The movie was originally thought to be a companion piece to The Goonies but when Schumacher was brought on board, it was rewritten to cater to an older audience. It worked. The cult status of this film will likely never go away. And that’s fine. It served as a launching pad for several careers, gave us the “Two Corey’s” (not sure if that was a good thing or not) and it was odd to me that Jami Gertz is now one of the wealthiest women in America. After having seen countless vampire movies, this one does stand out. Yes, there are better, but this is really one of the few that makes them ‘cool.’ Oddly, the film’s success made it ripe for a big budget sequel, but that never happened and it’s really not known why. The film was only marred by two direct-to-video sequels that had very little to do with the original. If, for some reason, you’re reading this and haven’t ever experienced this film – there’s no time like the present…er, past? Video: How’s it look? What wins the day here is the tight script and impeccable performances from each and every actor. The script isn’t without contrivance but is confident in it’s tone and it’s execution, blending very organic humour and horror seamlessly. The cast are all pitch perfect. This film cemented the careers of many of them, started the love affair with filmgoers of the time with ‘the two Corey’s’ and flung the likes of Sutherland into superstardom. All well deserved to boot. Haim shows serious comedic charisma and Sutherland intensity and wisdom beyond his years (rather fitting for a vampire). Audio Commentary - Director Joel Schumacher flies solo, for a measured -- if sometimes slow -- commentary. The basics are covered, from how the project developed to the casting to the surprisingly stressful production. Schumacher has a dry wit to the point that some might be bored, but I found him a wry and engaging speaker. Casual fans can probably skip this and just watch the documentary features, but diehards should give it a listen. Plot: What’s it about? Video: How’s it look? Audio: How’s it sound? Supplements: What are the extras? The Bottom Line Plot: What’s it about? Recent divorcee Lucy drives her two teenaged boys, Michael ( Jason Patric) and Sam ( Corey Haim) into Santa Carla, the sign stating it to be ‘the murder capital of the world’, to begin afresh. Soon, after they arrive they start to discover why. Mom gets a job at Max’s ( Edward Hermann) video store, Sam befriends a couple of Stallone wannabes, the Frog brothers, from the comic shop ( Corey Feldman and Jamison Newlander) who believe in monsters and Michael follows a gorgeous young woman named Star ( Jami Gertz), only to discover she’s attached to a group of Biker’s led by the mysterious David ( Kiefer Sutherland). Michael, unable to resist the lure of Star, is pulled into the biker gang life and after drinking from some weird wine bottle David offers him, starts to change in personality and temperament.

Haimster & Feldog: The Story of the 2 Coreys– Like it or not, this is the movie that put these two Corey’s together for the first time. Both auditioned for the same role (that eventually went to Feldman) in The Goonies and it is a bit sad knowing that Corey Haim would be dead just a few years after this was made. The Lost Boys (1987) is a film directed by Joel Schumacher and stars Corey Feldman, Jami Gertz, Corey Haim, Edward Herrmann, Barnard Hughes, Jason Patric, Dianne Wiest and Kiefer Sutherland. The Lost Boys 4K UHD + Blu-rayHowever it’s the stunning brightness and beautifully robust colours that really shine. Literally in some cases. The previous blu-ray had a slightly overcast sheen to the picture – that has been completely banished on this new image, washed out skin tones now replaced with healthy complexions, and dull skies with wonderfully nuanced and the bright blues of a California summer. And this new brighter and richer sense of colour is perfect for Schumacher’s overt lighting – be it the complex shadow detail of the vampire’s underground lair, the neon sheen of the Boardwalk and its many shops and rides or the blood-red drenched finale set in Grandpa’s house, the colours leap off the screen and leave the previous release in its dust. The only slight note of imperfection in this is that some of the insanely bright whites can bloom a little – never across the whole screen, but in certain highlights, it’s the only very minor blight on an otherwise outstanding image. But all of that is banished with the now clearly observed wonderful twinkling highlights of the glitter that cover the Frog Brothers after their staking of one of the vamps. Eat that Twilight, The Lost Boys did glittery vamps first. And better…. Vampires Photo Gallery (SD, 10 minutes) - A surprisingly robust gallery with over 78 stills. This is edited as a single 10-minute montage, so there are no interactive navigation options or any upgrade for Blu-ray.

