Today's Stripes Wants to Join You

There were a couple films I couldn't wait to get the new Columbia Classics set for: Taxi Driver, Sense & Sensibility... The unrated debut of Fincher's The Social Network.  And a couple I didn't really care about that just happened to be in the set: Oliver, those animated shorts.  Stripes was somewhere in the middle.  A nice comedy I'd be happy enough to revisit when the set arrived.  The extras were possibly more compelling to me than the film itself, since I've seen Stripes enough times in my life already.  It raised the value of the box for me a bit, but it's not something I would've bought on its own.  I wasn't expecting just how impressive this would be.
The truth about Stripes is that it's an okay comedy.  This is the film Ivan Reitman, Harold Ramis and Bill Murray made together before Ghostbusters, but it ain't no Ghostbusters.  It's not nearly as inventive and clever.  It's a star vehicle at the right place and time, riding almost purely on the likability of its stars, who were just bursting with newfound popularity at the time.  And it is an amazing cast.  Besides the leads, we get supporting roles from John Candy, Warren Oates, John Larroquette, PJ Soles, Sean Young and Joe Flaherty, not to mention cameos/ pre-fame bit parts by Dave Thomas, Judge Reinhold, Timothy Busfield... apparently Bill Paxton's even floating around in there as an extra somewhere.  But the script doesn't really deserve them.  It has some solid lines (improved or not), but it also has long patches without any good gags, which it tries to coast through purely on the actors' charisma.  And "beloved comic joins the army" comedies like these are a dime a dozen, from Pauly Shore's In the Army Now or Ernest In the Army to Pvt. Benjamin, which was filming the very same year as Stripes.  Heck, Laurel and Hardy alone did it in Air Raid Wardens, The Flying Deuces and Great Guns (technically, one of those was the French Foreign Legion, but it's the same "acting goofy in basic training" trope).  It's safe, well worn territory.  And in fact, Reitman tells us in the special features that this film was originally written as Cheech & Chong Join the Army.  Just imagine.
But to be fair, Reitman did more to earn his cast than just strike rising star casting oil.  The production values are truly impressive; they were able to film on a real army base, and Reitman uses this to create a very real, grounded military environment.  Murray isn't just standing next to two or three green-shirted extras in a tiny sound-stage, the whole cast is sleeping on top of real tanks and marching alongside hundred of actual soldiers doing quite real maneuvers.  Warren Oates brings so much weight to his sergeant role he could be mistaken for Full Metal Jacket's legendary R. Lee Ermey.  All the silliness and ribbing plays twice as well just for being situated in an authentic setting... at least until the film goes completely off the rails in its wildly unnecessary third act where they invade Russia to impress their girlfriends.  They basically just needed one more script rewrite to fully excise the Cheech and Chong stuff.  If only they'd taken more time to flesh out their charming characters (in the extras, Reitman keeps saying how Reinhold was a repository for all the drug humor from the original script... but even in the extended cut, that amounts to just one 20-second scene!) and dreamt up a few more smart jokes instead of just relying on Murray mugging during drills.  Oh, and the sexual politics have aged just a little bit better than the blackface number in A Day At the Races.  At the end of the day, it's a bemusing comedy to catch on TV some evening, but it's always on the frustrating cusp of being great.
A sequence only in the extended cut.
Oh, did I mention an extended cut?  Yeah, it was originally created for the 2005 DVD re-release. To be clear, this is not a director's cut; in fact, Reitman and his editor comment sound off repeatedly in their audio commentary about how the film is better with almost all of the footage out.  And they're right.  The extended cut is over-long and repetitive, most notably featuring a bizarre seven-minute long segment where Murray and Ramis are captured by some kind of South American rebels (the film doesn't really specify) that would've probably made more sense for Cheech & Chong (the joke is basically that Ramis gets high, and then everybody gets high with him), but is wildly discordant here.  There are a few nice touches, though.  Amusing gags, and the crazy super-powered Winnebago in the third act plays a little bit better when you see the extended opening scene where Murray reveals his life-long dream is to cruise in a Winnebago.  But it mostly drags down a film that already struggles in the pacing department, and the best way to enjoy it is to watch the theatrical version and then see the extra footage as deleted scenes, which they were always intended to be.
Stripes was originally released on DVD all the way back in 1998.  It was a barebones flipper disc, with fullscreen on one side and widescreen on the other.  In 2005, it was upgraded to a special edition.  It dumped the fullscreen crap and replaced it with the extended cut (in addition to the theatrical widescreen version, not instead of it) and a great special features.  Stripes has been repacked multiple times, including in a bunch of bundles like the 80's 5-Film Collection and the Laugh Out Loud 3-Movie Collection, but in the US at least, it's pretty much always this 2005 disc, essentially the definitive DVD edition.

