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Thelma & Louise 4K UHD/BLU-RAY
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Genre | Drama, Crime, Action Adventure |
Format | NTSC, 4K |
Contributor | Ridley Scott |
Language | English |
Runtime | 129 minutes |
Number of discs | 3 |
Manufacturer | Criterion Collection |
UPC | 715515283717 |
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From the manufacturer

The pop-culture landmark from screenwriter Callie Khouri and action auteur Ridley Scott that rewrote the rules of the road movie
Product description
Two women, a turquoise Thunderbird, the ride of a lifetime. With this pop-culture landmark, screenwriter Callie Khouri and action auteur Ridley Scott rewrote the rules of the road movie, telling the story of two best friends who find themselves transformed into accidental fugitives during a weekend getaway gone wrong—leading them on a high-speed Southwest odyssey as they elude police and discover freedom on their own terms. Propelled by irresistible performances from Susan Sarandon and Geena Davis (plus Brad Pitt in a sexy, star-making turn)—and nominated for six Academy Awards, winning one for Khouri—the exhilaratingly cathartic Thelma & Louise stands as cinema’s ultimate ode to ride-or-die female friendship. DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURES • New 4K digital restoration, supervised by director Ridley Scott, with 5.1 surround DTS-HD Master Audio soundtrack • One 4K UHD disc of the film presented in Dolby Vision HDR and two Blu-rays with the film and special features • Two audio commentaries, featuring Scott, screenwriter Callie Khouri, and actors Geena Davis and Susan Sarandon • New interviews with Scott and Khouri • Documentary featuring Davis, Khouri, Sarandon, Scott, actors Michael Madsen, Christopher McDonald, and Stephen Tobolowsky, and other members of the cast and crew • Boy and Bicycle (1965), Scott’s first short film • Original theatrical featurette • Storyboards and deleted and extended scenes, including an extended ending with director’s commentary • Music video for Glenn Frey’s “Part of Me, Part of You,” from the film’s soundtrack • Trailers • English subtitles for the deaf and hard of hearing • PLUS: Essays by critics Jessica Kiang and Rachel Syme and journalist Rebecca Traister
Product details
- Language : English
- Parcel Dimensions : 17.4 x 14.1 x 1.9 cm; 210 g
- Director : Ridley Scott
- Media Format : NTSC, 4K
- Run time : 129 minutes
- Release date : May 30 2023
- Subtitles: : English
- Studio : Criterion Collection
- ASIN : B0BVXTHPNH
- Country of origin : USA
- Number of discs : 3
- 鶹 Rank: #11,926 in Movies & TV Shows (See Top 100 in Movies & TV Shows)
- #276 in Crime
- #2,566 in Drama (Movies & TV Shows)
- #2,707 in Action & Adventure
- Customer Reviews:
Customer reviews
Top reviews from Canada
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Reviewed in Canada on December 29, 2024Verified PurchaseUn classique du cinéma!
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Reviewed in Canada on October 23, 2023Verified PurchaseTrès bon
- Reviewed in Canada on June 6, 2023Verified Purchaseall of the special features are old and have been included on previous dvd/blu ray releases. the 4k transfer looks fine but nothing in this package justifies the 70 dollar price tag. avoid
Top reviews from other countries
- quisten8Reviewed in the United States on June 12, 2024
5.0 out of 5 stars Great movie and extras (but very odd case design)
Verified PurchasePacking a suitcase for the possibility of heat and cold becomes “just bring everything.” The parking lot of a roadside bar in Arkansas accidentally becomes the scene of an awful crime (to avenge two unforgivable ones), turning two women’s weekend getaway into a run from the law. A criminally gorgeous hitchhiker becomes an instructor in charm, small-time robbery, and sex (one woman to the other: “You finally got properly laid!”) but takes off with the women’s money. A rural convenience store becomes the site of an unusual holdup (one woman to the other: “Well, we needed money. Now we have it.”). A small group of FBI and state police investigators watch footage from the convenience store’s security camera, shaking their heads in disbelief as they narrow their search.
A large convertible speeds down the highway (“…to put distance between us and the scene of our last CRIME!”), heading west to avoid Texas on the way to Mexico because the woman driving swears they must avoid that state at all costs. On a scenic stretch of highway, a state trooper pulls over the speeding convertible (“Hello, officer…I told her to slow down”… “How fast was we going?”… “About 110”), only to be held at gunpoint by two polite women who have no experience using a gun or holding up an officer (one woman to the other: “Shoot the radio...[bang]...the POLICE radio!” [bang]).
A Rastafarian bicyclist with a Sony Walkman strapped to his arm and listening to the song "I Can See Clearly Now" is puzzled to see a highway patrol car on the side of the highway, lights flashing but no officer (or other vehicle) in sight. Stopping to drink from his water bottle, the cyclist eventually hears banging emanating from the trunk of the patrol car and sees a finger emerge through a bullet hole, pointing in the direction that the officer heard his keys land. After a moment of consideration, the cyclist calmly takes a long drag on his fat joint, blows the smoke slowly into the trunk, and continues on his way.
