You Can Count On Manchester By the Sea

Here at DVDExotica, we appreciate all kinds of movies, even those you don't have to hide from your parents and children.  Sure, usually I'm a wild-haired film snob waving his finger at the television screen shouting, "you're giving 'Best Picture' to that pandering piece of dumbed-down Hollywood pap?"  But sometimes I do stumble onto a film simply because it's been nominated and come out saying to myself, wow, that really was an excellent movie.  And here are two such examples, 2000's You Can Count On Me and this year's Manchester By the Sea, both by writer/ director Kenneth Lonergan.  In fact, I think I may've spotted a subtle similarity in their stories.

Update 5/13/17 - 8/6/25: Finally, we have You Can Count On Me in 4k, thanks to Criterion's new BD/ UHD combo-pack (also available as a single BD release).

You Can Count On Me stars Mark Ruffalo as a thirty-something, orphaned drifter, getting into bar fights and doing odd jobs to barely scrape by with no anchor or goal in life.  Following a death in the family, he returns home to the small town he grew up in, where he's widely known as an infamous trouble-maker.  At first he maintains a civil distance, but as they're staying together, he's pressured into reconnecting with his nephew who grew up with only one parent.  He winds up taking his nephew to see the father he'd never known, and it goes disastrously.  Still, it turns out to be a necessary growing experience for the boy, they ultimately wind up bonding and we see the strength of the drifter's character hidden by all the flaws he wears on his sleeve.  Though he ultimately [SPOILER technically, but not really, because it's clear this is the direction the story was always headed in.  Like, don't worry; this won't ruin the movie for you if you haven't seen it] leaves the town and his nephew behind to return to the seemingly empty life he left behind despite being pleaded with to stay and live in their hometown, we know they'll see each other again, because they've grown together into a genuine, loving family.  The supporting cast includes Matthew Broderick in a terrific, stuffy but scene-stealing comic role and Lonergan himself in an amusing and well-played bit part.

Manchester By the Sea stars Casey Affleck as a thirty-something, orphaned drifter, getting into bar fights and doing odd jobs to barely scrape by with no anchor or goal in life.  Following a death in the family, he returns home to the small town he grew up in, where he's widely known as an infamous trouble-maker.  At first he maintains a civil distance, but as they're staying together, he's pressured into reconnecting with his nephew who grew up with only one parent.  He winds up taking his nephew to see the mother he'd never known, and it goes disastrously.  Still, it turns out to be a necessary growing experience for the boy, they ultimately wind up bonding and we see the strength of the drifter's character hidden by all the flaws he wears on his sleeve.  Though he ultimately [SPOILER technically, but not really, because it's clear this is the direction the story was always headed in.  Like, don't worry; this won't ruin the movie for you if you haven't seen it] leaves the town and his nephew behind to return to the seemingly empty life he left behind despite being pleaded with to stay and live in their hometown, we know they'll see each other again, because they've grown together into a genuine, loving family.  The supporting cast includes Matthew Broderick in a terrific, stuffy but scene-stealing comic role and Lonergan himself in an amusing and well-played bit part.

Look, I'm not criticizing either film by playing up their similarities.  And obviously they're not strictly identical.  You Can Count On Me also co-stars Laura Linney as the nephew's mother, whose subplot is almost as important as Ruffalo's.  And the nephew character is now an older teen with more adult concerns, excellently played by Lucas Hedges, in Manchester By the Sea.  Manchester also delves deep into the drifter's backstory, which is only touched on in exposition in You Can Count On Me, unveiling a deeper tragedy.  They have unique scenes of humor and drama.  I actually think it's a compelling return to the first film's themes by Lonergan, and the two films actually play even stronger together than as separate, unconnected works.  Both deserved their Academy Award nods more than most of their peers, and I highly recommend the pair, especially if you've seen and enjoyed one, but not yet caught the other.

It seemed crazy that You Can Count On Me had not been released on blu-ray, not even to coincide with the recent release of Manchester By the Sea.  All we had was the 2001 DVD from Paramount, which was at least widescreen and has some decent special features.  The exact same thing could be said for Lions Gate's 2017 Manchester By the Sea release, except they did also release a blu-ray version.  In fact, it's a combo-pack, so we can compare the DVD and blu.  And now, finally in 2025, we have You Can Count On Me on blu, and UHD even, thank to Criterion wisely picking up and restoring the film in 4k from the original 35mm interpositive.  So let's look at that first.

