ADDITION: Criterion - Region 'A' Blu-ray - May 16': The Criterion is cited as a "Restored 4K digital transfer" and while we have been able to identify fairly large differences in 4K or 4K 'restorations' vs. 2K Blu-ray transfers in the past (see our reviews of Blu-rays of Kurosawa's RAN, Argento's Deep Red, or Coppola's Bram Stoker's Dracula etc.) we can't see similar in the static captures of the Criterion as compared to the 7-year older Sony 1080P although it is visible in-motion when I played both directly beside each other. The grain seems supported to a higher level and the Criterion Blu-ray is more technically robust with a higher bitrate. It is likewise in the 1.66:1 aspect ratio and you can see the similarities by toggling between the large linked captures. Because this doesn't identify the differences in-motion - we have only compared 4 captures of the two Blu-ray packages.

Criterion give the audio option of a linear PCM original mono track at 1152 kbps (24-bit) or a richer, deeper DTS-HD Master 5.1 surround at a healthy 3680 kbps (also 24-bit). There may not be deft separations but the surround track certainly can add to the film experience but purists will appreciate the inclusion of the mono. The score by Laurie Johnson (famous for The Avengers TV series theme, First Men in the Moon, Hammer Studios' Captain Kronos - Vampire Hunter and many more) sounds strong augmenting intensity. There are optional English (SDH) subtitles and the Blu-ray disc is region 'A'.

As expected Criterion totally stack the disc with over 20 Gig of supplements. There is a new 20-minute interview with Stanley Kubrick scholars Mick Broderick (Reconstructing "Strangelove") discussing Stanley Kubrick's first efforts on Dr. Strangelove as sole producer. There is also another Criterion-produced piece - running over 17-minutes with Rodney Hill (contributor, The Stanley Kubrick Archives) who delves into the archetypes present in Dr. Strangelove. We also get to spend 1/4 hour with Richard Daniels senior-archivist, at the Stanley Kubrick Archive and coeditor of the book Stanley Kubrick : New Perspectives and he discusses the archive and the portrait of the filmmaker that emerges from its Dr. Strangelove collection. Also from Criterion - filmed in 2016 - is a 12-minute interview with cinematographer and camera innovator Joe Dunton and camera operator Kelvin Pike detailing the techniques behind the stunning visuals of Dr. Strangelove. David George, son of Peter George, on whose novel Red Alert the film is based gives an 11-minute piece for Criterion and he discusses the collaboration with his father Peter and director Stanley Kubrick, as well as his discovery of a short story that introduces the character of Dr. Strangelove. The Art of Stanley Kubrick from 2000 runs 14-minutes and features biographer John Baxter, critic Alexander Walker, cinematographer Gilbert Taylor, and others, chronicles Stanley Kubrick's growth from still photographer to the film auteur responsible for Dr. Strangelove. Inside Dr. Strangelove is a 46-minute documentary from 2000 about the making of Dr. Strangelove featuring filmmaker James B. Harris. actor James Earl Jones, title-designer Pablo Ferro and filmmaker and writer Nile Southern, among others. No Fighting in the War Room is a 1/2 hour piece from 2004 featuring former secretary of defense Robert McNamara and journalist Bob Woodward, among others looking into the nuclear paranoia that fueled the satire Dr. Strangelove. Best Sellers from 2004 runs almost 19-minutes shows some rarely seen home moves and interviews with critic Roger Ebert, actors Shirley MacLaine and Michael Palin. We also get some short excerpts from a 1966 audio interview with Kubrick, conducted by physicist and author Jeremy Bernstein and brief interviews from 1963 with Sellers and actor George C. Scott, an excerpt from a 1980 interview with Sellers from NBC’s Today show as well as a lengthy "Exhibitors Trailer" and a theatrical trailer. The package has a liner notes booklet with an essay by scholar David Bromwich and a 1994 article by screenwriter Terry Southern on the making of the film.

Really a no-brainer and this Blu-ray is available for both region 'A' + 'B'. This complete package is a must-own and the extras had me up till the early hours of the morning... so much great info for the Kubrick aficionado, devout fan or casual film viewer who appreciates his genius. Criterion's Blu-ray gets our very highest recommendation!