A fancy semi rig (transporting gas), with mudflaps featuring the stereotypical shapely woman design, pulls off the highway when two women (armed with guns, one a highway patrol officer’s gun) indicate to the driver that they are, in his words, “ready to get serious” (meaning indulge the intentions blatantly suggested by his lewd behavior on the highway). However, the two women have their own plan (“How do you get off actin’ like that with women YOU don’t even know? How’d you feel if somebody did that to your mother…or your sister or your wife, huh?” “And what is that business with your tongue? I mean, that is disgustin’!” “And pointin’ to your lap, what is that supposed to mean exactly? Pull over, I wanna show you what a big fat slob I am?” “Or does that mean suck my ****?”… “We think you should apologize” …“I don’t think he’s gonna apologize.” …[bang, bang, bang—kaboom!]). The gas rig explodes into an enormous fireball, leaving a small-minded, angry little man cursing in the dust of a departing convertible T-bird.
In the wake of the explosion, a police/FBI chase ensues, expanding to absurd dimensions as a seemingly endless stream of inept lawmen pursue two outlaw women through a majestic, rural off-road landscape (“How do you like the vacation so far?”… “I guess I went a little crazy, huh?”… “No…You’ve always been crazy. This is just the first chance you’ve ever had to really express yourself.”). A posse of lawmen eventually corners the women, cocking an astounding number of huge guns (“All this for us?”), despite the lead police detective’s pleas for them to stand down and let him negotiate. In the end, the two women resolve to “keep goin’,” prioritizing their bond of friendship, and, after a kiss, Thelma and Louise hold hands as Louise guns her convertible toward a cliff overlooking the “Grand Canyon” (the filming location was actually Dead Horse Point State Park in Moab, Utah). A smiling photo of the two friends, taken at the beginning of their trip to commemorate their vacation, stirs on the seat between them and takes flight as the car becomes airborne. A freeze-frame suspends the aquamarine 1966 T-bird convertible in midair as a hubcap flies off. The picture fades, and the credits roll.
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If you haven’t seen the 1991 movie Thelma & Louise, well, see it. The script brilliantly combines real-life danger, crime, and tragedy with situational comedy, a full load of irony, and the astounding beauty of the American Southwest. Geena Davis as Thelma and Susan Sarandon as Louise deliver stunning performances, as do Harvey Keitel as the lead detective, newcomer Brad Pitt as J.D. (the hitchhiker), and a fabulous supporting cast (including Jason Beghe of Chicago PD as the unfortunate state trooper). Thematically, the film explores the wayward forces of circumstance in determining fate, the persistence of misogyny, and the power of friendship to help women resist men’s control over their lives. Two women, who have experienced the worst forms of misogyny and are forced into a string of crimes as a result, must take control and thus find themselves freer and more alive. In a sense, they fall in love with their friendship: It becomes their salvation and their strength as they accept the reality of their situation. Thelma’s character in particular (though she makes some annoyingly dumb decisions) revels in emerging from her drab existence, a suffocating marriage to a controlling, ignorant, and chauvinistic man who treats her like property rather than a life partner, to assert her independence . The tragedy is that in refusing to let men retake control over them, and in forcing men to face each other (a very satisfying aspect of the script), they face the end.
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As I’d expect of any Criterion release, this edition of Thelma & Louise is superb, including a stellar restoration of the film and a remastered 5.1 surround soundtrack. A host of extras add dimension and depth to understanding the film and its jagged path to production, while providing insight into the minds of director Ridley Scott and screenwriter Callie Khouri. Audio and video features include the usual commentary tracks, interviews, deleted/extended scenes, and making-of documentary, as well as the music video of a central song used in the film, “Part of Me, Part of You” by Glenn Frey (formerly of the Eagles). However, the most interesting extra in my view is the inclusion of Ridley Scott’s first film (in its entirety), the 1965 short Boy and Bicycle, which stars his brother, director Tony Scott, as the boy; shot in black-and-white, it’s set in the bleak coastal area of England where they grew up. Another great inclusion in this release appears in the accompanying booklet: Three articles, all written by women (journalist Rebecca Traister and critics Jessica Kiang and Rachel Syme), examine the script’s genre-bending nature, the iconic performances of the two leads, and the film’s feminist legacy.
Given that so much care went into creating this edition, I found it surprising that Criterion cut corners on the case design. Instead of a swinging disk holder as in previous releases, this case has a complicated configuration whereby one disk partially tucks in behind the other. While trying to put one of the disks back in, I was distracted by a conversation and thus slightly scratched the playing surface on part of the case (though fortunately the disk still plays). So if you add this to your collection, be careful getting the disks in and out of the case.