2001 Paramount DVD top; 2025 Criterion BD mid; 2025 Criterion UHD bottom.

Paramount's You Can Count On Me DVD isn't bad for being so old, at least it's anamorphic and uninterlaced.  It's framed at 1.77:1, with a slight pillarbox bar on the right-hand side, that was probably hidden in its day by the TV overscan area.  It looks soft and murky by today's standards and sure was ready for Criterion's boost to HD.  The reflection on that lake looks pretty jittery in motion.  So Criterion fixes the AR to 1.85:1, revealing more picture along the sides, an d even a smidgen vertically.  It also color corrects that feint red hue that seemed to gently plague so many DVDs of that era.  Film grain is barely visible even on the UHD.  Honestly, it looks DNR'd; I had to double-check that this wasn't shot digitally.  But there's no question the image is crisper and clearer on the new Criterion discs compared to the old DVD, and we can now make out plenty of detail (like Rory Culkin's eyes in the shot above) we couldn't before.  So despite my reservations, it's a major upgrade.

The DVD includes the option of a 5.1 mix or a 2.0 stereo track, both in Dolby.  Criterion does away with the stereo option (which is just fine; your player will naturally handle that mix-down anyway) and bumps up the 5.1 to DTS-HD.  Both discs include optional English subtitles.

2017 Lions Gate DVD top; 2017 Lions Gate BD bottom.

blu-ray left; DVD right.

In comparison, Manchester By the Sea looks so much clearer and more vibrant.  Seeing the shots on the same page like this really illustrates how much You Can Count On Me could use a new release.  But, anyway, taken on its own terms, Manchester's blu is a pretty sharp; even its DVD counterpart looks almost as good.  But of course, when you get in close, you see all the texture that's lost in SD (was fake film grain added to this movie?).  Lions Gate letterboxes it to 1.85:1, and gives us a 5.1 mix (in DTS-HD on the blu), with an additional Spanish dub and optional English and Spanish subtitles.

You Can Count On Me's DVD isn't exactly a packed special edition, but it has a small, somewhat satisfying selection of extras.  The main asset is an audio commentary by Lonergan, who's a good guide through his work.  There's also a brief featurette, which talks to Lonergan and the cast.  It's short, but not overloaded with clips from the film, making it a bit more filling than many of its ilk.  There's also the film's trailer, some bonus trailers and an insert.

Criterion keeps the commentary and conducts some really good, brand new interviews with Lonergan and stars Ruffalo, Linney and Broderick.  It's pretty impressive they were able to get Ruffalo now that he's a Marvel Avenger.  They also have the trailer, and a 32-page, full color booklet with an essay by Rebecca Gilman and a reproduction and Lonergan's original one-act play.  One disappointing, small step backwards, though: Criterion dropped the featurette.

For Manchester, Lonergan's back with another audio commentary, which is about as good as the first, though frustratingly he never once mentions You Can Count On Me; suggesting this story was completely invented on its own by Matt Damon and himself, with no connection to any previous work.  Okay.  There's a similar featurette, as well, which gets some nice quotes from the cast and takes a look at the filming location, again without getting bogged down in promotional clips.  This time we also get three deleted scenes, and again some bonus trailers. There's no insert (except for one of those digital download code sheets), but it does come in a slipcover.  In fact, if you're a collector, you should know there are actually two alternate slipcovers out there.  The one I have pictured above, and a newer repressing that swaps out the Golden Globes banner with one touting its Academy Awards instead.

So yeah, I heartily recommend both films; the Academy got it right in these cases.  And hey, here's how I ended this in 2017: "[m]aybe if we hold a candle light vigil or something, we can get a nice 4k scan of You Can Count On Me from Criterion or somebody?"  Never doubt the power of candlelight!

Playing Play It Again, Sam Again

They say physical media is dying, but there have been a lot of exciting blu-ray upgrades in 2025.  And it may not've been high up on the list of fancy, boutique label cult titles, but one of the ones I was most excited to see announced was Play It Again, Sam, a film by... no, not Woody Allen, Herbert Ross.  It stars Woody Allen, and is written by Allen, based on his own Broadway play from 1969.  Allen plays a film critic going through a break-up when he's visited by the spirit of Humphrey Bogart who gives him romantic advice.  It's as silly as it sounds, and some of it's naturally a bit dated, but it still largely holds up as smart and funny.  Diane Keaton and Tony Roberts also reprise their roles from the Broadway version, and Messiah of Evil's Joy Bang plays a small role.