But DVDs are outmoded, and in 2011 it was released on blu for the first time (originally as a Best Buy exclusive, and then more broadly)... but only the extended cut - yikes!  That got them a lot of blow back, naturally, and in 2016 they eventually released the theatrical cut on blu... as a barebones MOD BDR in their Choice Collection - yikes!  Why can't they just give us Stripes properly like they did on DVD?  Well, they finally have... and on UHD with all new features to boot!  But it is only available as a part of their 2021 Columbia Classics Volume 2 14-disc boxed set.  So let's make sure it's worth it, shall we?
1998 fullscreen DVD.
1998 widescreen DVD.
2005 DVD.
2005 extended DVD.
2021 BD.
2021 extended BD.
2021 UHD.
2021 extended UHD.
2021 TV BD.
1998 fullscreen DVD.
1998 widescreen DVD.
2005 DVD.
2005 extended DVD.
2021 BD.
2021 extended BD.
2021 UHD.
2021 extended UHD.
2021 TV BD.
That's a lot of comparisons, but it's not that complicated.  I'm including the theatrical cuts and extended cuts to be completist, but each disc that includes the extended cut uses the same transfer as the theatrical.  So for all intents and purposes, they're essentially identical and redundant.  The original 1998 disc actually holds up fairly well, the fullscreen version is 1.32:1 and mostly open matte, and the widescreen version is almost the exact right AR (1.81:1 and just slightly window-boxed in the overscan area).  It's not interlaced and it is anamorphic.  Still, the 2005 is clearly taken from a new and improved master, with corrected colors, and more accurate (1.84:1) framing without the windowboxing.  I've read reports of it struggling to branch between the two cuts smoothly, but I didn't have any problem with that on my Samsung in 2021.

I never picked up the 2011 BD, but anyone who did and was disappointed will be glad to hear that this new Columbia Classics release is based on an all new 4k scan of the OCN.  It's exactly 1.85:1 and oh boy, even on the BD, the film grain is so natural and thoroughly captured.  The colors are much less stark; giving a much deeper, more photo realistic image.  And then the extra resolution of the UHD makes edges smooth and natural even on super huge screens, and the HDR is beautiful without betraying its authentic early 80s filmic roots.  Sony has really gotten it right.

And wrong.  Like with Halloween's latest UHD set, we've for some reason (novelty value, I guess, or just to show off how far they've come) circled around to the worst edition in the comparison with another TV version.  It's back to fullscreen (1.34:1, cropping just a little more than the 1998 fullscreen version), washed out and interlaced, plus it's SD despite being included on the BD, and the audio's lossy.  But hey, if you ever wanted to see this with the nudity clumsily edited out, well, now's your chance.  Anyway, it's pointless but painless so long as the other editions are available, as they are, so there's nothing to complain about.  It's just a silly bonus feature.
In the audio department, the original DVD did it right giving us the original mono track with optional English subtitles, plus a bonus French dub and subs.  Then the 2005 DVD replaced the original mono track (that the 2011 BD also left off, of course) with a new 5.1 mix.  It even dumped that French dub.  Thankfully, the new 2021 releases restores the original mono track, though it also preserves that 5.1 mix if you liked it, both in lossless DTS-HD.  And they created an all new Atmos mix, too.  There are optional English subtitles, plus a ton of foreign dubs and subs.  And yes, this is all for both cuts.  Perfect!

One slight caveat: I found on my player that whenever I paused and then un-paused the film, it would go out of sync.  And I would have to power off and on to re-sync it.  Further playing with the discs (both the BD and UHD) on my PC, it was reporting weird sync issues.  So something's going on there.  But it all plays perfectly in sync except when you've paused it, so I don't think it's a serious problem where we need to demand a replacement program or anything.  But it's a quirk.
So again, the 1998 DVD was virtually barebones.  It had an insert with brief notes and the trailer; that's it.  But the 2005 DVD introduced what are still the majority of Stripes' excellent special features package, starting with the aforementioned commentary by Reitman and his editor.  They do lag at points, but overall, it's a very informative track.  Possibly even better, though, is a roughly hour-long retrospective documentary that rounds up pretty much all of the key players for enthusiastic interviews.  The 2005 DVD also included the extra extended cut footage as separate deleted scenes, plus they slapped on a couple bonus trailers.