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ADDITION: Sony - Region FREE Blu-ray - June 09': Firstly, this transfer is in a consistent 1.66:1 aspect ratio - to quote the Digital Bits HERE - "The original theatrical presentation varied between 1.33 and 1.66. In recent years however, we're told that Kubrick's associates (who manage his estate) have become more comfortable with the 16x9/1.78:1 aspect ratio of HD displays, and they believe that Kubrick himself - if he'd really had the chance to look into it - would have preferred his full frame films to be presented on home video (in HD) at a steady 1.66 to take better advantage of the 1.78:1 frame. So that's the reasoning for the decision."

Contrast is far superior and the image is brighter without being blown-out (see the 'air field' captures). Details in the background are far more visible now and the image is not as dark as the 40th Anniversary DVD. Good films grain is apparent to varying degrees although not overly gritty but I think the contrast is the major beneficiary on the move to HD. It looks quite remarkable at times - I've never seen it look this good although it, obviously, doesn't displays the depth of modern films to 1080P. I've quite happy with the way it looked on my system. It's from a 4K restoration and there is no damage marks marring the presentation. A definite thumbs-up for the visual. I'm satisfied it looks about as good as it can, at this time, for display in your home theater.

Although meager at 1300 kpbs the 5.1 TrueHD audio seems to do the job well without succumbing to an artificial aural representation. For purists the mono track is an option. There are some unusual subtitle options - Arabic, Dutch and French - as well as English. My Momitsu identifies this as being region FREE - playable on Blu-ray machines world wide.

Supplements duplicate the previous Region 1 DVD's documentaries (No Fighting in the War Room, Inside Dr. Strangelove, Best Sellers and The Art of Stanley Kubrick) plus the interviews; Robert S. McNamara and split-Screen Interview with Sellers and Scott but the Blu-ray package exclude Ebert's essay and the art gallery. However, it includes a 32 page booklet as part of the case with photos and film essays by Richard Tanne and Travis Baker, an untested BD-LIVE and a picture-in-picture The Cold War  with onscreen interviews and a trivia challenge.

Essential Blu-ray - great price - don't hesitate.  

 - Gary Tooze

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ADDITION: Japanese SUPERBIT - Dec - 04 - Wow, the Japanese SUPERBIT release is gorgeous -tight, sharp, bright , filled with grain. As Kubrick appeared to vacillate on his preferred ratio, many may still want the 1.33-1.66 edition - and if so, then the Japanese Superbit is the one to choose. It has original audio as well as DTS and both English or Japanese subtitles. As with other SB titles - no extras.

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ON THE DVDs: The first three releases shown in this comparison have all had contrast boosting (or came from a print of like). It becomes most noticeable when looking at the new 40th anniversary release that the others are much brighter. According to Robert Harris this new 40th anniversary issue is a new "restoration" as it's the first time it's been transferred from a master element rather than a print. Columbia's DVD mastering policy indicates that this is a high-def transfer from those elements and then down-converted to DVD resolution. Print damage, though apparent, is less in the new edition in comparison to the other 3 (see large capture  # 3). This 'darkness' is far more in tune with the original presentation and the contrast and black levels are near perfect.

The new edition has the anamorphic molding that we see occasionally when doing screen captures and reducing the image. They tend to look soft, even in their native resolution, but the big question is has it been cropped to 1.66 from its original multi-aspect ratios and 1.8t theatrical? Criterion's stellar laserdisc from 12 years ago bounced between 1:37 and 1:66 depending on what scene was up. This is how all three initial releases are. Dr. Strangelove was projected in 1:85 in the United States and 1:66 in Europe. Kubrick preferred flat transfers and has stated so on many occasions, but I thought this was after 2001: A Space Odyssey was cropped for BBC television, not before. I was sure he did not prefer the 1.85 theatrical in his later years, but suspect this was an afterthought after it was already released. Perhaps someone can correct me. 

The Region 1 (Special Edition) shows some good grain and is minutely sharper than the PAL Collector's edition.

I am reserving judgment on image until I can be satisfied about the ratio.

By the way, Columbia's menus in the first release are a hoot. They are as bad as any I have ever seen from a major studio, bordering on basement conversions from 'Joe the VHS dubber'. I know it was 1999.

 - Gary Tooze

Dr. Strangelove or How I Learned To Stop Worry and Love the Bomb

Lolita

Spartacus

Paths of Glory

The Killing

Killer's Kiss