NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Movinside - June 2018: I'm a bit suspicious of 'Movinside'. This is a bare-bones, Region FREE Blu-ray with optional French subtitles. It's a fabulous film by Fears - I like it more each time I see it. The image may even be a bump but it has more texture both grain and some minor scanner noise but the higher resolution improves the presentation over SD - especially in-motion. It is certainly not an overwhelming video uptick but it also has lossless audio and the option of a 5.1 bump (and French 2.0 channel DUB) that offers some mild separation.

 The Criterion DVD has the commentary and lengthy interview with Stamp while this BD has nothing. I'm keen on the other two films of this Movinside Blu-ray boxset as well - and if they are at the level of The Hit - I will be pleased.

NOTE: Despite the menu - the French subtitles are optional on my Oppo and this is a Region FREE disc (as are the other two films in the boxset).

We'll cover the other two films in this boxset in the future. No fatal flaws are present so far, but the video is modest but has lossless audio.

NOTE: The Midnight Man is reviewed HERE.

***

ON THE DVD: Artisan came out with Frear's The Hit on DVD, HERE,  back in 2002, but it has been out-of-print for a while fetching high prices in auction.  Strangely, I don't own it to compare. The film, while feigning a directionless crime-drama, has deeper things to impart. It keeps you guessing whilst on a road trip with a unsettled carload of mysterious, and potentially dangerous, characters. 

Criterion's transfer is clean, dual-layered, progressive and anamorphic in a 1.78 frame-filling aspect ratio. There are plenty of outdoors scenes with SD colors and healthy detail. I wouldn't say it looks magnificent but is probably a reasonable facsimile of the original. It appears to have a faded appearance at times but the film is 1/4 century old and may reflect the source used. 

The mono track is unremarkable but clean and audible. Clapton's title music sounds adequately 'drifting'. There are optional English subtitles.

In the commentary the filmmaker participants initially discuss their early TV collaborations and the actors (Stamp gives input as well but is not listed) give their pleasant memories of production. Each chirp-in, some later in the film, with a relaxed, friendly atmosphere. I don't know that some weren't recorded separately as they occasionally reference each other as if they weren't in the same studio. It seems cohesive enough to enjoy and appreciate the information they present but despite there being six of them - there are some gaps. There is also a 1/2 hour interview with Stamp from 1988 Granada Television, a trailer and a 16-page liner notes booklet with photos and a new essay by film critic Graham Fuller.  

This is a lower-tier priced Criterion release and a very enjoyable film. It's curious nature makes it hard to nail down giving it prime value for re-visitation. Researching it I found it unjustly neglected from critical coverage. I've enjoyed what Frear's work I have seen and hope Criterion expose more 'forgotten' cinema of this nature in the future.   

Gary W. Tooze