Blue City Blu-ray Movie

Rating summary

Movie		2.0
Video		4.5
Audio		4.0
Extras		4.0
Overall		4.0

Blue City Blu-ray Movie Review

1985 was a big year for Judd Nelson and Ally Sheedy. The pair enjoyed box office success with roles in “The Breakfast Club” and “St. Elmo’s Fire,” also experiencing a massive surge in media interest with their positions in “Brat Pack” stories, highlighting their youthful takeover of the film business. In 1986, career momentum was suddenly halted, with the duo reteaming for “Blue City,” a picture that hoped to ride a wave of overexposure to financial fortunes, only to end up a bomb. And there’s a few good reasons for audience rejection, with the endeavor showing signs of editorial struggle that results in an awkward viewing experience. “Blue City” has its messiness and miscastings, and while director Michelle Manning has a way with the visual presence of the effort, she can’t hold any type of consistent story together, with the final cut jumping from incident to incident without much connective tissue.

Blue City Blu-ray Movie, Video Quality 

"Blue City" was previously issued on Blu-ray by Olive Films in 2015, with the label supplying an older scan of the picture, which didn't do particularly well with detail and grain, maintaining a softer, less appealing look. Vinegar Syndrome returns to the title for a fresh Blu-ray release, and the image presentation (1.85:1 aspect ratio) for "Blue City" is listed as "newly scanned and restored in 4K from its 35mm original camera negative." A stylishly shot feature, cinematography aims for a softer, Florida noir-ish look, but detail is preserved throughout the viewing experience. Skin particulars on the cast are present, examining rougher appearances and differences in age. Costuming is decently fibrous with suits and lingerie. Locations maintain depth, exploring costal areas and city tours. Interiors offer a dimensional look at living spaces and especially club events, securing decorative additions. Color is vibrant, working with strong lighting choices and some neon additions. Primaries carry potency on costuming, and hair color is distinct, especially with Anita Morris's blazing red hair. Greenery is sharp, and skin tones are natural. Delineation is satisfactory, doing well with evening encounters. Grain is nicely resolved, even during the film's heaviest moments. Brief, mild damage is encountered along the way, and opticals register thickly at times, but this appears to be an inherent issue.

Blue City Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix offers a straightforward listening event for "Blue City." Dialogue exchanges are clear, handing emotional surges, with a few moments of sibilance encountered. Scoring supports with crisp instrumentation, keeping the bluesy music defined through lighter and darker moods. Sound effects are sharp as gunplay, explosions, and casino destruction arrive.

Blue City Blu-ray Movie, Special Features and Extras 

• Commentary features film historian Jim Hemphill.

• "Breaking Down 'Blue City'" (13:29, HD) is an interview with unit production manager Robert L. Brown, who describes his job responsibilities, admitting he doesn't set the budget, tasked with making studio money fit the production's needs instead. Tracking the development of his career, Brown began work as an assistant director, building a profession through contacts, eventually making his way to a unit production manager position for 1978's "Same Time, Next Year." Receiving a job offer from Walter Hill, the interviewee does admit he was asked to join "The Color Purple" the day after he agreed to work on "Blue City." Industry memories are shared, including a professional relationship with cinematographer Dean Cundey. Brown also recalls his time with director Michelle Manning, reporting no major issues with scheduling and professionalism. Casting is explored, and the interviewee shares his thoughts on the feature after rewatching it for the interview.

• "Dark and Steamy" (17:06, HD) is an interview with cinematographer Steven Poster and gaffer Jim Plannette. Poster goes first, examining the rise of his career in horror movies, drawn to "Blue City" when it was initially planning for a Key West shoot, which was eventually changed to Long Beach, California. Plannette was one of Poster's friends, receiving an invitation to join "Blue City," happy to be working nights on the shoot. Reflections on director Michelle Manning and producer Walter Hill are shared, including the helmer's focus on making a "tough" picture, pushing hard to sell her vision for the endeavor. Technical challenges are identified and casting is examined, sharing praise for stars Judd Nelson and Ally Sheedy. Lighting choices are highlighted as well, using a lot of power to make a dark feature. Poster was pushed out of the timing process, unable to maintain control over the final look of the movie. The financial and critical response to "Blue City" is discussed, with Poster and Plannette remaining proud of the work, celebrating the positives of the offering.

• "Welcome to Blue City" (9:44, HD) is a video essay by Wayne Byrne.

• A Theatrical Trailer has not been included on this release.

Blue City Blu-ray Movie, Overall Score and Recommendation 

"Blue City" has its way with cinematic craftsmanship, with excellent cinematography by Steven Poster and bluesy musical moods provided by composer Ry Cooder (helping to make the whole thing feel more like a Walter Hill picture). The supporting cast has their moments as well, helping Judd and Sheedy out when their own performances miss the mark, especially when it comes to communicating real human emotion. "Blue City" is really a failure of studio panic, as the endeavor clocks in at 79 minutes (before end credits), mostly playing like a movie that was liberally cut down from its original vision, also slapped with a reshot ending. Everything feels rushed in the offering as it speeds to a resolution, creating sloppiness as half-baked ideas and dramatic arcs start to dominate the viewing experience, greatly diminishing whatever promise of thrills are made in the film's opening act.