The Long Kiss Goodnight: Limited Edition — 4K UHD review

Director Renny Harlin’s deliriously entertaining, late ‘90s action-thriller The Long Kiss Goodnight makes its 4K UHD debut.

The Production: 4/5

They really don’t make ‘em like The Long Kiss Goodnight anymore.

A bloody, frequently hilarious fusion of government intrigue, spectacular stunts, domestic drama and a dash of holiday cheer, the Renny Harlin-directed and Shane Black-scripted showcase for Geena Davis is (admittedly) dated in some respects, but as fresh and entertaining as ever in many others. There’s a freewheeling, almost cartoonish sense of joy radiating from even the darkest scenes here, and a refreshingly lack of cynicism which seems pervasive in most films of this type in the modern era.

Arriving on screens in 1996, Goodnight was something of a rebound for the then-married Harlin and Davis, both of whom were reeling from the failure of 1995’s Cutthroat Island, their first bid to position Davis as a bona fide action star. Working from a script authored by the peerless Black (whose own run in the 1990s is astonishing: The Last Boy Scout; Last Action Hero and this film), Harlin and Davis, assisted greatly by a phenomenal roster of actors — Samuel L. Jackson, first and foremost, alongside Craig Bierko, Brian Cox and David Morse — created a slam-bang thrill ride which marked, regrettably, the last time Davis took on a role like this (she followed Goodnight three years later with the children’s film Stuart Little).

The narrative falls apart if subjected to much scrutiny, but with a willing suspension of disbelief, hurtles along under its own internal logic. Davis stars as Samantha Caine, a suburban teacher whose calm, contented life includes husband Hal (Tom Amandes) and daughter Caitlin (Yvonne Zima), both of whom help her cope with her focal retrograde amnesia, which prevents Samantha from remembering any of her life before eight years ago — to help discover her past, Samantha has enlisted low-rent private investigator Mitch Henessey (Jackson).

After a late-night car accident jars her memory loose, Samantha soon finds herself a target of violent, government-affiliated thugs, led by the blandly handsome and ruthless agent Timothy (Craig Bierko, giving lethal smarm).  Teaming up with Mitch — and discovering she’s actually a highly trained assassin named Charly Baltimore — the one-time schoolteacher must go on the run to save herself and her family.

Thanks to the superb work of the cast, primarily the game-for-anything Davis and Jackson (whose work here echoes the fantastic sidekick presence he provided in Die Hard with a Vengeance one year prior), the absurdity of the plot is sold as deadly serious, even as jokes and one-liners fly like so much shattered glass and bullets. (Trying to narrow down the funniest Jackson quip is an exercise in futility, but I’m partial to “Yes, I’m a Mormon. That’s why I just smoked a pack of Newports and drank three vodka tonics.”)

The Long Kiss Goodnight also remains a showcase for the visceral pleasures of practical stunt work, as bodies fly through the air, fireballs blossom and hand-to-hand combat lands with punishing force. There’s an undeniable kick from seeing it happen in real time — albeit with a few CGI enhancements here and there — you just don’t get from greenscreen extravaganzas.

If there’s any part of Goodnight which grates 29 years after its initial release, it’s the casual, callous misogyny coursing through much of the film — Davis’s character is called a bitch a lot — and, to a lesser extent, watching a woman endure so much physical abuse, even if she dishes out plenty of pain herself. There’s absolutely a double standard at play — no one would blink if Davis were a man, a point Harlin and Davis were undoubtedly indirectly making — but there are moments, particularly the extended water torture sequence, where Goodnight flirts with the outer edges of unseemliness.

Still, in an era when films like this are mostly dumped onto streaming services, it’s satisfying to sit back and revel in the kind of big-budget, highly skilled and thoroughly entertaining spectacle Hollywood doesn’t really send to the multiplexes much anymore. The Long Kiss Goodnight has, mostly, aged like a fine wine, and remains one of the finest action movies of the 1990s.

Video: 5/5

3D Rating: NA

For its 4K UHD debut, Arrow Films undertook a brand-new restoration of the 35mm camera negative of The Long Kiss Goodnight, working from a 4K, 16-bit scan of the original 35mm camera negative, which was provided by Warner Bros. The film is presented in its original aspect ratio of 2.39:1 in 2160p resolution, and with a Dolby Vision high dynamic range (HDR10) grade applied. Per Arrow Films, this restored image was approved by Harlin.

Goodnight looks largely phenomenal, with just a few minor hiccups. Finely resolved grain, vivid colors and rich detail evident in facial features, clothing and snow flurries make this the definitive home video presentation. Black levels are rock solid throughout, and there is a sharpness and vibrancy showcasing Guillermo Navarro’s kinetic cinematography.

There are fleeting visual defects — some blurry vertical lines appear on the right side of the image when Samantha and Mitch first encounter Whitman (Brian Cox) — but apart from that moment, no trace of print damage or other notable visual defect, aside from the inherent softness at the edges of the anamorphic image, detracts from the visual presentation.

Honestly, the image is a bit too clear and clean, as it betrays some of the stunt and miniature work (especially during the climactic bridge sequence) done for the film — it doesn’t look bad, but it does somewhat dilute the illusion.

