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Manchester By the Sea (BD)

Format: Blu-ray
IMDb7.8/10.0
$11.98
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Product details

  • Package Dimensions ‏ : ‎ 6.77 x 5.31 x 0.43 inches; 2.72 ounces
  • Release date ‏ : ‎ February 1, 2020
  • Studio ‏ : ‎ Mongrel
  • ASIN ‏ : ‎ B079NKVLCH
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:

Customer reviews

3.8 out of 5 stars
3.8 out of 5
5,822 global ratings
A moving case study in grief/depression
4 out of 5 stars
A moving case study in grief/depression
One of 2016's acting powerhouses has arrived on Blu-ray one week before the Academy Awards, where it has been nominated for six awards including Best Picture. Manchester By The Sea is the story about Lee (Casey Affleck) trying to put his life back together after tragedy strikes his family. Recently divorced from his wife (Michelle Williams), Lee must also deal with his brother's death and subsequent custody arrangements for his angsty nephew (Lucas Hedges). The story is told mostly through abrupt, fragmented flashbacks that unravel to explain Lee's morose state of mind. I consider the film a spiritual successor to another Academy favorite, Ordinary People (1980), both in terms of tone and treatment of subject matter. The film deals mainly with different facets of grief, all embodied in the wonderful performances by Affleck, Hedges, and Williams.The Blu-ray itself services the film nicely. The picture quality does justice to the film's chilly, winter settings and dark, dingy interiors. Outdoor scenery gets the greatest benefit from sharpness and detail, such as long shots on the Chandler family boat. The sound is DTS-HD 5.1, and although mainly a front-loaded, dialogue-based film, there are some moments of subtle surround use in scenes with environmental sound. The scenes making use of Baroque-era music get the most mileage out of the rear channels. Overall quality is clear. No other language options are available, other than English. Subtitles include English SDH and Spanish.Extras include a commentary track by writer/director Kenneth Lonergan (oddly titled "A Conversation with..." instead), three deleted scenes that aren't very remarkable, and a fluffy making-of featurette called "Emotional Lives." Most interesting about the last extra is how painfully obvious it is that the interviews were conducted at different times, due to the constantly-changing length of Casey Affleck's hair and beard, presumably for his next film role. Rounding out the extras are a standard-definition DVD copy that duplicates all the extra content, and an Ultraviolet digital copy.Although the extras department could have been a little more substantial, this is a fine film, and one of 2016's best, in my opinion. I wouldn't be surprised if Criterion picked it up for a special edition, sometime in the near future.
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Top reviews from the United States

L Buyer
5.0 out of 5 stars Manchester by the Sea - Tragically Poignant, Tremendously Played
Reviewed in the United States on March 25, 2023
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This was not my first time to see Manchester by the Sea. I skimmed the 1-star reviews before writing mine. The whole movie I was glued to the screen thinking, well, that it had a lot of swearing (the "F" word), but how well Casey Affleck played his role as a very despondent man who had essentially lost everything that was every really important to him. Save but one, his nephew, Patrick, whom he loved but couldn't bring himself to assume custody after his brother's untimely death.

The movie was dark yet had an ethereal component to it with the background vocal accompaniment, a capella. Like the waves of the water, and life, the voices came and left you as if the tide was ushering in Death out from the sea.

So much weight on his very soul. So much guilt. So much pent-up, painful suffering that, as much as he might have tried to block it out, he couldn't. And he also couldn't release it. So well played. What happens to your heart and mind - the changes when you lose. so. much. And you know it was your fault, even if you didn't mean to do it. I cannot imagine the heavy emptiness he carried every single day of his life. When you don't know what to say, and you can't find the words to explain how you don't know what you're feeling... you simply fill the space with head-banging profanity, over and over again. It's the closest thing you can grasp - to express the pain you cannot reach.

Life-condemning guilt. No price paid, and yet... the ultimate price. The lives you created, the life you had made for yourself or which you had stumbled into, now completely broken. Tragedy upon tragedy. Exponential suffering, eternal shame.

Most poignant scenes (semi-spoilers): when Patrick had gone down for a midnight snack, and all the frozen chicken fell on the floor. Lee losing his focus out the window into the past, then putting his hand through it. His precious daughters waking him near the end asking, "Daddy, do you smell something burning?" Angels watching in the night. Rani asking Lee out for lunch; suffering extended. Patrick's email from his mother's fiance'. So well-written. Incredibly well-played.

