The source print also shows some damage: it’s not heavy by any means, but dirt and debris pops up here and there throughout.ĭespite these issues the image can still look “fine enough” but all of these problems do compound to give it a flat, rather bland look. Black levels are weak, crushing out details, and there is some banding present in a few darker sequences. Film grain is present but it just generally lacks definition itself, looking a little clumped. Detail, though sharp and decent during most close-ups, is lacking in longer shots and there can be a faint fuzziness to the image, making the picture look flat and lifeless. Admittedly the film has a fairly dirty look with a generally bland colour scheme (though there are instances where colours pop, especially reds), and that probably doesn’t help, but looking past that there are still issues that look more related to the transfer and master themselves. The master is obviously an older one (provided by MGM to Arrow) and the image, despite some good points, leaves one fairly underwhelmed. The 1080p/24hz high-definition presentation is delivered on a dual-layer disc. Unable to go to the police without compromising the political career of his wife (Ann-Margret), he must take things into his own hands – and delve into a world of drugs, sleaze, pornography and snuff.Ĭo-starring Prince protégé Vanity and John Glover (who was described as “the best, most reprehensible villain of the year” by Roger Ebert), and featuring a host of cameos from the stars of the ‘Silver Age of Porn’, 52 Pick-Up has been described by Leonard as his favourite big-screen adaptation of his works.Īrrow Video releases John Frankenheimer’s 52 Pick-Up on Blu-ray in its original aspect ratio of about 1.85:1. Roy Scheider ( Jaws, Cohen and Tate) plays a successful businessman whose life quickly falls apart when a compromising videotape of him and his mistress (Kelly Preston) becomes a tool for blackmail. Adapting Elmore Leonard’s novel of the same name, 52 Pick-Up’s union brought about the perfect blend of high calibre thrills and Cannon-grade trash. In 1986, John Frankenheimer – the director of The Manchurian Candidate, Seconds and French Connection II – made the unlikely career move of working with schlockmeisters Cannon Films. See more details, packaging, or compare Synopsis
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