Jackson), demands help to spring her love who is being held by the mob. While on vacation, he gets pulled back into a rescue operation when Sonia (Selma Hayek), con woman and wife of assassin extraordinaire Darius Kincaid (Samuel L. Now available in ultra-high definition, the story picks up from the last film as disgraced elite bodyguard Michael Bryce (Ryan Reynolds) takes a therapist’s advice and goes on a relaxing sabbatical to reassess his life. Hitman’s Wife’s Bodyguard (Lionsgate Home Entertainment, rated R, 2.39:1 aspect ratio, 100 minutes, $30.99) - Director Patrick Hughes reassembled the key cast of a 2017 blockbuster to deliver yet another violent action comedy thriller this summer. In the classic, slightly forced interview, he explains why he had a pair of bathtub scenes with leading ladies, his love of animals and what makes him mad. Next, a vintage, almost all black-and-white, segment from 1970 called “At Home with Clint Eastwood” has the star answering questions in and around his home in Carmel, California. Cobb, navigating the motorcycle chase and the movie’s effect on his evolving career. Stroud (now in his 70s) that focuses on his role in the film as he discusses working with Mr. Start with an almost nine-minute current interview with Mr.

Viewers also get a pair of worthy featurettes. Next, writer Alan Spencer - known for the short-lived cop TV series spoof “Sledge Hammer!” - offers more of a light-hearted, lecture-style, nonstop commentary with a more detailed, trivia-rich deconstruction of the movie down to the font style of the credits, weapon types, acting styles, locations, and offers more on the career of Mr. However, more impressive, the colors are vivid throughout (even the fake blood is an orangish-red) highlighted by an outdoor screen on a rooftop boasting a crisp blue sky set against Coogan’s burgundy suit and Roth’s yellow coat and red hair.īest extras: Viewers get a pair of new optional solo commentary tracks.įirst, director and author Alex Cox (“Sid and Nancy” and “Repo Man”), an aficionado of Spaghetti Westerns, offers an intermittent overview of the production, overexplaining and dissecting the plot, exploring the key actors and crew through trivia and touching on the similarities to Siegel’s crime drama “Madigan” and evolution of the 1960s crime film genre.

The high definition transfer could use a good cleanup with the appearance of some dirt specks, lines and mild blemishes, but the clarity is top-notch, and the mild amount of film grain remains true to the film source. However, the head-shaking treatment of the female characters, such as taking a light-hearted approach to rape, prostitution, hippie nudity and Coogan’s assumption that every attractive female wants him tarnish this early example of the genre.

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