Leaving Las Vegas 4K Blu-ray Movie

Rating summary

Movie		4.5
Video		0.0
Audio		4.0
Extras		2.0
Overall		4.0

Leaving Las Vegas 4K Blu-ray Movie Review

Site coverage of Mike Figgis's sixth big-screen feature Leaving Las Vegas (1995) was previously supplied by my colleagues Jeff Kauffman, Dr. Svet Atanasov, and Ken Brown. Jeff critiqued MGM's 2011 BD-50 while Svet reviewed Studio Canal UK's 2016 BD-50. Last year, Ken wrote about Sandpiper Pictures' BD-50. For their views on the movie and assessments of those discs' a/v presentations and extras, please refer to the linked reviews above.

Filling the cart with lots of booze.

Leaving Las Vegas 4K Blu-ray Movie, Video Quality 

Since Sandpiper still currently owns the North American rights to the regular 1080p Blu-ray, this edition from Shout Select only comes with a single 4K Ultra HD Blu-ray. Declan Quinn's cinematography appears in its originally shot and exhibited 1.85:1. Shout advertises this as a 4K transfer of the original Super 16 mm camera negative. The MGM, Studio Canal, and Sandpiper transfers each date back to an older master (perhaps from early in the DVD era). The Sandpiper presents two cuts of the film, including the R-rated theatrical version. The Shout edition presents the longer unrated cut. The back of my LaserDisc jacket states: "This Special Unrated Edition contains footage never before seen!"

In a recent audio commentary on this disc, Figgis states: this is the "first time there's been a really good print." The writer/director acknowledges his crew were on a "super low budget." ("The money wasn't great.") The picture was filmed on two 16 mm cameras in Las Vegas and Laughlin, Nevada. The image on this UHD shows a very coarse grain field apropos to its original appearance. Jeff notes some print damage in his review. There's also damage marks on this transfer, although they don't stand out as much as you'll notice in remasters of other vintage films since they're perhaps not as prominent and prevalent. There's dirt on and around a strip club dancer in Screenshot #26 but it's also present in the identical shot on the LD (#25). There's a light scratch near the right edge of the frame in #22 but it's not on the LD. Ditto for a few scratches in frame grab #24 which doesn't pop up on the LD (#23). But by contrast, the LD sports specks and video sparkles not on the Shout. My like-new LD also has rainbowing on a kitchen sink rack in Sera's (Elisabeth Shue) apartment.

The 4K UHD outclasses its predecessors through the many highlights it generates from the "bright lights big city" vibe courtesy of Quinn's outstanding lensing of Vegas and Laughlin. For example, check out the neon and other colorful lights on marquees and buildings in frame grab #s 5, 34, 36, and 38. Detail and clarity on the cityscapes are so much better on the 4K compared to the LD and BDs. For instance, the viewer is unable to clearly see the letters on "The Mirage" illuminated on the top of a marquee in #37 (LD), but they're much more visible in #38 (UHD). The multi-colored lights behind Ben Sanderson (Nicolas Cage) in #17 are well-rendered on the 2160p even though they're out of focus from the foreground. In addition, the lights from the Desert Song Motel's marquee create a lovely reflection in the pool in #20. More, look at how good the dim lights and candle appear in the restaurant where Ben and Sera have dinner (see #19). The UHD delivers an average video bitrate of 84.2 Mbps for the feature while the whole disc carries an overall bitrate of 95.9 Mbps.

Screenshot #s 1-20, 22, 24, 26 28, 30, 32, 34, 36, 38, & 40 = Shout Select 2025 4K Ultra HD (BD-100)
Screenshot #s 21, 23, 25, 27, 29, 31, 33, 35, 37, & 39 = MGM/UA 1996 LaserDisc (Deluxe Letter-Box Edition) (upscaled to 720p)

The 112-minute Unrated Cut comes with a dozen chapter breaks.

