"The Man Who Killed Hitler And Then the Bigfoot" follows the epic adventures of an American legend that no one has ever heard of. Since WWII, Calvin Barr (Elliott) has lived with the secret that he was responsible for the assassination of Adolf Hitler. Now, decades later, the U.S. government has called on him again for a top-secret mission. Bigfoot has been living deep in the Canadian wilderness and is carrying a deadly plague that is now threatening to spread to the general population. Relying on the same skills that he honed during the war, Calvin must set out to save the free world yet again. (Gary Reber)
Special features include commentary with Writer/Director Robert D. Krzykowski, a making-of featurette (HD 39:14), an interview with Composer Joe Kraemer (HD 06:23), six deleted scenes (HD 08:52), the "Elsie Hooper" short film (HD 05:45), a conceptual art gallery, and upfront previews.
The 2.39:1 1080p AVC picture, reviewed on a Sony Bravia Z9D 4K Ultra HD HDR display, upconverted to 2160p with greater resolution and luminance, was photographed digitally in anamorphic Panavision® and sourced from a 2K master Digital Intermediate format. The picture exhibits a nicely saturated color palette with a filmic feel and sharp visual sense. Resolution is excellent. Hues are naturally rendered with primaries that nicely pop. Fleshtones appear natural. Contrast is wide with deep blacks, revealing shadows, and natural lighting highlights. Resolution is excellent, especially in close-ups, such as beard stubble, hair, beards and mustaches, facial lines and skin pores, and clothing and object textures. This is a visually cinematic picture that exhibits a satisfying experience. (Gary Reber)
The DTS-HD Master Audio™ 5.1-channel soundtrack is driven by an expansive jazz, pop and orchestral score and dynamic sound effects, such as bomb blasts and gunfire. The dynamics are forcefully powerful with deep bass and .1 LFE energy, which at times extends to sub-25 Hz frequencies. The dynamics shift throughout from normal daily quiet living interiors, to street fights to war intensities, and the hunting sounds in the wilderness. Foley sound effects are convincing, as well as atmospherics. The music delivers a strong frontal presence that extends wide across the soundstage and into the surrounds. The surrounds are aggressively weighted and effective in creating an enveloping soundfield. Dialogue is natural sounding and intelligible, with generally good spatial integration. A narrative dialogue nicely extends its presence forward. This is a well-crafted soundtrack with an effective range of dynamics, a terrific music score, and natural sonic settings. (Gary Reber)