Paramount first released Play It Again on DVD back in 2001.  It was barebones, which frankly most Woody Allen DVDs have been anyway, but at least it was anamorphic widescreen.  They released it the next year in the UK, and reissued it here in the US in 2017, but apart from the British disc being PAL, it's always been the same disc.  It was fine for the time, but it's been feeling pretty creaky for the past decade.  And finally, 2025 was the year.  It was restored in 4k and released on blu in the US by Kino and Australia by Imprint.  I see a lot of people went with the Imprint because it comes with a bonus documentary, but I went Kino.  I'll get into why below.

2001 Paramount DVD top; 2025 Kino Lorber BD bottom.

To Paramount's credit, the old DVD and the new 4k restoration don't look worlds apart.  The color timing is essentially the same, except the blu has slightly deeper blacks.  The framing is very similar, too.  The aspect ratio has shifted from 1.77:1 to 1.85:1, which mostly comes down to fixing a slight pinch.  The benefit all comes in the jump to HD.  Finer edges replace the typical softness of SD, and yes, more detail comes into focus.  We can now read the title of that book on Woody's desk ("THE COLLECTOR").  The DVD also has some light haloing, which the BD fixes.  Film grain is visible for the first time and fairly distinct.  It's captured a little unevenly, something that would surely come off much better on an actual UHD.  But for a 1080, this is pleasingly film-like.

Paramount's DVD offers the original mono track in Dolby 2.0 with optional English subs and a mono French dub.  Kino keeps the subs and bumps the audio up to DTS-HD, but dumps the dub.

As I said, Paramount's DVDs were all barebones, but the blu-rays give us something.  First of all, both include their own expert audio commentaries.  I've only heard Kino's, but I can tell you it's a solid mix of informative and fun.  Critic Justin Humphreys is joined by writer/ director Alan Spencer (Sledge Hammer, Tomorrow Man).  There's some joking around but they're also prepared to break down the differences between this and the original play and well researched historical info (you'll be surprised who was originally intended to star in this... it wasn't always Woody Allen).  Kino also located the original theatrical trailer (which neither Paramount nor Imprint have) and threw on some bonus trailers.  Both blus also come in slipcovers.  But as I mentioned earlier, Imprint does have one thing Kino doesn't...

2011's Woody Allen: A Documentary was directed by Robert B. Weide, who produced the Marx Bros doc In a Nutshell (which, you may recall, is the one that features an interview with Woody Allen), this is a made for TV, three and a half hour film that originally aired on PBS in two parts.  There's also a cut-down theatrical version that lost over an hour of material, but fortunately, every home video release seems to be the full TV edit, so we can forget all about that hatchet job these days.  This is essentially a career overview, it's not especially biographical, and definitely not interested in his scandals.  They do spend a lot of time with Woody, revisiting his old neighborhood and stopping by the set of his then latest film, You Will Meet a Tall, Dark Stranger; but this mostly consists of interviews with practically all of his collaborators over the years: Diane Keaton, Jack Rollins, Scarlett Johansson, Tony Roberts, Mariel Hemingway, Martin Scorsese, Louise Lasser and so many more.  This is the documentary we'd all hoped we were getting when Allen handed us us Wild Man Blues.

Docurama first released this in a nice, 2-disc DVD set in 2012.  It has special features and everything.  But the doc did air in HD, so us die-hards naturally wanted a blu-ray.  And fortunately, there were a couple of import options who had our backs.  I went with the UK blu from Soda Pictures because it had an additional, exclusive interview.  And now, of course, it's available as a special feature on Imprint's Play It Again blu, but the doc must be in SD, if they're squeezing all 3 and a half hours onto the same disc with the feature and the other extras.

