview with Mary Sweeny - A short but interesting talk with the film's co-producer and editor.

• Interview with Angelo Badalamenti - A little under twenty minutes with the film's composer, who also plays a small role, from around the time of the film's release.

• Interview with Angelo Badalamenti - Yes, another one. But this one's newly recorded, and it's audio only. It's about 17 minutes and unfortunately repeats a lot of anecdotes nearly word for word from the previous interview. There are some unique bits, so it's still worth watching, but one wishes Studio Canal would've edited out all the duplicate material.

Back to Mulholland Drive - A 24 minute featurette that focuses on the mysteries of the film and decoding its more symbolic meanings. It includes some additional interview footage of Lynch, and explains the 10 clues, which is nice, because as written they're not illuminating at all, even when you pretty much get the film. Overall, it's a pretty compelling extra, but it's a little silly and I think they arrive at precisely the wrong conclusion about one of the clues. But for the most part, it pretty much explains and clarifies everything for people who saw the movie and felt they didn't understand any of it. And even if you feel you've got everything worked out, you probably didn't catch all of the little hints and touches they point out.
That was pretty awesome, but now Criterion is here to enter the races!  They've got a healthy collection of special features, too; and they're mostly all new.

• Interview with David Lynch and Naomi Watts - Finally, a proper interview with Lynch on this film besides those vintage promo clips. And here he's alongside star Watts for a really engaging talk.

• New interviews with Justin Theroux, Laura Harring, Naomi Watts and casting director Johanna Ray - A substantial featurette with several of the stars that runs well over half and hour.

• Interview with Angelo Badalamenti - Yes, this is different than the two on the Studio Canal discs, running just under 20 minutes, though he doesn't really say anything he didn't say before.

• Interviews with Peter Deming and Jack Fisk - We get to hear from a couple key people we haven't yet, the cinematographer and production designer.

• On-set footage - About 24 minutes worth of behind-the-scenes footage.  We saw a lot of this in On the Road To Mulholland Drive, but this is basically just the raw, B-roll footage without the framing interviews.

• Deleted scene - Robert Forster at the police station.  I'm surprised they didn't put in all the other material from the pilot - it would've been great to see it restored from film elements, too - but maybe Lynch didn't want it included?

• Trailer

Criterion's release also includes a booklet, with an interview with Lynch from the book Lynch on Lynch.  Overall, both blus have some nice, exclusive stuff.  But overall, I definitely have to give the win to Criterion's collection.
Oh, and the Concorde?  That's the whole reason I tracked this blu down and, well, it's pretty disappointing.  I mean, taken on its own, it's okay.  It sure trumps the DVD.
• Making of featurette - This is actually the On the Road To Mulholland Drive doc.  Still a good little doc, but nothing new if you have any of the other releases.

• Interviews - Interviews with Watts, Lynch, Harring and Theroux.  These are actually the exact same interview clips that appear in On the Road.  That's right; it's the same stuff on the disc twice.  I guess the benefit is this lets you jump right to certain interview clips without watching the whole, 23 minute doc?  Meh.

• 3 TV spots

• Trailer - Surprisingly, only this and the Criterion disc have this.  The old DVD and both Studio Canal releases are missing it.

• German trailer

And it has a couple of bonus German-dubbed trailers.  Pretty disappointing.  I figured the 'making of' doc would turn out to be On the Road again.  But I figured the interviews had to be some exclusive press junket clips or something.  Who knew they'd have the audacity to just reuse the same footage twice?  Oh well.
Studio Canal really went for it this time.  They've got new extras, previous Studio Canal extras, they've got Concorde extras and they've even got Criterion extras.  But they still don't have everything...

• Introduction by Thierry Jousse - As carried over from the previous Studio Canal disc.

• Interview with David Lynch and Naomi Watts - I was surprised to see this one here; it's the one Criterion made for their release.  Sweet!

• New interview with Laura Harring - Even sweeter, some brand new content.  A nicely edited, 14-minute on-camera piece.

• Interview with Mary Sweeny - This is from the previous Studio Canal disc, still quite good.

Back to Mulholland Drive - The look at the mysteries from the previous Studio Canal disc.
In the Blue Box - Again, this is from the previous Studio Canal disc.  But don't take that as dismissive comment.  I'm glad they kept all these goodies.

On the Road To Mulholland Drive - This is the vintage 'making of' that's been on every release except the original DVD.

• EPK Interviews - These are the same, short interview clips with Watts, Lynch, Harring and Theroux that were on the Concorde disc; basically the remaining soundbites that weren't heard in On the Road.

• Interview with Angelo Badalamenti - This is the one from the older Studio Canal disc; the video one.  The audio-only one was not ported over.

• On-set footage - About 24 minutes worth of behind-the-scenes footage.  We saw a lot of this in On the Road To Mulholland Drive, but this is basically just the raw, B-roll footage without the framing interviews.

• Deleted scene - The same Robert Forster scene from the Criterion disc.

So, this may well be the best collection of extras, but even though they brought over the Lynch/ Watts talk, they're still missing a couple featurettes from the Criterion: the interviews with cinematographer Peter Deming and production designer Jack Fisk, the cast featurette interviewing Justin Theroux, Laura Harring, Naomi Watts and Johanna Ray, the on-set footage featurette and their interview with Badalamenti.  And they've dropped the audio-only interview with Badalamenti from their own previous release.  Given how redundant it was, that makes some sense, but it seems odd they'd lose one of their own special features.  Frankly though, the biggest losses are the interviews with Fisk, Deming and Ray, as their voices aren't included anywhere else.  Also, bizarrely, it's missing the trailer.  Why do so many releases of this film keep forgetting the trailer?  But still, the trailer's just the trailer.  In 2017, Studio Canal's assembled a very strong mesh of the best of all the previous releases that's tough to beat.  Also, this release comes in a slip cover and includes six cardstock art cards that you can see in the photo above.
So, the old Studio Canal blu is a pretty spiffy release, and it was more or less a must-have for any serious Lynch fan right up until the Criterion release.  But their 4k scan and superior extras eclipsed it.  Now, the only real question is between the new Studio Canal and Criterion releases.  I think SC edges out Criterion for picture quality.  Their special feature packages are different, each with some unique content, so it's a tough call.  Again, I think I'd pick Studio Canal, but I really miss those other Criterion featurettes.  But none of the blus are bad, and if you're just a mild fan of the film and you already have it, it may not be worth upgrading to any of these other ones.  But for serious fans, yeah, I'd say get the 2017 Studio Canal blu and maybe even the Criterion, too, just for the additional extras.  They do have a separate DVD edition, so you can save a few bucks if you're just buying the special features.  And you won't need any of the older releases after that, unless you're a real completist and want to hold onto the old Studio Canal release for the audio-only Badalamenti interview.  But that's going further than even I would.