Thankfully, the 2021 set includes all of that, but there's more.  There's a fun reunion with Reitman and Murray (plus a short appearance by DP Bill Butler, which is a real highlight), which is a good 45 minutes long.  One drawback, though, is that multiple anecdotes are repeated, almost verbatim, in the commentary, the documentary and this new feature.  You're going to be sick of hearing their story of the time Ivan asked the cast to push Warren Oates into the obstacle course mud by the third time around.  But there are some good exclusive thoughts in here, too.  Better still is a feature that I think many people are overlooking, because Stripes has included the deleted scenes since the 2005 disc.  But this release includes more, newly recovered deleted scenes, not from the extended cut and that have never been released before.  This is must-see content for Stripes fans.  And I should add that its case, like all the other five features in the Classics box, comes in a stylish slipcover.  And that the set's impressive, hardcover full-color book includes a substantial section devoted just to Stripes.
So is it worth it?  Well, I don't know what kind of budget you're working with, but I can say that this new Stripes release is a master-class from Sony.  They get it all right.  Gorgeous new transfer from the OCN, both cuts of the film, the original mono is back and lossless plus a fancy new Atmos track, all the legacy extras and some very exciting new ones.  It's not just the best and definitive release, it makes everything that came before it look like junk.  And it's not like Stripes has been neglected on home video.  But wow, they nailed it.  I'm loving this frickin' set!

Yes, She Dies Tomorrow Is On Blu Now!

You might think it's crazy to be stuck buying a barebones new release DVD of one of 2020's best films.  720x480, still, in the age of 3840x2160?  Madness!  Well, let me reassure you, dear reader, this is no DVD... it's a DVD-R!  That's right, one of those M.O.D. video discs that's not even allowed to use the traditional DVD logo on its packaging.  Whomp, whomp.  But, yes, alright.  Something's still better than nothing.  I'm taking it.  She Dies Tomorrow is a literal must-have film; and considering how many other new films are simply being planted in various streaming service's walled gardens and left to rot these days, I guess I am still grateful to have an official, packaged release for my shelf, even if it is in SD.  I mean, it isn't like we're not still stuck with even worse editions of our other favorites.

