After 30 years Oliver Stone’s magnum opus is as fresh as it was when it was unleashed in December of 1991. The strangest thing of all is how modern the film is with its optics on what is the truth, what are lies, and everything in between. JFK is a political thriller, a historical drama, and a courtroom procedural sometimes all at once. The film is nimble and agile shifting intelligently from genre to genre and tone to tone without feeling discombobulated – Stone is in complete control of the medium working with Editors Joe Hushing and Pietro Scalia to make a monolithic piece of sobering Entertainment that is alternately thrilling, sad, and important.
Taking place over years as the New Orleans district attorney Jim Garrison (Kevin Costner) began to investigate the assassination of John F. Kennedy zeroing in on a specific suspect Clay Shaw (Tommy Lee Jones). Attempting to bring to light the possibility the assassination was a coupe and shift in power to push America into the Vietnam War for the profiteering of the Military Industrial Complex. Garrison is besieged from all fronts against a force that he cannot define or see coming. His only choice is to attempt to bring them to justice in the hopes of shining a light on the man he sees connected to it all – Shaw.
JFK is a kaleidoscopic look at not only the tumultuous 1960s but the filmmaking style of the 1990s. Stone was a one-man force of nature in this era. One that produced, co-wrote, and directed this massive production and willing it to life. The film at first inspection feels almost haphazard in its narrative structure. This is meant to mirror the emotional mental state of Garrison as he pulls the disparate strings together. The complex web of deceit and misinformation thesis crystalizes in its final act.
The film has so many things going for it but above all else is the massive ensemble cast that has 13-Acadmey Award Nominees. A cast that doesn’t just see it as a cameo appearance or showy supporting role but work on a level that’s as good as their own personal projects. It isn’t just the likes of Costner, Jones, and Joe Pesci who are electrifying but actors like Kevin Bacon, John Candy, Laurie Metcalf, Ed Asner, and Brian Doyle Murray known for their comedic roles are as good as their fellow dramatic actors, well before they were given their chances at heftier dramatic roles.
Though at the center is Costner doing what he did best during his superstar years. Costner brings a compelling earnestness and intelligence to Garrison. There is a symbiosis that both Costner and Stone seem to have that perfectly aligns with the style and tone of the piece. Both performance and direction are this clear sense of truth-seeking that culminates in the final bravado 30-minute finale. Stone and Costner hold our attention as the actor takes center stage in Garrison’s closing arguments. It’s the best that either man ever was.
JFK still stands as a high-water mark for historical dramas.
The Transfer
The all-new 2023 4K UHD Director-Approved Scan of the Original Camera Negative in Dolby Vision (HDR 10 Compatible) is a marvel of what can be done with a beautifully constructed film. More so than a marvel, this is the transfer of 2023, hands down and unequivocally. JFK as shot by Robert Richardson may be one of the overwhelming visual experiences even now 30+ years later. Stone and Shout Studios have created a transfer that completely respects not only the work done by Richardson but also the original theatrical experience. The film’s color grading maintains the look and feel of the original 35mm theatrical release. There’s a warm hue present throughout, none of that “blue steel” or other mockery that “updates” the look of the film to “current” standards. This is a revelatory blessing that Stone has kept the look of the film intact, something many of his contemporaries always seem to want to change much to cineastes’ frustration. The image itself is sharp and beautifully rendered in 4K. The Dolby Vision imbues everything with an added layer of refinement and complexity in the contrast, black, and color levels. The image glows in the way that Robert Richardson’s work can at its best. A special thanks to Shout Studios and Oliver Stone for working diligently on his masterpiece and treating it as such. JFK in its 4K UHD form (even in its newest Blu-Rays) is the very definition of perfection. If one needs to know what is possible with technology and preservation look no further than this disc. It represents what’s possible – creating an archival master that represents what the film looked like when it was it was initially released.
Note: Both the Blu-rays (Director’s Cut and Theatrical Cut) contain the same New 4K Director-approved scan of the OCN.