Records the default button state of the corresponding category & the status of CCPA. It works only in coordination with the primary cookie. Deleted Scenes (SD, 12 minutes) - There are 18 scenes in all, and most quite short. There are no major sequences excised, but of interest is a better set-up for the Edward Hermann character, a subplot involving a summer job for Jason Patric, and an extended sex scene that's even less erotic than the one in the film. Haimster & Feldog/Multi-Angle Featurette" (SD, 23 minutes) - Sigh... must the two Coreys get there own supplement? Haim and Feldman first provide an introduction (4 minutes) where they recall what they consider their "greatest" cinematic effort. Then there is a 19-minute compendium of the pairs best scenes, where they are joined by Feldman's fellow Frog Brother Jamison Newlander for a video commentary that's presented in multi-angle. (You can choose to watch the footage with the trio in a small PIP box, or vice versa.) Their insights are pretty ridiculous, if priceless -- my favorite is Haim's remark on the film's visual style. "Like, nature is green and this is all red and, like, it all coincides with each other." Deep, man, deep. There’s a vivid richness to the entire image, especially noticeable on the exterior shots of Santa Carla under the film’s opening credits. Detail is terrifically sharp (although due to the anamorphic process, there is still inherent and appropriate softness present where it should be at time), the fine detail front and centre across not just close-ups are immediately apparent in all the usual places – clothing textures, facial detail and in all the trinkets buried deep within the superb set design. Lines are sharp without being overly so and it gives a fantastic sense of depth to the whole picture.This native 2160 4K scan of the 35mm camera negative is, in a word: sumptuous. Lost Boys is one of those movies, set at night, full of rim lighting and deep bold colours that could show poor transfer like a set of dog’s balls. I’m happy to report that Warner’s have delivered this film as close to reference as they ever have. The copious night scenes are rich and inky, displaying detail probably never seen since the theatres, showing no signs of crush or light bleed. The elaborate costumes of the vampires truly leap of the screen and show a detail and appreciation for the wardrobe department that defies belief. The 80s came replete with a lot of neon and pastel, beautifully rendered here and aided spectacularly by the HDR10 enhancements. The finale holds a set filled with a lot of red—a monochromatic nightmare for subtlety—but all the different shades are replicated perfectly. Absolutely the best this film has ever looked on home media. A World of Vampires– An interactive feature that allows the user to learn about vampires from around the world.

The Lost Boys' is actually a lot less interesting than it sounds. Directed by Joel Schumacher and shot by Oscar-winning cinematographer Michael Chapman, the film has a wonderfully glossy and rich visual look, but not much more going for it. The story of a teenager drawn to the dark side of vampirism had the potential to explore adolescent issues rarely touched by mainstream horror cinema, yet these facets are largely jettisoned by the obvious script that plays it too safe. Any subversive possibilities are largely tossed aside in favor of standard genre thrills and overt humor, which, while making the film entertaining, ultimately render it vapid. This cookie, set by YouTube, registers a unique ID to store data on what videos from YouTube the user has seen. However by also cleverly focussing on the seductive aspects of life as a Lost Boy – do what you want, go where you want, take what you want, BE what you want….. – it brilliantly doubled up as teenage wish fulfilment on an epic level at the exact same time. David is the true legacy of The Lost Boys…. a brilliantly crafted poster boy for the 1980s - charisma flowing through his veins instead of blood, an attitude that burnt out of him like wildfire and those cheekbones that made everyone want to either be him or be with him, regardless of gender or sexuality. One of cinema’s coolest characters, he looms large over the film and the era, even with his fairly limited screentime. After four decades and countless viewings, The Lost Boys remains a personal favorite that I can still watch and adore with the same level of admiration as I did when I was a teen.

The Lost Boys 4K Video

Turns out David and his gang are a tad older than they look, by a couple of hundred years, and Star wasn’t lying when she warned Michael he was drinking blood from David’s freaky bottle. Michael is truly becoming one of the gang and the urge for him to kill is growing. Sam discovers his brother’s attitude is a little more than teen angst and enlists the aide of the Frog brothers to try and turn him away from his impending doom. They believe if they can destroy the head vampire, the likes of Michael and Star will return to normal. All the while, Mom is trying to date her boss and is pissed at the both of them. They hatch a plan to kill David, assuming he’s the one they want. They’re dangerously wrong. Multi-Angle Video Commentary– Haim, Feldman and Jaimson Newlander offer up a 20 minute segment on some multi-angles of the film via the oft-used “angle” button your control. It’s there.