In 1776 South Carolina, widower and legendary war hero Benjamin Martin (Mel Gibson) finds himself thrust into the midst of the American Revolutionary War as he helplessly watches his family torn apart by the savage forces of the British Redcoats. Unable to remain silent, he recruits a band of reluctant volunteers, including his idealistic patriot son, Gabriel (Heath Ledger), to take up arms against the British. Fighting to protect his family’s freedom and his country’s independence, Martin discovers the pain of betrayal, the redemption of revenge and the passion of love.

For thoughts on The Patriot, please check out my thoughts on No Streaming Required: 

Video Quality

The new 4K UHD Blu-Ray SteelBook of The Patriot offers a significant improvement in quality over the older Blu-Ray released in 2007, but no Blu-Ray copies of the movie are included in this package. The film was already released on 4K UHD Blu-Ray back in 2018, which I have and used to compare to this newer release. The implementation of Dolby Vision versus the strictly HDR10 of the previous release yields some incremental improvements, but the major selling point of this release is the inclusion of the Extended Cut in 4K UHD at long last, as opposed to the HD presentation in the last set. While it was believed that the unique footage in this cut could not properly be scaled up to meet 4K UHD standards, Sony has worked its magic by providing it along with the Theatrical Cut on 4K UHD, each version with its own disc. 

These transfers invite a proper amount of film grain that resolves exceedingly well without being clumpy, splotchy, or unnatural. Even in the most challenging conditions, such as the smoky battlefield, the picture does not stumble with loose grain or banding, leaving you astounded by its complexity. Sony has not had any digital manipulation done to this transfer, so this disc is clear of DNR, compression artifacts, and other encoding shortcomings. The period production design is presented with tremendous clarity and depth. Skin tones appear more natural than the previous Blu-Ray with a world of fine detail apparent, especially as wounds compound on the battlefield. The costumes and other background textures within the environment are key to making this transfer feel so alive. Even the unique footage of the Extended Cut blends seamlessly with the theatrical footage, so you are in good shape no matter which version you watch. 

The benefits of Dolby Vision are readily apparent, as it refines the color spectrum to achieve a more pinpoint execution of the intended hue. The black levels are a beast, always staying deep and flawless with great detail. Highlights in the film are just as brilliant, with the whites pure and balanced with no signs of blooming to be found. This is helpful with characters out under the blazing sun. There is a fair share of eye-popping colors to behold, especially within the foliage and other environmental flourishes. The rich shades within the foliage are quite impressive on all fronts. The colors are complex and completely accurate to what was intended by the creative team. Sony has come through with a pair of impeccable transfers for fans, and even those who own the previous 4K UHD might want to upgrade for the extended cut. 

Audio Quality

This 4K UHD Blu-Ray ports over the previous Dolby Atmos track, which gives the film a stellar audio experience necessary for a period epic. The disc also provides the original DTS-HD 5.1 Master Audio track that still impressive in its own right. Those who choose to utilize the original track may not engage every speaker you have, but you will be treated to an ideal experience without any obvious age-related flaws. Dialogue is nice and clear without ever getting overpowered by the music or sound effects. The score from John Williams is deeply emotional and adds so much to the experience as it flows out with peerless fidelity. 

With the Atmos track, you will find the front channels commanding most of the dialogue and other primary sounds, but subtle elements consistently expand to the surrounds, rears, and overhead speakers to make things feel more three-dimensional. The sounds up above do not steal focus unnecessarily, rather allowing the world to feel more expansive. Atmospheric sound effects are precisely rendered within the mix so that directionality is never in question. The low-end effects from the subwoofer are astounding due to the intense battle sequences. Sony has not set a foot wrong with this release. Optional English, English SDH, and a plethora of other subtitles are provided. 

Special Features

Sony has provided The Patriot with a sleek new SteelBook featuring artwork that is truly lovely in person. Video of the SteelBook can be found at the top of this review.

Disc 1 (4K UHD – Theatrical Cut)

• Audio Commentary: Director Roland Emmerich and Producer Dean Devlin

• The Art of War: A ten-minute featurette that explores how combat was waged during this time and how the creative team approached realizing it on screen. 

• The True Patriots: A ten-minute look at the process of bringing the soldiers into this feature, as well as the supposed historical accuracy at play. 

• Theatrical Trailer (2:39)

Disc 2 (4K UHD – Unrated Version)

• Deleted Scenes: A 13-minute selection of unused material is provided here with optional audio commentary from director Roland Emmerich and Producer Dean Devlin. 