The Extras
They include the following;
DISC ONE (4K UHD — DIRECTOR’S CUT):
Audio Commentary With Director, Producer & Co-Writer Oliver Stone
DISC TWO (BLU-RAY — DIRECTOR’S CUT):
Audio Commentary With Director, Producer & Co-Writer Oliver Stone
DISC THREE (BLU-RAY — THEATRICAL CUT):
Audio Commentary With Director, Producer & Co-Writer Oliver Stone
DISC FOUR (BLU-RAY — BONUS FEATURES):
“One Person Can Make A Difference”
“Stone Bold”
“Brave New Worlds”
“Supporting The Vision”
“Re-Creating The Unthinkable”
“The Delicate Hands Of Time”
12 Deleted And Extended Scenes/Alternate Ending (With Optional Commentary By Oliver Stone)
“Assassination Updated”
“Meet Mr. X: The Personality And Thoughts Of Fletcher Prouty”
Still Gallery
Theatrical Trailer
The archival Audio Commentary with Director, Producer & Co-Writer Oliver Stone is still a masterful commentary track that charts both historical accounts, fictional story points and why he created them, and the making of arguably Stone’s masterpiece. Some of the details include how John Williams began composing the film before he saw everything – he was on set; the building of the montage that opens the film – including his thoughts on the various historical incidents that the opening discusses; the building of the film around the assassination, catching Oswald, and other historical moments from the first 24 – 48 hours – including the historical figures, who played them and why he casted them; David Ferry played by Joe Pieces; how Garrison after three years, reopened the case and why he did; the work of Robert Richardson and how they approached the various shifts in lighting/camera/stock/etc. – giving examples throughout the film; why he cast John Candy – a few personal anecdotes about the star and working with him; the Willie O’Keefe character played by Kevin Bacon being a composite of multiple characters and why this was done; the challenges of directing the film from an actor level – which leads to a larger discussion of the amazing level of actors he was able to get and also how this has changed in the current era he recorded the commentary track; the difficulties with writing the script with Zachary Sklar; Lee Harvard Oswald as played by Gary Oldman – the performance, the crazy historical factoids that do not add up, the people around Oswald and more; a breakdown of the filming of the Dallas scene – the accurate locations filmed at, the historical information, politics, the eyewitness accounts, and much more; a discussion of Jack Ruby as played by Brian Doyle Murray – history, his theories, and the performance; the fact building meetings that fill the film – and a larger discussion of the various facts, filmmaking style, his editing of the wilder stories that came across, and more; Clay Shaw/Bertram as played by Tommy Lee Jones – the very associates of Shaw (both confirmed and unconfirmed), historical factoids about his personality, his connections to the assassination, the reasons why he portrayed the S&M aspects of his sexuality, and much more; the fictionalized Washington DC trip to meet Mr. X (aka played Fletcher Prouty) by Donald Sutherland – a discussion of facts, the reason why he chose to fictionalize this meeting that never happened, and more; the NBC White Paper in 1967 – and the lies that were pushed by the media and how it was later recanted about Jim Garrison, including some details regarding Stone’s own personal account with this; Liz Garrison as played by Sissy Spacek – why her story was such a “cliché” and also discussion of the real Liz Garrison and meeting her and the fight he had with his wife and how he played it out as Garrison and his wife; Stone is very forthcoming about the “inaccuracies” the film presents and the reasons why he purposely created them; accounts of Jim Garrison’s (and others that appear in the film) personal life and historical points throughout the commentary track; and much more. Stone gives a master course on the film, the history, and the politics in and around the JFK assassination and the conspiracy theories. NOTE: The track on both the Director’s Cut and Theatrical Cut are one in the same with the Theatrical being just shorter.
“One Person Can Make A Difference” (8:29) – in an all-new interview director Oliver Stone discusses his work on JFK. The director begins with how important JFK was both personally and professionally – with an amount of honest of how people thought of him then and now. The political resolutions that came out of the release of the film. The Assassination Records Review Board, his documentary JFK Revisited, and much more. The interview could be five times long as still be fascinating and still not be enough time with the director on this particular subject which he continues to come back to.
