Superman: The Movie (2023 Re-issue) UHD Review

2 Stars WTF, Warner?
Superman: The Movie (2023 Re-issue) UHD Screenshot

Superman: The Movie released as part of the Superman 5-Film Collection boxed set, Warner has for some unknown reason omitted the original 70mm 5.1 mix from the 2018 release and replaced it with an inferior 2.0 stereo mix, but retained the UPC code from that prior release.

Superman (1978)
Released: 15 Dec 1978
Rated: PG
Runtime: 143 min
Director: Richard Donner
Genre: Action, Adventure, Drama, Sci-Fi
Cast: Marlon Brando, Gene Hackman, Christopher Reeve, Ned Beatty
Writer(s): Jerry Siegel (character created by: Superman), Joe Shuster (character created by: Superman), Mario Puzo (story), Mario Puzo (screenplay), David Newman (screenplay), Leslie Newman (screenplay), Robert Benton (screenplay)
Plot: An alien orphan is sent from his dying planet to Earth, where he grows up to become his adoptive home's first and greatest superhero.
IMDB rating: 7.3
MetaScore: 80

Disc Information
Studio: Warner Brothers
Distributed By: N/A
Video Resolution: 2160p HEVC w/HDR
Aspect Ratio: 2.39.1
Audio: Dolby Atmos, English 7.1 Dolby TrueHD, English 2.0 DTS-HDMA, Spanish 2.0 DD, French 2.0 DD, Other
Subtitles: English SDH, Spanish, French, Other
Rating: PG
Run Time: 2 Hr. 23 Min.
Package Includes: UHD, Blu-ray
Case Type: 2-disc UHD keepcase
Disc Type: UHD
Region: All
Release Date: 05/09/2023
MSRP: $29.99

The Production: 4.5/5

If you were to ask just about any director before the whole Marvel Cinematic Universe took over the world’s box office, they would likely point to Richard Donner’s Superman: The Movie as the litmus test that any superhero movie would be judged against. Donner’s film, and Christopher Reeve’s performance, set the standard for comic book adaptations for decades since its release in 1978. Audiences had never seen anything quite like it before; not only did it make us believe that a man could fly, it was a special effects spectacle that had a wry sense of humor and wit. Then-unknown Christopher Reeve was perfectly cast as the title character and his alter-ego Clark Kent – yes, he looked the part, but brought a bit of a young Cary Grant to his portrayal of both characters (his early flirtation as Superman with Lois Lane at the beginning of their interview, for example). Margot Kidder brings some spunk to the reporter in distress, Lois Lane. Superman was quite possibly the first movie where I realized just how much a fun an actor can have in playing a role, and that role is Lex Luthor, played in three of the four Reeve films by Gene Hackman, who is definitely having the time of his life doling out great lines like:

Do you know why the number two hundred is so vitally descriptive to both you and me? It’s your weight and my I.Q.

It’s amazing that brain can generate enough power to keep those legs moving.

You were followed again…in spite of those catlike reflexes.

Doesn’t it give you, like, a shudder of electricity… to be in the same room with me?

Rounding out the cast of Superman: The Movie are the also hilarious and wonderful Ned Beatty as Luthor’s sidekick Oits, Valerie Perrine as Luthor’s voluptuous girlfriend Eve Tessmacher, Jackie Cooper as Daily Planet editor-in-chief Perry White, Terrence Stamp as General Zod (who plays a more vital role in the sequel), Glenn Ford and Phyllis Thaxter as Clark’s earthly parents, and Marlon Brando (who has reportedly paid $3.7 million plus profit participation for reading his lines off cue cards) as Jor-El. I absolutely loved this movie as a child, and remember my disappointment in having to wait nearly three years for the next chapter, despite the end credits declaring “Next Year – Superman II.”

Video: 4.5/5

3D Rating: NA

NOTE: This appears to be the same transfer as the previous 2018 release.