• Visual Effects Featurette: A nearly ten-minute piece that shows how they pulled off some of the visual effects work in the film. 

• Conceptual Art to Film Comparisons (4:48) 

Final Thoughts

The Patriot is one of the ultimate examples of pure “dad movie” bliss. You get an epic historical story that sands down any nuances to a strict moral binary that plays well for a broad audience. If you are looking for historical accuracy, you should stay far away, as this feature has strictly different goals. This movie mostly accomplishes what director Roland Emmerich strives to do with all of his movies—to entertain a mass audience. This does not always result in the most artistically rewarding endeavors, but they can be satisfying. Even with a runtime nearing three hours, the film moves along at a great pace, and the ensemble delivers in all the ways it needs to. It’s American history through a shiny Hollywood lens, but that is what you want sometimes when you rather rest your brain for a few hours. Sony Pictures has released a sterling new Limited Edition 4K UHD Blu-Ray SteelBook featuring a top-notch A/V presentation as well as a welcome assortment of special features. For the Extended Cut in 4K UHD alone, this is worth an upgrade for fans. Recommended 

The Patriot is currently available to purchase on 4K UHD Blu-Ray SteelBook and Digital. 

Note: Images presented in this review are not reflective of the image quality of the 4K UHD Blu-Ray.

Disclaimer: Sony Pictures Home Entertainment has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.

At the start of first-time feature director Ryuya Suzuki’s animated film Jinsei, our protagonist reveals the last time he was called by his birth name. The circumstances are tragic but in Suzuki’s unique visual style, they’re also a little funny, a little weird, and a lot interesting. Thus begins the 10-chapter tale of a man called by many names over nearly 100 years – all portrayed through truly out-of-this-world animation.

To explain in detail the film’s plot would do little to explain its appeal. Suzuki, who animated the film by himself over 18 months, told The Japan Times that there was no script to guide him, only a theme of identity. While this sort of surprise-based storytelling meant as a viewer I couldn’t predict what happened next, it made any themes other than the main overarching one impossible to parse. Jinsei’s multi-named protagonist – at times called Kuro, Se-chan, and even God (all voiced by Japanese rapper Ace Cool) – is also very aloof in tone, his cool demeanor only broken by sudden acts of violence. By the film’s midway point, there’s little concrete to hold onto within the story and there’s always a risk of floating away from the onscreen action entirely.

But that’s where the beauty of Suzuki’s animation saves what otherwise is a pretty jumbled narrative. Japanese animation, or anime, has become a staple of the international cinematic landscape, especially after OVA screenings (original video animations, usually based on manga or episodic anime shows) proved incredibly profitable for theatres post-lockdown. Yet Jinsei looks nothing like the visual explosion of a Demon Slayer The Movie: Mugen Train. Its muted color palette of gray, darker gray, and navy blue keep even the most cosmic scenes grounded in the personal interactions between characters. 

Here, the inspiration Suzuki claims of live-action classics like Battle Royale, The Worst Person in the World, and Scarface shines through. The language he develops is playful yet deliberate, and most of how we emotionally engage with the protagonist and surrounding players is through striking images: a swan flying to show a dream of true freedom or bloody underwear to reveal a deeply tragic decision. Most notable, though, is how time passing is portrayed across the film’s multi-decade spanning runtime. When we’re first introduced to our protagonist in 2008, scenes luxuriate in childhood slowness – everything feels like forever even when it’s only six months – but as he grows older, time picks up the pace until at last shown as a captivating montage going too fast to ever fully appreciate. 

There are many films where formulating a star “rating” feels at odds with my personal experience of the picture. How can I rate a movie where I was both dazzled and frustrated, often in the same scenes? Maybe this is just the rub when an obviously talented director has mastered one skill but hasn’t quite figured out the whole tool belt. I see so much potential in Suzuki’s skill as an image-creator, and his process with Jinsei where he created the scenes over an 18-month crunch makes for an exciting behind-the-scenes story. Is a beautiful vision enough to overwhelm the fragmented foundation its narrative stands on? Every viewer’s answer will be different. Personally? I’m interested to see where Suzuki goes next – hopefully with a script in hand.

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This article appears in June 12 • 2026.

It’s been nearly two months since Morgan Neville’s amusing and thoroughly superficial Lorne, in which the Oscar-winning documentarian tried and failed to get the Saturday Night Live creator to let down his guard. So I guess we were overdue for a new Saturday Night Live-based documentary.