“Brave New Worlds” (9:29) – in this all-new interview with Editor Hank Corwin he discusses his work on JFK. The editor begins with how he worked with Robert Richardson on a PSA which led to meeting Stone and how he began to work on JFK. The specific work he did on JFK and his specialization putting together multiple format sequences. The resources they were given access to including the Richardson shot footage to make the film. Corwin does include great anecdotes from Natural Born Killers and U-Turn showing how mercurial Stone can be.
“Supporting The Vision” (8:33) – in this all-new interview with Co-Producer Clayton Townsend Corwin he discusses his work on JFK. The interview begins with Townsend discussing how he met Oliver Stone during the making of Year of the Dragon. Townsend discusses Stone’s methodology and approach to the work he was doing; what it was like working with Stone during the decades long collaboration; his thoughts on the script and the project itself when Stone began to make JFK; the initial pushback they received during the start of the production; and much more.
“Re-Creating The Unthinkable” (7:44) – in this all-new interview with Special Makeup Effects Artist Gordon J. Smith he discusses his work on JFK. This fascinating interview Smith delves into the staggering work in creating the corpse of President Kennedy during the various scenes from the emergency room to the actual autopsy; the various FX and the problems that came with it in recreating the assassination for the film; and much more.
“Stone Bold” (7:18) – in this all-new interview with Cinematographer Robert Richardson he discusses his work on JFK. The interview begins with Richardson discusses the beginning of his collaboration with Stone and how the director influenced everything he did after in his career. The preproduction process which had been ongoing for years and the books he read before the actual script for JFK was sent to him, the visual approach to the work that all came out from the various pieces of visual documents of the era, and much more.
“The Delicate Hands of Time” (9:50) – in this all-new interview with Dallas Location Manager Patty Doherty Hess her discusses his work on JFK. The interview begins with how producer Clayton Townsend asked her to join this very complex production. Hess discusses all of the massive tidal wave of work and contracting had to be done in order to get the film’s locations cleared. This interview is vital in understanding how important that a Location Manager is for any on-location shoot, especially one as big as JFK.
12 Deleted and Extended Scenes/Alternate Ending (With Optional Commentary By Oliver Stone) (54:46) – almost an hour of additional footage that can be played with Stone’s commentary on why he cut down or omitted specific scenes but also some context on the scenes themselves as he did on his commentary track for both version of the film. They include Jack Ruby (Brian Doyle Murray) is injected with Cancer; extended Dean Andrews (John Candy) and Jim Garrison interview; Prank Phone Calls at the Garrison Household; Garrison, Numa (Wayne Knight), and the Colorado Businessman; extended Beverly Oliver (Lolita Davidovich) interview; extended Jean Hill (Ellen McElduff) interview; extended Garrison in Dallas investigating; extended Garrison Roundtable discussion – Oswald information; Clay Shaw Trail extended/deleted scenes – Oswald leaving book depository, LBJ calls the Dallas Police, Fantasy Sequence The Oswald File; Alternate Ending – which is almost 11-minutes long featuring X (Donald Sutherland) and includes a different post script than the one that we see in both the director’s and theatrical cut.
“Assassination Updated” (29:40) – this archival featurette hosted by author and Kennedy assassination expert James DiEugenio gives updates on the various theories and the release of the documentation post-JFK’s theatrical release. The featurette discusses the releasing of the Documentation that was held until 2029 – the creation of the Assassination Records Review Board, the purpose of the board, the clearing out of the redacted information for the records, the new discoveries found after these documents were released, and much more.
“Meet Mr. X: The Personality and Thoughts Of Fletcher Prouty” (11:00) – this archival featurette shows ex-Colonel Fletcher Prouty as he discusses the assassination, the work surrounding a coupe or assassination, and much more.
Still Gallery (3:22) – the gallery consists of 40 production stills, behind-the-scenes photos, and poster art. The gallery can be run automatically or navigated using your Blu-ray Remote’s next and back chapter stop buttons.
Theatrical Trailer (2:22)
The Final Thought
The JFK 4K UHD collector’s edition is one of the very best sets of 2023. Shout Studios has treated the film with the reverence it deserves. Giving the film – in its two iterations – the best picture + sound + extras one could image. Highest Possible Recommendations!!!