Superman: The Movie was made at a time when the world was very analog, where visual effects were created through multiple exposures, optical printing, and the utilization of front and rear projection. It was also shot on 35mm film by veteran cinematographer Geoffrey Unsworth (Cabaret, 2001: A Space Odyssey) with soft filters and smoke. The movie and its first sequel have always appeared rather soft with noticeable film grain. Warner Bros. has gone back to the original camera negatives and scanned them in 4K, and the film is presented on UHD Blu-ray in an HEVC-encoded 2160p transfer in the film’s theatrical aspect ratio of 2.39:1, with HDR-10 and Dolby Vision high dynamic range. While I was rather impressed with the results, some may not. My wife made a few comments during our home screening, feeling a bit disappointed in how soft and grainy the image appeared to her, claiming it didn’t look much better than DVD, at least until I pulled out the included 2011 Blu-ray and an older DVD transfer, and she began to see some of the more subtle improvements. Like I said, Superman: The Movie has always appeared a bit soft, even during its original theatrical release 40 years ago. There is some noticeable improvement in fine detail, such as textures in fabrics (the creases in the reflective suits worn on Krytpon, for example). Colors are where this disc truly excels, providing deeper and more vibrant tones, particularly the blues and reds of Superman’s costume. Contrast is slightly improved, with deeper blacks and better refined shadow detail, but due to the film’s reliance on the Zoptic front projection system in most of the flying sequences, blacks can never quite get past dark grey.

Audio: 3.5/5

The sound mixes have probably been the most controversial aspect of just about every digital media release of Superman: The Movie, and that controversy continues with this bizarre 2023 re-issue. The DVD and Blu-ray releases of the extended cut were criticized for their enhancements of sound effects and the supposed original theatrical stereo mix actually being a stereo fold-down of the new 5.1 mix.

Unfortunately, for this new 2023 pressing, someone at Warner thought it would be better if the lossy Dolby Digital 5.1 track (which was based on the original 70mm six-track Dolby Stereo mix) was replaced with a 2.0 stereo track in DTS-HD MA (listed in the menu as “Original Theatrical English”). We still get the very good Dolby Atmos mix created for the 2018 release, fortunately. The Atmos mix adds an extra layer of dimensionality, boosted bass, and less-subtle swooshing flying effects (noticeable almost immediately in the opening credits sequence). The DTS-HD MA 2.0 stereo track is more front-heavy and is somewhat lacking in bass, but does provide more pronounced swooshing effects during the opening credits. Why the studio felt it necessary to tinker with the previous UHD release is a mystery.

Special Features: 3/5

Unfortunately, Warner has decided once again to include the rather dated Blu-ray release of the theatrical cut that came with the 2011 Superman Motion Picture Anthology boxed set. The extras on the Blu-ray disc are nice, but sadly still missing are the very comprehensive documentaries (totaling close to 90 minutes) on the making of the film (and all the troubles and turmoil) hosted by Marc McClure (Jimmy Olsen) that were included on the original DVD release of the extended cut, deleted scenes, screen tests, the extended cut itself with commentary by Richard Donner and Tom Mankiewicz, etc. Rather disappointing for a studio 100th Anniversary release.

Audio Commentary with Pierre Spengler and Ilya Salkind: This track is available on both the 4K UHD and Blu-ray discs.

The Making of “Superman: The Movie” (480i; 51:50): The 1978 TV special.

Superman and the Mole-Men (480i; 58:05)

Super-Rabbit (480i; 8:12): Bugs Bunny cartoon.

Snafuperman (480i; 4:34): World War II-era propaganda cartoon starring Private Snafu.

Stupor Duck (480i; 6:40): Daffy Duck cartoon.

TV Spot (480i; 0:31): Strangely, this is cropped to fill your 16:9 screen.

Teaser Trailer (480i; 1:14)

Theatrical Trailer (480i; 2:40)

Overall: 2/5

This “new” pressing is rather disappointing. Rumors were that this had been remastered, but the truth is the only difference here is the swapping of a lossy 5.1 Dolby track with a lossless 2.0 stereo DTS-HD MA track, despite the 5.1 mix getting high praise from fans who picked up the 2018 release. To add insult to injury, Warner is even using the same UPC and disc ID codes for this “new” release as they did for the prior one in 2018. The only way to know for sure if you purchase this title individually from the 5-movie boxed set is to look at the audio specs on the back cover, and even then, some 2023 discs were shipped out with the old 2018 cover in error. Also, fans will still want to hold on to all previous DVD and Blu-ray editions in order to have all of the special features and the extended cut. Major fail by the studio here.

