The Man Who Killed Hitler and Then the Bigfoot appears in an aspect ratio of approximately 2.40:1 on this Blu-ray Disc. This was a largely positive presentation.
Overall sharpness seemed good, though inconsistencies occurred, mainly during low-light shots. Those could be a little soft, and since the film came with many of these dim interiors, the movie showed mild drops in delineation.
Jagged edges and moiré effects didn’t mar the presentation, and I saw no edge haloes. Print flaws also failed to appear.
In terms of palette, Man went with a heavily teal and orange orientation. Splashes of other hues appeared on occasion, but they remained in the minority. Within stylistic choices, the hues seemed well-depicted.
Blacks were dark and dense, but shadows seemed a little inconsistent. As noted, low-light shots could be a bit on the dense side. Otherwise, this became a well-rendered affair.
As for the DTS-HD MA 5.1 audio, it offered a fairly involving affair, though it didn’t seem as active as the movie’s title might imply. While Killed came with occasional action flourishes, it usually emphasized character beats.
Along with good stereo music, the soundfield was able to open things up in a satisfying manner that embellished the story. A few violent pieces added the most pizzazz. The mix didn’t dazzle, but it worked fine.
Audio quality was always good. Music appeared full and rich, while effects demonstrated nice clarity and accuracy.
Speech was natural and distinctive throughout the film. Again, this wasn’t a heavily active track, but it made sense for the story.
A few extras show up, and we begin with an audio commentary from writer/director Robert D. Krzykowski. He presents a running, screen-specific discussion of story/characters, cast and performances, sets and locations, music, editing, stunts, effects, audio and connected domains.
Krzykowski offers a pretty solid examination of his film. He covers an appropriate array of topics and makes this a thoughtful, engaging track.
With The Making of The Man Who Killed Hitler And Then the Bigfoot, we get a 39-minute, 14-second program. It includes notes from Krzykowski, executive producers Douglas Trumbull and John Sayles, producers Lucky McKee and Patrick Ewald, visual effects producer Rocco Gioffre, editor Zach Passero, and actors Ron Livingston, Sam Elliott, Larry Miller, Rizwan Manji, Mark Steger, and Caitlin FitzGerald.
“Making” looks at the project’s roots and development, story/characters, cast and performances, and effects. Expect a pretty nice overview of the production in this informative show.
Music comes to the fore via A Conversation with Composer Joe Kraemer. In this six-minute, 23-second piece, Kraemer talks about his collaboration with Krzykowski, influences, and aspects of his score. Kraemer brings us a useful view of his work.
A short film called Elsie Hooper runs five minutes, 45 seconds. A 2016 effort that represented Krzykowski’s sole credit as writer/director prior to Killer, Hooper offers an odd mix of action and noir affair. It’s semi-interesting but a bit of a mess – and also ends with a teaser for a second chapter that never came.
Six Deleted Scenes fill a total of eight minutes, 52 seconds. Most are pretty sure, and the longest gives us an amiable chat between young Calvin and Maxine. None of them seem especially important.
We also find a Concept Art Gallery. It offers 19 images and gives us a good look at the original ideas.
The disc opens with ads for Bone Tomahawk, The Osiris Child and The Standoff At Sparrow Creek. No trailer for Killed appears here.
Despite its wacky title, The Man Who Killed Hitler and Then the Bigfoot delivers a fairly somber character drama. Unfortunately, it gives us a pretty dull tale that never expands its roles or concepts in a satisfying manner. The Blu-ray provides generally positive picture and audio as well as a useful set of supplements. I wanted to like Killed but the end result left me bored.