JFK is one of the masterpieces of the 1990s. Shout Studios has treated it with the respect it deserves with its 4K UHD 4-Disc Box set with a NEW 2023 4K UHD Director-Approved Scan Of The Original Camera Negative In Dolby Vision!
The Film
After 30 years Oliver Stone’s magnum opus is as fresh as it was when it was unleashed in December of 1991. The strangest thing of all is how modern the film is with its optics on what is the truth, what are lies, and everything in between. JFK is a political thriller, a historical drama, and a courtroom procedural sometimes all at once. The film is nimble and agile shifting intelligently from genre to genre and tone to tone without feeling discombobulated – Stone is in complete control of the medium working with Editors Joe Hushing and Pietro Scalia to make a monolithic piece of sobering Entertainment that is alternately thrilling, sad, and important.
Taking place over years as the New Orleans district attorney Jim Garrison (Kevin Costner) began to investigate the assassination of John F. Kennedy zeroing in on a specific suspect Clay Shaw (Tommy Lee Jones). Attempting to bring to light the possibility the assassination was a coupe and shift in power to push America into the Vietnam War for the profiteering of the Military Industrial Complex. Garrison is besieged from all fronts against a force that he cannot define or see coming. His only choice is to attempt to bring them to justice in the hopes of shining a light on the man he sees connected to it all – Shaw.
JFK is a kaleidoscopic look at not only the tumultuous 1960s but the filmmaking style of the 1990s. Stone was a one-man force of nature in this era. One that produced, co-wrote, and directed this massive production and willing it to life. The film at first inspection feels almost haphazard in its narrative structure. This is meant to mirror the emotional mental state of Garrison as he pulls the disparate strings together. The complex web of deceit and misinformation thesis crystalizes in its final act.
The film has so many things going for it but above all else is the massive ensemble cast that has 13-Acadmey Award Nominees. A cast that doesn’t just see it as a cameo appearance or showy supporting role but work on a level that’s as good as their own personal projects. It isn’t just the likes of Costner, Jones, and Joe Pesci who are electrifying but actors like Kevin Bacon, John Candy, Laurie Metcalf, Ed Asner, and Brian Doyle Murray known for their comedic roles are as good as their fellow dramatic actors, well before they were given their chances at heftier dramatic roles.
Though at the center is Costner doing what he did best during his superstar years. Costner brings a compelling earnestness and intelligence to Garrison. There is a symbiosis that both Costner and Stone seem to have that perfectly aligns with the style and tone of the piece. Both performance and direction are this clear sense of truth-seeking that culminates in the final bravado 30-minute finale. Stone and Costner hold our attention as the actor takes center stage in Garrison’s closing arguments. It’s the best that either man ever was.
JFK still stands as a high-water mark for historical dramas.
The Transfer
The all-new 2023 4K UHD Director-Approved Scan of the Original Camera Negative in Dolby Vision (HDR 10 Compatible) is a marvel of what can be done with a beautifully constructed film. More so than a marvel, this is the transfer of 2023, hands down and unequivocally. JFK as shot by Robert Richardson may be one of the overwhelming visual experiences even now 30+ years later. Stone and Shout Studios have created a transfer that completely respects not only the work done by Richardson but also the original theatrical experience. The film’s color grading maintains the look and feel of the original 35mm theatrical release. There’s a warm hue present throughout, none of that “blue steel” or other mockery that “updates” the look of the film to “current” standards. This is a revelatory blessing that Stone has kept the look of the film intact, something many of his contemporaries always seem to want to change much to cineastes’ frustration. The image itself is sharp and beautifully rendered in 4K. The Dolby Vision imbues everything with an added layer of refinement and complexity in the contrast, black, and color levels. The image glows in the way that Robert Richardson’s work can at its best. A special thanks to Shout Studios and Oliver Stone for working diligently on his masterpiece and treating it as such. JFK in its 4K UHD form (even in its newest Blu-Rays) is the very definition of perfection. If one needs to know what is possible with technology and preservation look no further than this disc. It represents what’s possible – creating an archival master that represents what the film looked like when it was it was initially released.