I can understand the 1-star ratings for the almost endless cursing. I can understand the dismal feeling many felt. But how is anyone expecting these individuals to go on as if nothing happened? To sweep the multiple tragedies, mind-stricken trauma under any rug - there would be none thick enough to hide the dirt. How can anyone expect someone to live as if they are whole when the very fibers of their Being have been emotionally shredded by a cross-cut saw?

Casey Affleck played this role marvelously, fully-embodied as the man of the hour. Michelle Williams as well - as all of her movies, she steps into the role and becomes that Being, in this case, Randi. A mother "without" until she finds new meaning - or tries. Nothing can change the facts as hard as you might try. That's life. And death.

This is a not an easy movie to watch, and yet it had me fully focused, taking in every breath, following every step, only slightly jumping when Lee put his hand through the window. I was even expecting it.

If you have recently suffered such a tragedy as this, I would issue extreme consideration before viewing it. It might not be the time for you to witness such tragedies so fresh. If you are stuck in your grief, this might pull it out of you, or express it for you, especially if it's deeper. The theme? Dark. The acting? Superb. The language? Heavily jaded, but pointed in pursuit of playing out what should be expected if anything at all.

You'll want your Puffs box for this one. And knowing that Michelle could pull from real life experiences, her depth of emotion, that one is for the books. I felt honored to witness this extended family's multiple tragedies. How they ever pulled out alive at all, that in my very humble opinion, felt nothing short of a miracle. May anyone who has suffered similar tragedies be forever comforted and blessed with dreams of your loved ones waking you in your sleep.
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Samuel
5.0 out of 5 stars "It seems there should be some dialog here"--A film that exposes the insensitivity of its critics--to life and to art.
Reviewed in the United States on May 9, 2017
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This is a film with so many "ordinary" moments that it ultimately proves "extraordinary" in its use of understatement to awaken viewers to a heightened awareness of their own mortality and to the power of "art" (in this case, cinematic art) to shine a light on the darkest corners of a world-in-flux. Like the films of the ultra nuanced, minimalist French filmmaker, Robert Bresson, "Manchester" manages to "mute" its most horrific scenes, reducing each visual impression--through the brevity of a shot, the avoidance of close-ups, the use of formal, stately music--to the same "scale," or level of importance, as the film's more mundane scenes and routine actions. Like the world of nature--in which creation and destruction, energy and entropy co-exist, inseparably and “undramatically”—the events in “Manchester By the Sea” unfold with the random and cruel necessity of natural process.

The closest we get to an action like the conventional "climax" of most well-plotted stories is a brief encounter late in the movie between Lee (Casey Affleck) and ex-spouse Randi (Michelle Williams). Although remarried and pregnant, she not only forgives Lee the death of their three children but insists she still loves him! Immediately the fire is doused by Lee, who can only say "there's nothing there" and walk away. Similarly, Lee seems incredulous that, after going to the police station and testifying to his role as the drug and alcohol-affected agent of his own 3 children's deaths, he is simply told he can go. He has not committed anything criminal; he's not even accountable. Thereupon, his diminishment to "nothingness" falls just short of completion when his attempt at suicide is prevented by the police who quickly disarm him. Subsequently, each of his violent eruptions against those he meets up with is at once an expression of his paranoia towards others (even complete strangers!) who judge him as he judges himself and an existential plea for recognition of himself as a human being in danger of disappearing from the human community if not the face of the earth.

The most unusual moment for this viewer came during a short scene in the last 10 minutes of the film. Lee is seated at a kitchen table, with his friend George in the middle and George's wife at the other end. It's a strangely comforting scene, since Lee appears almost "at home" in Manchester prior to relocating. But it's a moment of silence--one that is apparently resisted even by the filmic, or digital, medium responsible for telling Lee's story. At the end of the scene, my wife asked: "Did you see that?" "What?" I askedI "The caption!" I backed up the film, and saw these words at the bottom of the screen: "It seems there should be some dialog during this scene." Was this included by the filmmakers? Was it due to the automatic voice recognition encoded in the film for the purpose of translating speech to written dialog? Was it one of those decisions automatically made by Amazon's Alexa? (She's in the same room as the TV set.) I don't recall ever seeing anything like a caption which, during a protracted silence, appeared to become a critic rather than a describer or translator.