2012 Docurama DVD top; 2012 Soda BD bottom.

There really is a strong difference between the SD and the HD.  Both discs present the film in 1.78:1, although the DVD is slightly off at 1.73:1.  Just like with Play It Again, the DVD's a little pinched.  In this case a little bit moreso.  The DVD colors are also very slightly more feint, which is especially clear in some close-up interview shots, where the subjects appear a bit paler on the DVD.  But mostly it's about the clarity.  You can really see the difference in steady HD shots like that set second above (there's also plenty of vintage footage and film clips from different sources in varying degrees of quality).  Just like you could only read the book title before, here you can clearly read the visible license plate numbers next to those girls on the blu but not the DVD.  And there's some funky compression noise on the DVD when you get in close, that just gives the whole thing a low quality sheen.

The DVDs give you an option between a 5.1 and 2.0 mix with optional English subtitles.  Soda just gives us the 5.1 (which is fine, as that's the actual original mix, and it'll just down mix on your stereo TV anyway) in lossless DTS-HD, also with optional English subs.

Docurama's set includes five deleted scenes/ featurettes ranging from an interview with Weide, 12 questions with Woody to the shortest, a 45-second clip of Allen's mother.  It's not massive, under half an hour's worth of stuff, but any Allen fan who enjoyed the doc will appreciate these.  And these core extras are featured on just about every Woody Allen: A Documentary release, including Soda's and even Imprint's Play It Again blu.

But Soda goes further, with two additional featurettes.  The first is called Woody's Favourite Actor, an interview between Weide and John Doumanian, the actor who's actually been in more of Allen's films (sixteen!) than anyone else.  And the other is a a 16-minute pre-screening Q&A with Weide.  It covers a lot of the same ground as the first director's interview, but hey, I'll take it.  Obviously the Doumanian interview is the bigger prize.  And you won't find either of these on the Docurama set or the Imprint disc.  Soda's blu also includes a bonus trailer for Eames: The Architect and the Painter.

So Imprint's doc is a nice bonus for many viewers, but if you're serious about it, you need the Soda blu anyway.  And at that point, you might as well get whichever Play It Again blu is easier to obtain in your region.  I suppose, if you're really hardcore, you might even want both for the two commentaries.  But they're just experts and presumably cover most of the same ground.  So I'd recommend the Kino/ Soda route, it's how I went myself, but if you're just mildly interested in the doc, I'm sure you'll be more than satisfied with the Imprint and saving the extra cash.

We've Definitively Found Looking For Mr. Goodbar!

This is probably the most surprising "M.I.A." post I'll ever write on this blog. It's crazy that this was never, ever released on DVD, yet alone blu. Like, I'd be delighted to see one of my favorite cult labels procure the rights for a restored, special edition of Spirits of Jupiter. But I also realize that probably puts me on a very short list of cinephiles.  But Looking for Mr. Goodbar is a major studio, Academy Award-nominated film by a huge director, based on a bestselling novel, that made the career of two big Hollywood actors, and stars a couple more. And I can keep going.  It was highly critically regarded, a box office success and controversial for its time, but not so controversial that the studios would have any reason to worry about releasing it today. And it has its roots in a famous true crime story that still draws attention to this day. How is it possible there was never even a generic, full frame, MOD disc released ever, in any country?

Update 8/2/16 - 11/7/22: Is it possible there's really, truly a legit widescreen Looking for Mr. Goodbar available overseas!?  Well, "legit" is a bit shaky, but the situation has definitely at least improved since I last reported on this gem of a drama.  Viva la Update Week!

Update 1/14/25: Forget every questionable, dodgy, import, bootleg or grey market discs; we have a definitive, official release!  Vinegar Syndrome has put out a fully licensed, 4k restoration on BD and UHD, so we can finally close the ledger on Looking for Mr. Goodbar.  Though that's not to say it's 100% free of imperfections...

Update 3/10/25: Replacement discs are here!  Mine landed today.  See above so you can tell the difference.  Your disc should have the "V2" at the end of its scrawl if it's the corrected disc that will play through all the way to the end (as explained at the bottom of this page).

Diane Keaton gives really one of her strongest performances as a young, New York City school teacher who rebels against the very conservative, restrictive life built for her by her family and career. She steps into the liberated night life only to stumble across the darker side that naturally develops in a repressed society. She finds herself caught up living the double life many young women were faced with during the sexual revolution of the 1970s; and as I already mentioned this is based on a famous true crime, I don't think I'm spoiling anything by simply saying it ends in violence.