Note: Both the Blu-rays (Director’s Cut and Theatrical Cut) contain the same New 4K Director-approved scan of the OCN.
The Extras
They include the following;
DISC ONE (4K UHD — DIRECTOR’S CUT):
DISC TWO (BLU-RAY — DIRECTOR’S CUT):
DISC THREE (BLU-RAY — THEATRICAL CUT):
Audio Commentary With Director, Producer & Co-Writer Oliver Stone
DISC FOUR (BLU-RAY — BONUS FEATURES):
The archival Audio Commentary with Director, Producer & Co-Writer Oliver Stone is still a masterful commentary track that charts both historical accounts, fictional story points and why he created them, and the making of arguably Stone’s masterpiece. Some of the details include how John Williams began composing the film before he saw everything – he was on set; the building of the montage that opens the film – including his thoughts on the various historical incidents that the opening discusses; the building of the film around the assassination, catching Oswald, and other historical moments from the first 24 – 48 hours – including the historical figures, who played them and why he casted them; David Ferry played by Joe Pieces; how Garrison after three years, reopened the case and why he did; the work of Robert Richardson and how they approached the various shifts in lighting/camera/stock/etc. – giving examples throughout the film; why he cast John Candy – a few personal anecdotes about the star and working with him; the Willie O’Keefe character played by Kevin Bacon being a composite of multiple characters and why this was done; the challenges of directing the film from an actor level – which leads to a larger discussion of the amazing level of actors he was able to get and also how this has changed in the current era he recorded the commentary track; the difficulties with writing the script with Zachary Sklar; Lee Harvard Oswald as played by Gary Oldman – the performance, the crazy historical factoids that do not add up, the people around Oswald and more; a breakdown of the filming of the Dallas scene – the accurate locations filmed at, the historical information, politics, the eyewitness accounts, and much more; a discussion of Jack Ruby as played by Brian Doyle Murray – history, his theories, and the performance; the fact building meetings that fill the film – and a larger discussion of the various facts, filmmaking style, his editing of the wilder stories that came across, and more; Clay Shaw/Bertram as played by Tommy Lee Jones – the very associates of Shaw (both confirmed and unconfirmed), historical factoids about his personality, his connections to the assassination, the reasons why he portrayed the S&M aspects of his sexuality, and much more; the fictionalized Washington DC trip to meet Mr. X (aka played Fletcher Prouty) by Donald Sutherland – a discussion of facts, the reason why he chose to fictionalize this meeting that never happened, and more; the NBC White Paper in 1967 – and the lies that were pushed by the media and how it was later recanted about Jim Garrison, including some details regarding Stone’s own personal account with this; Liz Garrison as played by Sissy Spacek – why her story was such a “cliché” and also discussion of the real Liz Garrison and meeting her and the fight he had with his wife and how he played it out as Garrison and his wife; Stone is very forthcoming about the “inaccuracies” the film presents and the reasons why he purposely created them; accounts of Jim Garrison’s (and others that appear in the film) personal life and historical points throughout the commentary track; and much more. Stone gives a master course on the film, the history, and the politics in and around the JFK assassination and the conspiracy theories. NOTE: The track on both the Director’s Cut and Theatrical Cut are one in the same with the Theatrical being just shorter.
“One Person Can Make A Difference” (8:29) – in an all-new interview director Oliver Stone discusses his work on JFK. The director begins with how important JFK was both personally and professionally – with an amount of honest of how people thought of him then and now. The political resolutions that came out of the release of the film. The Assassination Records Review Board, his documentary JFK Revisited, and much more. The interview could be five times long as still be fascinating and still not be enough time with the director on this particular subject which he continues to come back to.
“Brave New Worlds” (9:29) – in this all-new interview with Editor Hank Corwin he discusses his work on JFK. The editor begins with how he worked with Robert Richardson on a PSA which led to meeting Stone and how he began to work on JFK. The specific work he did on JFK and his specialization putting together multiple format sequences. The resources they were given access to including the Richardson shot footage to make the film. Corwin does include great anecdotes from Natural Born Killers and U-Turn showing how mercurial Stone can be.
