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Licensor Information
Paramount Home Entertainment
Directed by: Stephen Frears
Featuring: John Cusack, Anjelica Huston, Annette Bening, Pat Hingle, J. T. Walsh, Stephen Tobolowsky, Charles Napier, Henry Jones, Gailard Sartain, Frances Bay, Noelle Harling, Jimmy Noonan, Michael Laskin
A dark-hearted neonoir comes to a boil under the bright Los Angeles sun, in British director Stephen Frears’s rousing adaptation of the novel by dime-store bard Jim Thompson, a film that raises pulp to the realm of existential tragedy. A possessive mother (Anjelica Huston), her cynical son (John Cusack), and his scheming, seductive girlfriend (Annette Bening) are career swindlers circling one another in an elaborate emotional confidence game that grows increasingly perverse as love and trust turn to betrayal and Oedipal undercurrents rise to the surface. In Frears’s first Hollywood film, the ever-assured director and his trifecta of magnetic actors conjure a moody, unstuck-in-time vision of toxic Americana.
Release Information:
Technical Specifications
Format:
4K UHD
Blu-ray
Discs:
UHD-100 (1 Disc)
BD-50 (1 Disc)
Total: 2 Discs
Regions:
None (4K UHD)
A (Blu-ray)
Aspect Ratio:
1.85:1
Audio Options:
English DTS-HD MA Surround 2.0
Resolution:
2160p/24
1080p/24
Subtitles:
English
HDR:
HDR10
Dolby Vision
Supplements
Types of Supplements Included: Audio Commentary, Interview, Featurette, Documentary, Theatrical Trailer, Insert
- Audio commentary featuring director Stephen Frears, actors John Cusack and Anjelica Huston, and screenwriter Donald E. Westlake
- New interview with actor Annette Bening
- Short making-of documentary featuring Cusack, Frears, Huston, Westlake, and production designer Dennis Gassner
- Seduction, Betrayal, Murder: The Making of “The Grifters,” featuring interviews with Stephen Frears, Oliver Stapleton, editor Mick Audsley, executive producer Barbara De Fina, and coproducer Peggy Rajski
- The Jim Thompson Story, featuring Westlake and Robert Polito, biographer of The Grifters novelist Jim Thompson
- Trailer
- An essay by critic Geoffrey O'Brien
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