Josh Greenbaum’s Playing POTUS isn’t exactly a Saturday Night Live-based documentary — not in the way the various SNL50 docs or films focusing on high-profile SNL alums like Chevy Chase and Eddie Murphy were Saturday Night Live-based documentaries. But for all of its ostensible focus on a wide variety of comic impressions and impersonations of presidents, I’d estimate that at least 75 percent of the documentary’s 93-minute running time is dedicated to Saturday Night Live.

As Playing POTUS: SNL’s 50 Years of Presidents, this vague adaptation of Peter Funt’s book titled Playing POTUS: The Power of America’s ‘Acting Presidents’ is fine. It’s missing some key interview subjects and dodges or entirely misses some key topics, but when you have talent as clever and enthusiastic as Dana Carvey, Will Ferrell, Kate McKinnon and Darrell Hammond, you’re bound to find some insights and ample entertainment.

However, as Playing POTUS: Not Just SNL, it’s barely functional, to a degree of near pointlessness. The failure to analyze or even acknowledge countless comic interpretations of presidents in contexts that lack Lorne Michaels is so thoroughly bizarre that the entire documentary becomes more head-scratching than enlightening. Though like Neville’s Lorne, it’s at least an entertaining trifle.

The frustrating thing about Playing POTUS is that it starts off reasonably promising, using John F. Kennedy impersonator Vaughn Meader, whose comedy record The First Family is one of the strangest winners of the Grammy for album of the year. It isn’t deep historical context, but it’s absolutely historical context, followed by a swift jog through the Smothers Brothers and…that’s pretty much it for comic presidential impersonations before Saturday Night Live.

The meat of the documentary is the different SNL presidents talking about their individual impressions, their origins and their causally unprovable impacts on the perception of those presidents.

This is the best part of the documentary, whether it’s Chevy Chase cackling at the possibility that he might have contributed to Gerald Ford’s speedy electoral defeat; Dana Carvey talking (for possibly the millionth time) about how he was so stymied by George Bush that he cobbled together a character who often had nothing at all to do with its source; Alec Baldwin reading both negative tweets from Donald Trump and, proudly, his own responses; or Kate McKinnon getting emotional still talking about her version of Hillary Clinton and Hillary’s 2016 defeat.

Greenbaum and his subjects are willing to acknowledge some of the less successful impressions over the years — “Of all the presidents who have ever been on SNL, I think I was my least favorite” Will Forte says of following Will Ferrell as George Bush Junior — as well as the lengthy struggles to find an appropriate Obama or Joe Biden.

With the help of a couple of experts, Playing POTUS does well with explaining how frequently SNL‘s impressions have achieved a level of hyper-reality, in which the heightened Xerox supplants the actual historical figure in the collective consciousness. In that light, though, it’s strange not to dedicate a single second to then-candidate Donald Trump’s appearance hosting Saturday Night Live.

Although the documentary suffers a little from the absence of Tina Fey as part of a lengthy segment on her Sarah Palin impression and its effect on the 2008 election, that probably should have made Greenbaum realize that not only was Palin never elected POTUS (nor was Hillary Clinton, it should be added), she wasn’t elected veep either. Playing POTUS also covers Maya Rudolph’s impression of Kamala Harris, who doesn’t technically align with the title. Perhaps that all could have been 15 minutes redistributed into non-SNL terrain.

Keegan-Michael Key is great discussing the origins of Luther, Obama’s anger translator. Rich Little is present to discuss general impressions. Seth Meyers is part of a decent segment on the history of presidential roasting at the White House Correspondents Dinner.

But if the topic is meant to be broad, it’s head-scratching to ignore The Simpsons, South Park and any movie that took a comic approach to a specifically named president — Dick, W., Vice, etc. In this film’s universe, In Living Color apparently never existed, nor did Trey Parker and Matt Stone’s That’s My Bush!, a multi-cam sitcom about George W. Bush and his family. Mad TV is mentioned only nebulously, though full credit to Will Sasso, the only talking head in the documentary capable of expressing regret at how much and how wrongly Monica Lewinsky was lampooned in conjunction with Bill Clinton.

There’s something astonishingly and instantly dated about how thoroughly Greenbaum misses the way new media has and continues to approach Donald Trump. Sarah Cooper may have been a flash-in-the-pan, but if you can’t find something substantive to say about how a multi-racial woman became a fleeting sensation lip-synching Donald Trump, you’re not trying very hard.

Instead, Greenbaum, who did far better and smarter work with many of the same people in Too Funny to Fail and Will & Harper, wastes time on a voiceover device that’s too cutesy to be worth the effort and a three-act structure that’s more for the benefit of his editors than the audience. It all results in a potentially meaningful documentary that isn’t bad, just lacking.