“Supporting The Vision” (8:33) – in this all-new interview with Co-Producer Clayton Townsend Corwin he discusses his work on JFK. The interview begins with Townsend discussing how he met Oliver Stone during the making of Year of the Dragon. Townsend discusses Stone’s methodology and approach to the work he was doing; what it was like working with Stone during the decades long collaboration; his thoughts on the script and the project itself when Stone began to make JFK; the initial pushback they received during the start of the production; and much more.
“Re-Creating The Unthinkable” (7:44) – in this all-new interview with Special Makeup Effects Artist Gordon J. Smith he discusses his work on JFK. This fascinating interview Smith delves into the staggering work in creating the corpse of President Kennedy during the various scenes from the emergency room to the actual autopsy; the various FX and the problems that came with it in recreating the assassination for the film; and much more.
“Stone Bold” (7:18) – in this all-new interview with Cinematographer Robert Richardson he discusses his work on JFK. The interview begins with Richardson discusses the beginning of his collaboration with Stone and how the director influenced everything he did after in his career. The preproduction process which had been ongoing for years and the books he read before the actual script for JFK was sent to him, the visual approach to the work that all came out from the various pieces of visual documents of the era, and much more.
“The Delicate Hands of Time” (9:50) – in this all-new interview with Dallas Location Manager Patty Doherty Hess her discusses his work on JFK. The interview begins with how producer Clayton Townsend asked her to join this very complex production. Hess discusses all of the massive tidal wave of work and contracting had to be done in order to get the film’s locations cleared. This interview is vital in understanding how important that a Location Manager is for any on-location shoot, especially one as big as JFK.
12 Deleted and Extended Scenes/Alternate Ending (With Optional Commentary By Oliver Stone) (54:46) – almost an hour of additional footage that can be played with Stone’s commentary on why he cut down or omitted specific scenes but also some context on the scenes themselves as he did on his commentary track for both version of the film. They include Jack Ruby (Brian Doyle Murray) is injected with Cancer; extended Dean Andrews (John Candy) and Jim Garrison interview; Prank Phone Calls at the Garrison Household; Garrison, Numa (Wayne Knight), and the Colorado Businessman; extended Beverly Oliver (Lolita Davidovich) interview; extended Jean Hill (Ellen McElduff) interview; extended Garrison in Dallas investigating; extended Garrison Roundtable discussion – Oswald information; Clay Shaw Trail extended/deleted scenes – Oswald leaving book depository, LBJ calls the Dallas Police, Fantasy Sequence The Oswald File; Alternate Ending – which is almost 11-minutes long featuring X (Donald Sutherland) and includes a different post script than the one that we see in both the director’s and theatrical cut.
“Assassination Updated” (29:40) – this archival featurette hosted by author and Kennedy assassination expert James DiEugenio gives updates on the various theories and the release of the documentation post-JFK’s theatrical release. The featurette discusses the releasing of the Documentation that was held until 2029 – the creation of the Assassination Records Review Board, the purpose of the board, the clearing out of the redacted information for the records, the new discoveries found after these documents were released, and much more.
“Meet Mr. X: The Personality and Thoughts Of Fletcher Prouty” (11:00) – this archival featurette shows ex-Colonel Fletcher Prouty as he discusses the assassination, the work surrounding a coupe or assassination, and much more.
Still Gallery (3:22) – the gallery consists of 40 production stills, behind-the-scenes photos, and poster art. The gallery can be run automatically or navigated using your Blu-ray Remote’s next and back chapter stop buttons.
Theatrical Trailer (2:22)
The Final Thought
The JFK 4K UHD collector’s edition is one of the very best sets of 2023. Shout Studios has treated the film with the reverence it deserves. Giving the film – in its two iterations – the best picture + sound + extras one could image. Highest Possible Recommendations!!!
Shout Studios’ 4K UHD Edition of JFK is out December 19th
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