Update 1/21/21 - 10-23-21: Woot!  Less than a year later, and everything's fixed.  Well, at least if you can play Region B discs.  Koch Media has released She Dies Tomorrow in Germany on DVD and Blu in a fancy-schmancy combo-pack mediabook.  Does it manage to be everything we fans disappointed by the DVD-R hoped for?
If you're not familiar with this one, though, and you're reading me saying things like "one of 2020's best films," "literal must-have" and calling it a favorite, maybe don't give it a blind-buy just yet.  First of all, I would not consider this a horror film, but it's being marketed as such.  The Indiewire quote on the front of the box calls this a "gripping apocalyptic thriller," and while I know what they mean, I don't think I could come up with more misleading marketing copy without overtly lying.  This film never once, for a split second even attempts to be thrilling.  If there's anything remotely scary about it, it's a sense of morose existential dread.  The closest film I can come up with to it, I guess, would be Lars von Trier's Melancholia?  Except even that film had its characters facing the ostensible threat of an on-coming planetary collision.  No such danger exists here.  And that's not a criticism, at least anymore than saying Schindler's List doesn't have any big belly laughs in it - it's just not that kind of movie.  I've heard a lot of frustrated comments from people expecting the next Babadook or Midsommar (ugh, thank you for not being another Midsommar), in entirely the wrong disposition to respond to a darkly witty drama whose strengths lie in subtle, sympathetic observations of human behavior.
I'm going to give you the quite concise, official description of She Dies Tomorrow right from the back of the box, because I watched this with someone who wound up feeling frustrated because they assumed this film was leading up to some kind of big reveal.  This is definitely a "journey not the destination" story, and I think being on the same page as the storytellers (because I'd read a bit about the film before diving in) really freed me up to engage with it right from the start.  So here it is:
"After waking up convinced that she is going to die tomorrow, Amy’s carefully mended life begins to unravel.  As her delusions of certain death become contagious to those around her, Amy and her friends’ lives spiral out of control in a tantalizing descent into madness."
See, because this film is being presented as a sort of elevated horror film, you can get stuck watching this film thinking all the dialogue and character work is some sort of slow burn building up to a climatic shock.  Like, at the end, aliens will be revealed.  Or even an ominous presence left vague, like It Comes At Night or (lol) Bird Box.  But the whole point this time is that there's nothing out there; this film's just about what people think is going to happen.  And that's not a spoiler.  The film tries to tell us that early and repeatedly.  It's right there in the two-sentence pitch that's also on the official film's webpage and everywhere else they can sow it.  They did their bit to let us know.
Writer/ director Amy Seimetz apparently agreed to star in the recent Pet Sematary remake to finance this film.  Who would've guessed in 2019 that something good would've come of that?  But here we are!  Kate Lyn Sheil, of Kate Plays Christine and Seimetz's excellent first film, Sun Don't Shine stars alongside the always wonderful Jane Adams (Happiness, Twin Peaks) as two friends who go on distinctly individual journeys during what they believe to be their last day on Earth.  This film swings easily from cutting to sympathetic and back as the film alternatively watches maudlin Kate self-indulgently replay the same Mozart record over and over and Jane overrun her sister-in-law's birthday party with her disengaged preoccupations to them finding joy and peace in the perfect ways to spend their final hours.  And we're treated to more and more perspectives and possibilities as everyone they come into contact with also become perfectly convinced that they will die tomorrow.  Fortunately, it's both too clever and sweet to become depressing, helped immeasurably by the cast, which also includes Josh Lucas, Jorge/ Jump Tomorrow's Tunde Adebimpe (boy, there's someone I haven't thought about in years!  But apparently he was in the last Spider-Man flick), horror director Adam Wingard and a refreshingly non-violent Michelle Rodriguez.
2020 Neon DVD-R top; 2021 Koch DVD mid; 2021 Koch BD bottom.
This film is left open at 1.78:1 on all three discs, but seeing as how the Neon Film Company seems to be releasing this directly through an MOD service themselves, I'm going to assume all matters of presentation are correct.  Like, if it was meant to be matted to 1.85:1, they'd have no one to blame but themselves.  And like I said in the intro, I've seen far worse DVDs.  This is not interlaced, pan & scan, censored, or troubled in any of the ways many of the films still stuck on old discs are.  Some scenes I'd say have an intentionally soft look to it, but the Neon disc is soft above and beyond that, drifting from a gentle mystique to flat-out murky.  Even the Koch DVD comes slightly more into focus... though it helps that it's also correcting a little vertical stretch, which also winds up revealing a sliver more information along the top and bottom of the Koch discs.  But yes, the blu looks decidedly sharper and cleaner.  Small detail that was, frankly, mush on the first disc comes into clear resolution on the BD, especially helpful in this film's many low-light scenes, where we're already on the edge of losing critical facial impressions in the shadows.

Meanwhile, all three discs provide a nice, clear 5.1 mix, but it's lossless DTS-HD on the blu.  The mediabook also includes a German dub, again in 5.1 DTS-HD, but loses half a point for not including optional English HoH subtitles like the DVD-R did.  They do provide optional German subs though, if that's helpful to ya; but this is small step backwards we have to accept along with our big steps forward.
Another point for the DVD-R, which is naturally pretty barebones, threw in the trailer, something MOD DVD-Rs don't typically bother with.  But Koch tops that handily enough.  First of all, they also include the trailer (and yes, in English) along with a couple German-language bonus trailers.  But then they include a sweet 23-minute 'making of!'  It's primarily comprised of an online conversation between Seimetz and her DP intercut with clips from the film, but there's also a brief visit to Seimetz's garage that still houses a lot of the stuff she used to make the film.  It's on the technical side, so don't come in hoping for Seimetz to unveil that it was really demons from the id the whole time; and the film clips run a bit overlong.  But it's pretty great.  Plus the mediabook naturally has the book element.  It's all in German, but still many pages of beautiful color imagery from the film tops the nothing that comes with the DVD-R.
It would've been nice to know this was pending back when the DVD-R came out, so we could've waited instead of wasting our money.  But this release is too satisfying for me to stay mad about even such a quick succession double-dip.  The new 'making of' was a nice surprise (the online listings I saw made no mention of it) that really helped take the sting out.  So obviously, yes, this is the version to choose now, and I'm just glad this movie finally has a release worthy of it.