Regardless of the source, the quirky caption prompted me to answer back: "No! It does NOT seem there should be talking during this scene! Dialogue would be inappropriate in a cinematic story that "shows" an individual's struggle for significance--for his very identity--in a world that at every turn denies it." It’s in the absence of dialogue that Lee Chandler--a tragic hero with the bold and deliberative initiative of his archetypal forerunner, Oedipus Rex--proceeds to assert courage and decisive action in the face of unspeakable tragedy. He says about his relation to Manchester, "I can't beat it. I can't beat it." But then he goes on to demonstrate that he won't let it beat HIM. He has found a new place of residence (Boston). Moreover, he's taken care of every detail, signed every dotted line, worked out terms to assure his nephew Lucas that he may remain in Manchester, interacting with his old friends, inheriting his father's fishing boat (with a new motor) and, if he chooses, come to Boston to visit Uncle Lee (who has taken pains to find an apartment with a guest room for that purpose).

This is as good as it gets--at least in in the world of “Manchester-By-The-Sea,” and perhaps in the "real" world. At the end, Lee meets a Manchester citizen who relates that one day his still-young fisherman-father, like Lee's brother, went out fishing--and this father never came back. Life at Manchester is not cut and dry, black and white, secure or even safe. It's a challenge, a character-building experience, but it's also a setting for developing relationships that are genuine. For Lee, Manchester was the setting of a young and careless father's unspeakable loss, his spiritual growth, and his acceptance of the role of father to a teenaged boy who, like Lee, must face the rough vicissitudes of the sea and of life. Unlike Lee, Lucas will test the waters of life under the protective but respectful and expansive wings of a surrogate father. The closing shot of the pair fishing together speaks volumes which--thanks to the resourceful directing, minimalist writing (including musical scoring), and lasting resonance of Casey Affleck's understated performance--need not be spoken.

How many of us would give anything to spend a few hours fishing for pan-sized bluegills or perch with an absent father or grown son? It's a hole we may not be able to fill; an ache that may not be easily assuaged. The film theorist who defined movies as "the redemption of physical reality" could not have found stronger support for his idea than this final shot of "Manchester By The Sea."
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Veronica
5.0 out of 5 stars Capolavoro
Reviewed in Italy on August 23, 2017
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Come sempre impeccabile il servizio Amazon, il mio pacco è arrivato il giorno previsto ed il dvd era in perfette condizioni. Il prezzo è migliore rispetto a quello che si trova nei negozi fisici, almeno dove ho controllato io; per quanto riguarda altri siti di e-commerce non saprei, mi affido ad Amazon che anche dal punto di vista del pagamento è affidabile.
Riguardo al film... un vero gioiello. Intenso, commovente, uno dei più bei film che io abbia visto.
Volete ridere, passare due ore di spensieratezza sul divano? Lasciate perdere. E' un film che colpisce duro, niente patina di zucchero, nessuna scusa o scelta facile.
Lee, il protagonista, è un fallito come tanti: lavoro normale, vita assolutamente vuota, niente famiglia ne' interessi particolari, nessun sentimento o emozione. Un grave problema di salute del fratello lo costringe a tornare a Manchester by the sea, la sua città natale, da cui era scappato con l'intenzione di non tornarci più.
La gente lo riconosce, parla di lui alle sue spalle... ed a poco a poco conosciamo il passato di Lee, la ragione che l'ha portato a abbandonare quella cittadina.
Non sempre è facile orientarsi nella linea temporale, i flashback sono frequenti ed all'inizio è difficile starci dietro, ma ritengo fosse un effetto voluto, rende la claustrofobia che Lee prova rimanendo in quella città che gli ricorda il più grande errore della sua vita.
Spettacolari la fotografia e le musiche, ottima la regia, e storia davvero unica, non è un film che ti abbandona quando spegni la televisione o quando esci dalla sala.

Il cast è ottimo: Michelle Williams, che purtroppo appare in poche scene (cosa che le ha impedito di vincere un oscar come migliore attrice non protagonista che diversamente avrebbe meritato) è un'attrice superba, la scena in cui lei e Lee si rivedono è da brividi, un pugno alllo stomaco. Ma tutto il film si regge essenzialmente su Lee, interpretato da un sottovalutatissimo Casey Affleck, che rende in maniera perfetta la disperazione, il fallimento, il senso di vuoto, i profondi sensi di colpa, l'esistere senza vivere per davvero.