Richard Brooks (In Cold Blood, Cat On a Hot Tin Roof) focuses on creating almost morbidly sincere performances in bringing Judith Rossner's study of a character whose soul is slowly dying. You can feel that it's based on truth even if you didn't know it was based on an actual case, although admittedly, her relationship with her parents does feel like its taken from "Dover's Big Book of Overly Familiar Cliches." If you've seen Carrie's mom or The Great Santini, you know what you're in for. But fortunately she gets out of the house quickly enough and surrounds herself with more relatable, nuanced characters.

And did I say this film launched careers? Yeah, Richard Gere and Tom Berenger both launched out of this film, and neither have yet managed to make very many films to rival this one. And the cast doesn't stop there, with more additional strong turns by Tuesday Weld (who netted one of this film's Academy Award nominations), Brian Dennehy, a very dramatic William Atherton (Ghostbusters' Walter Peck), and keep your eyes open for a young Levar Burton.

And yet this has never been released on DVD until, sort of, recently. What we've been looking at here is my copy of Paramount's 1983 laserdisc release. Not '93, '83. Most people weren't even aware laserdiscs existed back then. It's so old, it doesn't even have chapters, let alone special features. But it was the best release you could get. Things got shook up a bit in recent years by the appearance of a widescreen television broadcast leaked online, allowing us to see the film in its original aspect ratio since it first played theatrically in 1977. But since I made this post comparing those two transfers, there have been some developments.  I'll describe the least interesting first.  Australian label La Entertainment released this on DVD in 2020.  It is 4x3, however, and I wouldn't be surprised if they're using the same master as the laserdisc, a la previous Australian exclusives of Paramount titles like The Keep and Ordinary People.

That still might've been rather newsworthy if they hadn't been beaten to the punch in Spain.  They released it as a 16x9 widescreen (and yes, Region free) DVD.  Is it official?  Well, it's got a UPC listed in many databases and is being carried by a lot of mainstream outlets, but Spain is known for some shady grey-market discs.  It's at least a pressed disc and less of a bootleg than those that've been passed around for years, but, well, you know.  We can write that one off now, too, thanks to Vinegar Syndrome's fancy 4k restoration on both BD and UHD.

1) 1983 laserdisc; 2) widescreen TV rip; 3) 2018 DVD;
4) 2024 BD; 5) 2024 UHD.

Now, there's no reason to delve deep into the comparison between the laserdisc and the downloaded rip - presumably from Italian television, since it has Italian audio as its primary track - as it's not even a secondary purchase option. It's soft and murky, far from an impressive HD transfer. But it tells us about the framing. Vertically, the 1.77:1 rip is a perfect match to the 1.33:1 transfer we've all lived with for decades, so we don't have an open matte transfer here. All the fullscreen version did is the very old school move of chopping off the sides. It just made you pine that much more for how great an official Paramount release would be. Because what we've got is such a low contrast, washed out mess. Even the laserdisc cover is soft and blurry!

And the Spanish disc isn't heaps better.  But it is a way to buy the widescreen version.  And the DVD is a little bit more of an upgrade.  The very slightly windowboxed framing is now 1.78:1 instead of 1.77, gaining a few extra pixels of info along all four edges.  This tells us, though, that they didn't just take the old online rip and slap it onto a disc.  You can't uncover extra picture doing that, no matter how slight.  Also the PQ, while still rather low quality, is another tiny step forward.  It's sharper and restores a bit more detail.  Unfortunately, it also restores compression noise... one thing about the old online rip: it was so compressed it acted as a sort of DNR.  But if you actually zoom in, the image is genuinely sharper and renders a little bit more actual picture info as well.

gamma raised by 500% to clarify my point

But thankfully, we'll never have reason to zoom into those old releases again, because VS has blown them out of the water - their UHD is a whopping 96GB!  They've framed the film at a proper 1.85:1, not my matting the image any, but by unveiling more picture along the sides.  Compression noise and other issues are replaced by the first appearance of actual film grain, which is immaculately captured on the UHD, and nearly as well on the BD.  Colors are stronger, and a bit warmer compared to the Spanish disc, making imagery more distinct onscreen without betraying its often muted, subtle scheme.  And information that was crushed out of existence in all the earlier versions (like, for example, Atherton's top button from the second set of shots, as highlighted above) is now visible, even on the blu.