Leaving Las Vegas 4K Blu-ray Movie, Audio Quality 

Shout has supplied three audio track options to watch the film (in addition to a new commentary track): a recent Dolby Atmos mix (Dolby TrueHD 7.1 compatible) encoded at an average bitrate of 4043 kbps and a maximum bitrate of 5841 kbps; a previously issued DTS-HD Master Audio 5.1 Surround mix (2132kbps, 24-bit); and a DTS-HD Master Audio 2.0 Stereo mix (1562 kbps, 24-bit). In both scenes set in Los Angeles and Las Vegas, I had difficulty picking up all the spoken words on my calibrated receiver at a regular volume level. I often had to increase the sound by six or seven decibels to completely discern the characters' utterances. I thought this may have been flaw with how the sound was recently remixed into Atmos but when I played the LaserDisc's PCM Stereo mix, I encountered the exact same issue. Granted, Cage's inebriated character frequently mumbles. Plus, Shue's character has a soft tone in her voice. The fault essentially lies with the film's sound department and lack of proper (and sufficient) ADR mixing.

The Atmos really comes to life when ballads are played and Figgis's original score is heard. Sting singing "Angel Eyes" couldn't be more perfect for Cage's character and the film's tone. Sting's rendition of "My One and Only Love" is the song version of the love theme for Ben and Sera. (Figgis also wrote an instrumental theme for the couple.) The height channels effectively use Figgis's trumpet. (He also performs on keyboards.) Other instruments accented on the heights and surrounds include tenor and alto saxophone, clarinet, drums, electric guitar, double bass, and piano. In one musical moment, I heard some deep bass on my FR channel. (Depending on your Atmos setup, you'll likely also hear the bass along the top right channels.)

Shout has provided optional English SDH, which are essential to have. Additionally, there are hard-coded subtitles for non-English dialogue. The font size is a lot smaller and also single spaced (see Screenshot #40). The subs are larger and double spaced on the LD transfer (see #39).

Leaving Las Vegas 4K Blu-ray Movie, Special Features and Extras 

The Studio Canal edition includes a promotional featurette, B-roll footage, as well as EPK interviews with Cage, Shue, Sands, and Figgis. The MGM and Sandpiper only have a theatrical trailer. Shout doesn't retain any of those extras.

• NEW & EXCLUSIVE Audio Commentary with Writer/Director Mike Figgis - this is a wonderful feature-length track by the British filmmaker. Figgis acknowledges that he hasn't seen Leaving Las Vegas for several years but his memory is sharp in recollecting the events that occurred while making the film. He explains his impetus for doing the picture and how he went about adapting John O'Brien's novel into a screenplay. Figgis describes Cage's preparation for the lead and their verbal exchanges in between takes. He also discusses performances by Richard Lewis, Steven Weber, Laurie Metcalf, and David Brisbin. Figgis got to know Bob Rafelson, who has a cameo in the film, and tells why he admires him as a director. Figgis offers a fond remembrance of Julian Sands, which is touching to listen to. In addition, he spends some time talking about Vivienne Westwood and her costumes for Elisabeth Shue's character. Figgis reveals an epilogue he originally intended to put in the film. More, he goes into the editing process and cutting on the then-new AVID system. The commentary contains some brief gaps. In English, not subtitled.

Leaving Las Vegas 4K Blu-ray Movie, Overall Score and Recommendation 

Nic Cage delivers a most convincing performance as a compulsive alcoholic. While Cage's acting style is different from Albert Finney's, the former's performance is comparable to Finney's turn as Geoffrey Firmin in John Huston's Under the Volcano (1984). (John's son, Danny Huston, has a bit part as a bartender in Leaving Las Vegas.) Elisabeth Shue is sensational and deserves all the accolades she received. As Sera, she demonstrates how much her character knows the world of prostitution in Vegas and how understanding she can be of her clients. Figgis sometimes prefers a mode of storytelling via suggestion. While I appreciate the film's ambiguity, there's one character and subplot he could have developed and resolved better. (I won't divulge it for those who haven't seen LLV.) Shout has worked from the film's OCN to deliver a 4K transfer that's quite solid and gritty looking. The original production's sound recording has some limitations. (All of them have to do with the dialogue and ADR.) I would watch the film with the 5.1 and Atmos mixes. Figgis's recent commentary track is terrific. I know fans have been waiting a very long time for a UHD. This earns a VERY SOLID RECOMMENDATION.