Todd Erwin has been a reviewer at Home Theater Forum since 2008. His love of movies began as a young child, first showing Super 8 movies in his backyard during the summer to friends and neighbors at age 10. He also received his first movie camera that year, a hand-crank Wollensak 8mm with three fixed lenses. In 1980, he graduated to "talkies" with his award-winning short The Ape-Man, followed by the cult favorite The Adventures of Terrific Man two years later. Other films include Myth or Fact: The Talbert Terror and Warren's Revenge (which is currently being restored). In addition to movie reviews, Todd has written many articles for Home Theater Forum centering mostly on streaming as well as an occasional hardware review, is the host of his own video podcast Streaming News & Views on YouTube and is a frequent guest on the Home Theater United podcast.

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Bryan Tuck

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My guess on the audio issue is that maybe whoever was supervising the audio materials here was under the mistaken impression that the 5.1 on the 2018 UHD was a remix, and so replaced it with the "original" stereo.

As much as I appreciate Warner being more willing to include original audio mixes on their recent releases of older films, it seems that they might not quite understand the nuances of what that actually means.
 

TonyD

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Same upc so no way to know if you found an original release with the theatrical fx Mix.
 

Josh Steinberg

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Same upc so no way to know if you found an original release with the theatrical fx Mix.

It’s in tiny print on the technical specs box at the rear bottom of the actual package, so if you see it in a physical store (or buy a used copy from someone who can take an actual photo instead of using a stock one) you should be able to tell that way - but fully agree that a new SKU should have been issued.
 

Josh Steinberg

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I already have it but good info for anyone who doesn’t and wants to.

I don’t have a UHD player so I never got around to buying it but I might have to now just to future proof myself with a copy of the 5.1 mix.
 

Bryan Tuck

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Same upc so no way to know if you found an original release with the theatrical fx Mix.

Just to be clear, the 2.0 on the new UHD has the original sfx, too. It's just taken from the weaker 35mm stereo mix. The 5.1 was from the 70mm six-track with better fidelity, separation, and... well, oomph. :)
 

Tino

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“We still get the very good Dolby Atmos mix created for the 2108 release”

Hmm….are you a time traveler @Todd Erwin ?;)
 

Sgecko79

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The 2018 issue of Superman the movie has a 5.1 Dolby Digital soundtrack that is a total re-engineering compiled from all existing soundstock and sperated into 5 discrete channels: LF-C-RF in the front, LS-RS in the rear, supported by LFE (the .1 channel, low frequency effect) that can be placed anywhere (subwoofer). The 70mm 6 channel Dolby Stereo tracks consisted of 6 discrete ANALOGUE channels: L-LC-C-RC-R in the front behind the screen, and 1 mono surround in the back, with no LFE subwoofers. The DTS MA 2.0 track bitrate of 48kHz is obviously superior to the 640 kbps of 2018's 5.1 DD track which suffers from severe digital compression loss as a result of shrinking the file size by almost 1000%.-(not exagerated). The 2 channel DTS track has no loss in fidelity as made evident by the 48kHz bitrate of a 2 channel track.
 
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Sgecko79

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Superman was not a WB studio production. It was an independently produced film, and was shot to look as it does.
Superman: The Movie looks incredible compared to many of the films from that era, and the credit for all of that goes to Warner Bros and Richard Donner. The Salkinds fully intended to make a fast turnaround on their money filming their terrible script, loaded with movie stars, and foregoing all production value. Then they mistakenly hired Donner. When Donner realized how embarrassingly cheap the movie would look under the Salkinds production, who wouldn't give him any money, he went to WB executives with the problem. Warner, being the parent company of DC at the time (and currently), decided not to allow DC's flagship to be tarnished on screen so they ended up giving the funds to Donner for some of the most important parts necessary for the production; number 1, FLYING. The Salkinds were content with flying animations and a guy laying on plexiglass with a camera overhead.
 
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