the scene in question

Besides the original mono track on the laserdisc, rip and 2018 DVD, the Spanish disc also includes a Spanish dub and optional/ unforced Spanish subtitles.  The VS releases bump the audio up to DTS-HD and add optional English subtitles (and forgo the Spanish, naturally), but here's the bit that may get controversial.  There's been a music swap in the audio track (which tells us, yes, the music rights were probably the problem all along).  Roughly half an hour into the film, a lengthy scene is set to "All Of Me" by Frank Sinatra.  Interestingly, that song was never listed with the others in the credits.  Anyway, past releases have it, including the Spanish DVD (on both the English and Spanish tracks), but VS has a more generic, old timey song, which, based on the lyrics, might be titled "say hello?"  It's not as good, but the song was always mixed down under the dialogue, so it's not a huge upset, but it's a bit of a bummer.  DIY fans might want to get both the Spanish and VS releases and mux a composited, ideal audio track; but otherwise, we're just going to have to settle and pick a version to watch on disc.

There are of course no extras, not even a trailer, on any previous edition.  But VS has come up with a bunch, including the trailer.  There's also an excellent audio commentary by aspiring filmmaker Gillian Wallace Horvat, which is impressively informative, bringing in details from the novel, an early draft of the script, the true crime the story's based on, the director's notes, articles and critical reviews.  Then there's an expert interview with Douglass K. Daniel, who wrote a book on Richard Brooks, a 30-minute audiobook reading about an obscenity trial that came about when this film was released in Utah, a couple radio spots, and perhaps best of all, an audio-only vintage interview with Judith Rossner.  All together, that's a pretty dry collection of mostly audio-only features by experts, but it's hardly a fair expectation for Vinegar Syndrome to have pulled Diane Keaton and Richard Gere down to their offices to record a commentary.  They made an effort and did their best, and Horvat's commentary really is strong and well worth the listen.  VS's release also includes reversible artwork and, If you ordered their limited edition, a 40-page booklet with essays by Marya E. Gates, Marc Edward Heuck, Elizabeth Purchell & Jourdain Searles, with a side-loading slipcase and a slipcover that fits over the amary case but inside the outer case.

Oh, and just as an aside, there was a made-for-TV sequel in 1983 called Trackdown: Finding the Goodbar Killer. Of course, without Diane Keaton's character, who was entirely what the original film was about, there's not a lot to return to.So instead, this is largely a police procedural, with George Segal as a detective going through a divorce as he investigates the murder from the first film, cross cut with Tom Berenger's character, now played by Shannon Presby, going on the lam. Shelley Hack plays one of Keaton's fellow school teachers who Segal takes to nightclubs to help spot the killer. And Joe Spinell has a feature role as Keaton's former doorman, who's questioned by the cops and pressured into picking somebody out of a line-up.

It's pretty boring. Segal's sappy drama with his wife and daughter, who's leaving for college, almost winds up getting more focus than the case of the Goodbar killer. I think the idea is that Segal's worried his daughter is on the verge of entering the same kind of scary, radical feminist life Keaton led; but the film never manages to quite get there. There's just lots of pedantic dialogue scenes that tend not to connect with each other. Segal has scenes with his wife, trying to hold his marriage together, and we never find out if he does or not. He keeps going back to Hack, who was never needed to catch the killer. And there's a bunch of other cops pursuing other suspects, who aren't even red herrings because we know who did it from the very start. Ultimately, it's really just flat, Segal's lead holds absolutely zero of the fascination Keaton's did, and it's far less surprising that this flick never made it to DVD.

Anyway.  Goodbye, M.I.A. tag!  The Spanish DVD was an alright placeholder, but now we've got a proper release.  Is there room for improvement?  Possibly, if somebody managed to release this 4k transfer in another region that could get away with the Sinatra track, and maybe even rope Keaton or somebody into an interview.  But I wouldn't hold my breath, and this is an extremely satisfying release in the meantime, like a ginormous upgrade.

Finally, I have to mention that there's a playback issue with the UHD, where watching it with Dolby Vision on causes it to stop mid-movie.  You can turn off the HDR to watch it in the meantime, but obviously that's not a satisfying solution and VS has already announced a replacement disc program.  If you ordered the film directly from VS, you're already on their list to receive it.  Everyone else just has to contact them with proof of purchase.