The Man Who Killed Hitler and Then the Bigfoot Blu-ray Review

Presented in its 2.40:1 aspect ratio, "The Man Who Killed Hitler and Then The Bigfoot" delivers an impressive 1080p transfer on RLJ Entertainment's Blu-ray release. While specific technical information about the film’s source material is unavailable, the high quality of the video presentation suggests a digital shoot, likely at 2K or 2.8K resolution. The image quality is outstanding, with excellent color saturation, strong image detail, and textures, particularly notable on period costumes, close-ups, and wide-shot backgrounds. Black levels are solid, showing no signs of crush or banding, and whites are clean without blooming. Overall, the disc promises an excellent visual experience.

Both eras depicted in the film look equally impressive, with bright and robust colors that adapt well to the varying time periods and locations. The transfer excels in showcasing fine details in facial features, hairstyles, and wilderness scenes. Although there are minor issues with some digitally inserted backgrounds towards the end of the film, where fine details lose a bit of definition, these moments are brief and not overly distracting. Importantly, the transfer remains free from significant compression artifacts, excessive noise reduction (with the exception of a slight waxy sheen in some outdoor scenes), and other processing issues.

Despite RLJ Entertainment's initial announcement and subsequent cancellation of a 4K UHD edition, the available 1080p transfer on Blu-ray remains a visually compelling option. For those seeking even higher resolution, a Region B 4K/BR Mediabook edition is available for import from Germany, and domestically it can be accessed in 4K via iTunes. This Blu-ray release stands as a superior visual presentation for most viewers encountering the film for the first time.

The DTS-HD MA 5.1 audio track of "The Man Who Killed Hitler and Then the Bigfoot" provides a robust auditory experience that effectively enhances the film's diverse soundscape. Joe Kraemer's original score and memorable soundtrack cuts, such as Billy Squire's "Lonely Is the Night" and The Vince Guaraldi Trio's "Cast Your Fate to the Wind," are dynamically supported, creating a richly immersive experience. The WWII-era scenes are notably detailed, featuring background action, airplane flyovers, and distant bombs. This attention to auditory detail continues in modern-day sequences, capturing the ambient sounds of Calvin's small hometown. The third act's Bigfoot hunt displays a wide-open sound field with subtle panning effects and moments of channel separation that add depth to the experience. Dialogue is cleanly recorded and perfectly synchronized, ensuring clarity, while the LFE effects provide ample but controlled bass response during key scenes.

Moreover, the audio mix is versatile, adeptly transitioning between the film's more intense action sequences and its quieter, introspective moments. During Calvin's peaceful strolls around his hometown, the soundtrack shifts to softer scores and the soothing sounds of small-town life, demonstrating the audio track's capability to handle contrasting atmospheres seamlessly. The opening sequence, where young Calvin infiltrates a Nazi compound during an Allied bombing raid, is an exceptional example of the blend of dialogue, sound effects, scoring, and atmospheric elements, maintaining a high level of tension and excitement. While an Atmos mix could have elevated the experience further, the existing DTS-HD MA 5.1 track stands as an impressive accomplishment that significantly bolsters the movie's overall impact.

Additional features include English (SDH), Spanish, and French subtitles during the main feature only. These are beneficial for identifying song titles; however, they are somewhat smaller compared to typical subtitle fonts and positioned close to the edge of the 2.40:1 frame. Despite this minor drawback, they remain legible for most viewers. In summary, this audio presentation defies the film's independent roots and succeeds in delivering a grander auditory experience.

RLJ Entertainment offers a compelling collection of extras for "The Man Who Killed Hitler and Then The Bigfoot." The disc includes a robust and insightful commentary by Writer/Director Robert D. Krzykowski, replete with trivia, production anecdotes, and technical details, albeit occasionally ahead of the visual sequence. The making-of featurette is notably comprehensive, detailing the film’s 12-year journey, casting, production nuances, and intriguing contributions from special effects legends. The interview with composer Joe Kraemer provides an engaging dive into the film's score creation. While the deleted scenes offer a decent look into segments left out of the final cut, the inclusion of Krzykowski's short film "Elsie Hooper" shows early directorial flair. The conceptual art gallery further immerses fans in the creative process. This extras package is a worthwhile addition for enthusiasts.