Audio: 5/5

The Long Kiss Goodnight is outfitted with no less than three distinct audio options: A DTS-HD MA 5.1 track, a DTS-HD MA 2.0 stereo track and a newly created Dolby Atmos track (which, in essence, functions as a kind of modern-day upgrade of the original theatrical Sony Dynamic Digital Sound, or SDDS, track, which had the capability of supporting up to eight independent channels).

The pair of DTS-HD MA tracks were sourced from Warner Bros., while Arrow Films produced the Dolby Atmos track, which, per the company, was reviewed by Harlin.

Given Goodnight’s preponderance of action sequences, the soundtrack gets a substantial workout, and it’s fascinating how the DTS and Dolby Atmos presentations give viewers the opportunity to experience the film in subtly different, but equally satisfying, ways. The DTS-HD MA track is louder, punchier and full of dazzling moments — explosions, gunfire and speeding cars pack a palpable punch, and the dialogue is heard clearly throughout.

The Dolby Atmos track, on the other hand, is a bit more subtle and smoother, with a tendency toward more realistic representation — there’s a touch more presence in the surrounds here versus the DTS track, which feels more enveloping, particularly during sequences involving lots of bystanders — but is just as dynamic during the high-octane moments.

You can’t go wrong with either — it’s a matter of personal taste that I found myself leaning toward the more brash, slightly less nuanced DTS track, as I preferred its heft during the action scenes — and kudos to Arrow Films for offering viewers both options. There’s no distortion, drop-out or audible defects evident throughout either track. Optional English subtitles are also included.

Special Features: 4/5

Arrow Films has provided an extensive suite of supplements for its two-disc edition of The Long Kiss Goodnight, which was previously only available in the U.S. on a fairly bare-bones, 14-year-old Blu-ray. The only real drawback to what’s here is the complete absence of any contemporary insight from Harlin, Davis or Jackson — it’s mystifying why there’s no retrospective element featuring any of them, considering Harlin signed off on the 4K restoration, but especially Jackson, who has gone on record citing Mitch Henessey as his favorite role to date.

At any rate, what is here is worthwhile for fans of the film, starting with the pair of commentaries on the 4K disc itself. One features film critic Walter Chaw, and the other features film critics (and co-hosts of the Bloodhaus podcast) Drusilla Adeline and Joshua Conkel. The 4K disc also contains the film’s trailer (2:33; Dolby Digital 2.0 stereo; 1.85:1 anamorphic widescreen) and an image gallery, containing 313 separate stills.

The Blu-ray is home to the bulk of the bonus features, leading off with “Girl Interrupted,” a newly filmed interview with actor Yvonne Zima, who plays Caitlin (16:02; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen), and followed by “Symphony of Destruction,” a newly filmed interview with stunt coordinator Steve Davidson (9:06; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “Long Live the New Flesh,” a newly filmed interview with makeup artist Gordon J. Smith (11:53; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “Amnesia Chick,” a newly created visual essay by film scholar Josh Nelson (19:32; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “The Mirror Crack’d,” a newly created visual essay by film historians Kevin Marr, Angela McEntee and Howard S. Berger (38:36; Dolby Digital 2.0; 1.78:1 anamorphic widescreen), and “A Woman’s World,” a newly created visual essay by film scholar Alexandra Heller-Nicholas.

Additionally, the Blu-ray contains a pair of deleted/extended scenes (2:32 in aggregate; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen); archival promotional interviews, each with Dolby Digital 2.0 stereo and in 1.78:1 anamorphic widescreen, with Harlin (2:16), Davis (1:28), Jackson (1:24) and Bierko (:42); a making-of featurette (5:53; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and behind-the-scenes footage (8:14; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen).

As Arrow did not provide a final, retail version of the set for advance review, I can’t speak to the slipcase or the disc case, which, per press materials, features both original and newly commissioned artwork by Sam Hadley. The two-disc limited-edition set also includes even more supplemental material — according to press materials; I have not seen these elements — an illustrated collector’s booklet featuring new writing on the film from Clem Bastow, Richard Kadrey, Maura McHugh and Priscilla Page, as well as a seasonal postcard and a “Thin Ice” sticker. Should Arrow provide a final, retail version of the set, I’ll update this review accordingly.

Overall: 4/5

They really don’t make ‘em like The Long Kiss Goodnight anymore. A bloody, frequently hilarious fusion of government intrigue, spectacular stunts, domestic drama and a dash of holiday cheer, the Renny Harlin-directed and Shane Black-scripted showcase for Geena Davis is (admittedly) dated in some respects, but as fresh and entertaining as ever in many others. There’s a freewheeling, almost cartoonish sense of joy radiating from even the darkest scenes here, and a refreshingly lack of cynicism which seems pervasive in most films of this type in the modern era.

In an era when films like this are mostly dumped onto streaming services, it’s satisfying to sit back and revel in the kind of big-budget, highly skilled and thoroughly entertaining spectacle Hollywood doesn’t really send to the multiplexes much anymore. The Long Kiss Goodnight has, mostly, aged like a fine wine, and remains one of the finest action movies of the 1990s.

Arrow Films’ limited edition 4K and Blu-ray set at last provides the film’s fans with a definitive home video presentation, thanks to multiple high-octane audio options and a plethora of bonus features. Highly recommended.