The Ultimate Sense & Sensibility

Boy, I've gotta get in gear - my list of discs I plan to cover on this site is outpacing the posts I actually get done.  I've got so much I want to do here!  There are so many compelling new releases coming out, but I don't want to get trapped into only covering new releases.  So let's jump right into A Pair of Twilight Times, starting with Sense & Sensibility.  Specifically, this is the 1995 Academy Award winning feature film version adapted by Emma Thompson and directed by Ang Lee.

Update 6/21/19 - 10/20/21: I never would've thought we'd see the day where Jane Austen made it to 4K Ultra HD (well, barring Pride & Prejudice & Zombies, I suppose...), but here we are!  Sony have included 1995's Sense & Sensibility in their impressive 'Columbia Classics Volume 2' 14-disc set.  And is my reviewing this a spoiler of five other Ultra HD discs in the very near future?  Ohhh, could be.  😉
Sense & Sensibility is Jane Austen's first novel with surprisingly clear themes - one sister represents the sense (pragmatism) and the other the sensibility (romanticism).  You don't exactly need an advanced degree in literature.  But it's still such a rich, layered and funny story, and Thompson expertly compresses the novel to feature length without compromising any of the wit or heart, while Lee presents us with sweeping vistas and gorgeous locales.  The cast is perfectly charming and marvelous, from leads Kate Winslet, Alan Rickman, Hugh Grant and of course Thompson herself, to the brilliantly selected supporting players like Imelda Staunton, Hugh Laurie, Robert Hardy and Elizabeth Spriggs.  I could go on and on about the merits about this film, but I don't think I need to.  1995's Sense & Sensibility is pretty widely recognized as classic desert island material.  You know, for a while a thought my DVD would be good enough, but no, this requires a proper upgrade.
Sense and Sensibility debuted on DVD all the way back in 1999 with an anamorphic special edition which held up well throughout all of the SD days.  As such, the DVD was reissued multiple times over the years, once packaged with a paperback copy of the novel, once with a hokey Sense and Sensibility-branded diary and pen, and once as a double-feature with Remains Of the Day.  But it was always the same DVD.  It's the HD era now, though, so we needed a blu-ray.  And this was just the kind of high-profile title you could count on Twilight Time to license from Sony.  And so in 2015, thankfully, instead of their standard barebones editions, they came through with a proper special edition.  It seemed like that would be the final, definitive release for this title, but not so!  In 2021, it's been updated to UHD in a new, even fancier 2-disc set, available (to date) only as a part of the 'Columbia Classics Volume 2' 14-disc boxed set.
1) 1999 Columbia Tri-Star DVD; 2) 2015 Twilight Time BD;
3) 2021 Columbia Tri-Star BD; 4) 2021 Columbia Tri-Star UHD.


Twilight Time's blu turned out to be an even bigger bump than I was expecting.  Naturally, the DVD being from the 90s has a lot of chunky compression that I was confident our 2015 BD would tidy up neatly.  And we advance from a slightly pillar-boxed 1.76:1 to a letterboxed 1.85:1.  That amounts to us losing a dollop along the top; but gaining a sliver on the right.  It's really less about picture information than just graduating to a proper, more natural AR.  But beyond those predicted improvements, we can also see that the DVD had a red hue over the whole image, which the blu lifts off, allowing the colors to really pop as a result.  Whites are now truly white instead of pink, and the sky is gently blue instead of scary purple. Grain is rather finely captured.  Say whatever else you want about 'em; you always get good scans when you deal with Sony.

Which is why they apparently didn't feel the need to re-scan it in 2021.  According to accompanying book, this the new BD and UHD are taken from the same 2012 4k scan of the original picture negative as the previous blu.  But they have re-color timed it for HDR, with input from the editor and final approval by Lee, plus additional dirt and scratch clean-up.  That means, for the two BDs, there's barely any difference at all.  But the colors are richer on the UHD, and the higher resolution means a more natural, less blocky/ pixelated image, though it's the sort of thing you'll need a big screen to appreciate.