Extras included in this disc:

Audio Commentary with Writer/Director Robert D. Krzykowski: Scene-specific details and production insights. The Making of The Man Who Killed Hitler and Then The Bigfoot: In-depth featurette with cast and crew commentary. Deleted Scenes: Cut and extended segments from the film. Interview with Composer Joe Kraemer: Discussion on the score’s creation. Elsie Hooper: A black-and-white short film by Robert D. Krzykowski. Conceptual Art Gallery: Storyboards and early concept drawings.

The Man Who Killed Hitler and Then The Bigfoot is a film that intrigues as much as its intriguing title suggests. Directed by Robert D. Krzykowski, the film delves into the life of Calvin Barr (Sam Elliott), an aging WWII veteran who has led a life burdened by his past heroic yet haunting mission to assassinate Adolf Hitler. Elliott’s riveting performance brings emotional depth to the character, highlighting themes of sacrifice and regret that resonate throughout the film. The plot then takes an unexpected turn when government agents enlist Calvin's help to hunt down Bigfoot, a creature spreading a deadly plague. This wild plot twist serves as a vehicle for a second yet less compelling mission, reflecting the character's internal struggles.

Krzykowski's narrative is bolstered by technical finesse, especially in its practical and visual effects despite its low budget. Noteworthy elements include the authentic portrayal of WWII-era Germany, enhanced by matte paintings from Rocco Gioffre and cost-efficient VFX wizardry by Douglas Trumbull. Sam Elliott anchors the film with his powerful portrayal, while Aidan Turner skillfully depicts Calvin’s youthful bravado in flashbacks that blend seamlessly into the current timeline. Unfortunately, while these elements are commendable, the film stumbles in its third act, marked by an awkward Bigfoot hunt which feels out of place and dilutes the emotional gravitas built earlier.

The film’s greatest challenge lies in its uneven juxtaposition of a poignant character study with a far-fetched adventure. The initial premise—an emotional exploration of a man ravaged by his past—is compelling, yet the transition into the Bigfoot quest is jarring and diminishes the earlier impact. Despite these inconsistencies, The Man Who Killed Hitler and Then The Bigfoot is worth watching for its strong performances and creative ambition. While it may leave some viewers conflicted, its merging of lofty ideas and modest execution makes for a memorable, if flawed, cinematic experience.

Writer and first-time director Robert D. Krzykowski's The Man Who Killed Hitler and Then The Bigfoot presents a unique conundrum. On paper, the film boasts an enticing title, a compelling premise, and strong performances from Sam Elliott and the supporting cast. The film features a solid sense of style, extending to its cinematography, editing, and soundtrack. Despite these promising elements, the film falters midway, struggling to maintain its initial momentum and failing to articulate a coherent point by its conclusion. While it features many genuinely great moments, these are overshadowed by the eventual sense of disappointment.

Unexpectedly, RLJE Entertainment's Blu-ray package excels in ways the film does not. It offers a striking image transfer, an impressive audio mix, and a well-rounded collection of bonus features that significantly enhance the viewing experience. Even though the extras do not dramatically shift the perception of the film's narrative, they succeed in making this Blu-ray a more attractive proposition, especially as a blind buy. The package itself is robust, offering thoughtful additions that movie enthusiasts can appreciate, regardless of their opinion on the film.

In conclusion, The Man Who Killed Hitler and Then the Bigfoot is a paradoxical film that promises a lot but delivers in sporadic bursts rather than a consistent experience. Its exploration of profound themes like love, loss, regret, and redemption in such an unconventional narrative framework may leave viewers feeling ambivalent. Nonetheless, RLJE’s superior Blu-ray release makes it worth a watch for Sam Elliott’s captivating performance alone. While the movie might not meet all expectations, the quality of the Blu-ray presentation makes it a recommendable addition to any collection. Proceed with measured expectations and you might find an unexpected gem.