Non può finire come nelle favole, non vissero tutti felici e contenti.... ma nonostante tutto, un piccolo spiraglio di luce, una minima speranza restano, nel cenno di apertura di Lee verso il nipote e in ultima analisi verso la vita.
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KaleHawkwood
5.0 out of 5 stars Life & death
Reviewed in the United Kingdom on January 13, 2017
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You really do feel with a Kenneth Lonergan film that what you're witnessing are matters of life and death. His debut feature was the superb You Can Count On Me {2000} with Laura Linney and Mark Ruffalo, then years later {after many studio wranglings and a less than universal release} came the astonishing, shockingly brilliant Margaret, starring an enraged, in-your-face Anna Paquin and a cast of mostly little-known actors giving their all to a truly great film. Oscar nominations were not forthcoming, as they so blatantly should have been.
The Academy {for what it's worth, which is negligible} can surely not ignore a third masterpiece from this most uncompromising of directors. Already, Casey Affleck ~ who, astonishing as he is here, seems to have gone to the Alan Arkin School of Deadpan Acting ~ has bagged a Golden Globe, so there's hope.
He plays the monosyllabic, enigmatic, scowling, yet oddly dignified Lee, a youngish man whose brother dies, and who is haunted by guilt and pain since being responsible for a family tragedy. His pain and sense of isolation regularly erupts in sudden violence.
So he travels from Boston to the titular town by the sea ~ and very photogenic it is in a chilly, windswept way, like one of those Hopper paintings of ominously sunny seascapes ~ where he meets his estranged wife Randi again {the wonderful Michelle Williams, very much in support}, and gradually manages to bond with his teenage nephew, played with wit and subtlety by Lucas Bridges. These scenes, which form the heart of the movie, are beautifully acted, directed, scripted, and developed.
A late scene in the film between Lee and Randi is scorchingly real, almost Chekhovian in its excrutiating, embarrassing immediacy, with Williams proving yet again what a uniquely gifted actress she is.
There are tragic demons in Lee's past, and we are shown the causes of these in flashbacks, the timefame of which, to be honest, becomes a little confusing on a first viewing. But this, like Margaret, is a film I shall watch again, so I'm not too bothered about such confusions. In retrospect, it only proves Lonergan's ability to trust his audience, and not talk down to it.
Incidentally, this week for the first time I also watched, on TV, Scorsese's The Wolf of Wall Street, and the thriller The Two Faces of January. The latter was enjoyable, but no more; the Scorsese was simply business as usual: brilliant performances in a fabulously edited, flamboyantly kaleidoscopic movie of hollow people in what ultimately amounts to a hollow film by a man who has directed himself into a shallow, if lucrative, corner {as he did in the similarly vapid Casino}. But I also saw Manchester By The Sea, on the big screen where it deserves to be seen. It moved and touched me in ways far better known and more universally praised directors can only dream about. This is a grown-up film for grown-ups about real people. It throbs and bursts with life.
Now we have the DVD, which will do nicely for the future. . .
Well worth your precious time, more than most other contemporary films.

Do see this, it's a genuine original.
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Sabrina
5.0 out of 5 stars Toccante
Reviewed in Italy on April 29, 2023
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A mio parere un film eccezionale.
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Antoninf1950
5.0 out of 5 stars Gran cine que capta con hondura una muy dura experiencia humana
Reviewed in Spain on July 18, 2017
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Un gran guión y unas grandes interpretaciones hacen de esta película la mejor del año.
La vida es dura. Pero a veces la hacemos más dura todavía con nuestros dramáticos errores. Y luego no podemos recuperar la paz. Es difícil ser misericordioso consigo mismo cuando el error ha acarreado tanta destrucción. Y sin embargo la vida sigue latiendo y saliendo al encuentro. Final abierto, a gusto de cada espectador
Cuando el cine consigue transmitir la vida, su grandeza y también su crudeza, entonces es arte. Luego, muy por detrás, está la distracción de los fuegos de artificio de historias banales llenas de efectos especiales
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Client_Amazon_148hgg79841
5.0 out of 5 stars Lumière et vérité
Reviewed in France on April 30, 2018
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Un film pas drôle. Tragique. Mais si vrai. Si bien joué. Avec une lumière comme je n'en ai jamais vu dans aucun film. Une vérité des rapports humains. On pleure parce que c'est vrai.
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