Columbia actually gave us a choice between the original Dolby stereo mix and a newly created 5.1, not to mention Portuguese and Spanish dubs.  It also had English, Chinese, Korean, Portuguese, Spanish and Thai subtitles.  Twilight Time has kept both audio tracks, and bumped them up to DTS-HD in the process, but cut the subtitles down to just English.  And the new UHD?  Oh boy, it has an all new Atmos mix, and the previous 5.1 DTS-HD plus a bajillion dubs (Czech, French, German, Hungarian, Italian, Polish, Russian, Spanish and Turkish) and even more subtitle options... I'm not going to list them all out, but yes, English and English SDH are amongst them.
So one reason I held onto the DVD for so long was because it is nicely furnished with extras.  We get two audio commentaries: one with Thompson and producer Lindsay Doran, and the other with Lee and producer James Schamus - and they're both very good.  Not enough discs let us hear from the screenwriters, and it's all the more rewarding when said screenwriter is Emma Thompson.  We also get two brief but amusing deleted scenes, Thompson's clever acceptance speech at The Golden Globes, the trailer, a four-page insert with notes by an uncredited author and some bonus trailers.

I was pleasantly surprised to discover that Twilight Time not only carried over all the old DVD extras, which they definitely don't always do (*cough, cough* As Good As It Gets *cough*).  But I was even more delighted when I realized that they were also including several vintage but previously unreleased featurettes.  There are five in total, and grant us interviews with many of the cast and crew, and some tantalizing glimpses behind-the-scenes.  There's also Twilight Time's ever reliable isolated score track, an additional international trailer and an 8-page booklet with notes by Julie Kirgo.

The Columbia Classics retains nearly all of that, including the additional Twilight Time featurettes, except they seem to have misplaced the Golden Globes speech.  Whoops!  I can't complain, though, since in its place they've added a 25th Anniversary Reunion, where the Lee, Thompson, Winslet, Doran, Staunton, Imogen Stubbs, Greg Wise and Myriam Francois all jump on their webcams for a roughly half-hour conversation.  The set includes an impressive, full-color hardcover book about all the included films, but specifically with notes on Sense & Sensibility by Den of Geek's Kayti Burt and an excerpt from the screenplay.  It's an elaborate fold-out box with all the other films and their extras, of course, and the case for each of the individual features, including Sense, comes in an elegant slipcover.
Hey!  While I'm here, why don't we take a quick look at all the other versions of Sense & Sensibility out there.  Yes, I know... this is why my "plan to cover"s are outpacing my "covered"s, but let's do it anyway.  All told, there are four direct adaptations of Sense & Sensibility, not including this ridiculous thing and the modernized Kollywood adaptation.  Memorably, there is one for each decade.  We've just been over the 90's one, so here are the other three.
2009 2 Entertain/ Warner Bros/ BBC DVD.
The 70's Version - Originally aired in 1971 and divided into four 45-minute long episodes.  Being a series rather than a single film, the expectation is that now we're finally going to see all the parts cut out book for the film's screenplay in this much longer version.  And there is a little of that, but really, this is only about 40 minutes longer, so it's not a revelation of restored characters and plot points.  Indeed, this version trims out Margaret, the youngest of the three main sisters.  The additional bits we do get are nice, but hampered by the far more constrained production.  Sir John is played by an actor too young for the part, hamming it up like a school play's Mr. Fezziwig, and pretty much every scene is necessarily "stagey."  Certainly, there's enough here to recommend it to the committed Austenphiles - Keeping Up Appearance's Patrica Routledge steals every scene she's in.  But this is certainly the most forgettable entry out of the lot, remarkable mainly only for being the first.

The BBC's DVD is appropriately full-frame (it was a 70's television production, after all), at 1.31:1.  It's also interlaced, though that may be less of a PAL to NTSC conversion thing than just a baked-in trait of a vintage TV tape master.  But less forgivable is the strong edge enhancement, which would've been the sort of thing you could get away with more easily in the smaller screen days of standard definition, but really looks poor on modern televisions.  The disc is completely barebones, though it does offer optional English subtitles.
2004 Warner Bros/ BBC DVD.
The 80's Version - First broadcast in 1981, this adaptation is broken up into seven short (22-23 minutes long) episodes.  When you consider the fact that means we're getting seven sets of opening and closing credits, that makes it only slightly longer than the movie.  Indeed, poor Margaret gets the chop here, too.  Still, they manage to find some excellent moments and memorable exchanges the 90's version neglected, and generally does a much better job of drawing out the comedy than the 70's version.  For instance, they get some of the best use out of secondary characters like Robert Ferrars and Mr. Palmer.  Admittedly, a handful of moments get overwrought in this one, but the way it's broken into such shorter pieces, make it uniquely pleasant to casually graze on over time rather then binge in a single run.

Curiously, this release is a flipper disc with a blank side.  It's fullscreen, too, as it should be, at 1.32:1, but it's also interlaced and a bit hazy, though at least not as tampered with as the 70's version.  I assume this was shot on tape, too, so there are no film elements to go back to, meaning this is probably about as good as it possibly could look.  Showing this off on your big-screen TV definitely won't impress your neighbors, but Warner describes this as "lovingly remastered" and I believe them.  Optional English subtitles are included, but nothing else.  This one's available separately, but if you're a fan, I'd recommend getting it as part of the 6-disc Jane Austen Collection, which includes a strong 70s-80s BBC adaptation of each of Austen's novels.
2008 2 Entertain/ WGBH/ BBC DVD.
The 2000's Version - From 2008.  I was excited for this one, as it's by Andrew Davies, the man who gave us the ultimate Pride & Prejudice, not to mention a wealth of terrific Dickens and other masterpiece adaptations.  It might sound corny, and admittedly he's had one or two misfires in his storied career, but I'd say his name is a genuine hallmark of quality.  Well, I can't say he quite matched his Pride, but this is a strong version in its own right, with some slightly shameless attempts to make this production a little more risque.  It opens with a sexy fireplace love scene and features a fit Edward chopping wood in a wet, transparent shirt.  Comprising just three, longer episodes, this series' noteworthy casting includes The Walking Dead's notorious Governor as Colonel Brandon and an excellent Sir John, plus it's also got a very seductive score that sticks with you.  In a vacuum, I'd recommend this version, but living in a world that's already presented us with three previous Sense and Sensibilities, this one doesn't give us too much that we don't already have.  I'd say the 90s version is the most engaging watch, and the 80s adds a lot from the book that the later editions let slip away.  So once you've got those two, there isn't so much value left to extract from the 70s and 2000s versions.

Still, it's good enough that you may well want to pick this up.  And if you do, well, it definitely looks more modern with its widescreen 1.78:1 framing and clearly high def source.  But of course it's been brought down to a standard def DVD, and an unfortunately interlaced one at that  And a film this new really has no excuse to be interlaced, so it doesn't get the pass I'm giving to the previous to editions.  Apart from that, though, it looks nice enough.  The colors are vivid, and it doesn't feel like we're many generations removed from the source film.  Oh, and yes, English subtitles are an option here, too.
Miss Austen Regrets
In fact, this is also a nice little special edition.  Each episode gets an audio commentary by a revolving team of cast and crew: director John Alexander, producer Anne Pivcevic, Hattie Morahan who plays Elinor and Dan Stevens who plays Edward on episode 1, then Alexander, Charity Wakefield who played Marianne and Dominic Cooper who played Willoughby on episode 2, and finally the episode 1 team again for the last one.  Then there's a half-hour interview with interview Davies and Pivcevic, who spend a surprising amount of time talking about the Thompson film, and a photo gallery.  And that's just disc 1.  A second bonus disc includes the fine, feature-length dramatization of Jane Austen's real life, Miss Austen Regrets.  It's letterboxed to an unusual 1.81:1 and is also interlaced, looking generally as good as Sense, and also includes English subtitles.  In addition, there's a substantial audio-only extra: Remembering Jane Austen, a 70-minute, four-part radio play based on the memoir of James Austen-Leigh, the only written account of somebody who personally knew her.

This 2-disc set is available separately or in an attractively boxed Collector's Set box that pairs it with the 2007 adaptation of Persuasion.   There is also a Japanese 2-disc blu-ray release, which hopefully(!) clears up the interlacing issue and sharpens up some of the fine detail, but it's hard to find any concrete information about it online, and from what I gather is missing all of the special features, apart from the Davies/ Pivcevic interview and the photo gallery.
So the 90's version has been given an essential blu-ray release by Twilight Time.  And then they topped it with the new 2021 UHD.  But unless you're prepared to spring for the whole Columbia Classics Collection, the TT might still be your best bet (and used copies will probably start pouring into the market as people who did upgrade offload their previous edition).  As for the other Sense & Sensibilities?  Well, I'd start with the one from the 80's, then possibly add the 2000's and 1970's versions, in that order, depending how Austen-mad you are.  Oh, and actually you could squeeze that Kollywood version in there ahead of the 70's version, too.  It's pretty neat and the musical numbers are beautifully filmed.  The Kino DVD has English subs.