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Bowling for Columbine (The Criterion Collection)(Blu-ray)(Region A)

Bowling for Columbine (The Criterion Collection)(2002) Blu-ray
 
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Bowling for Columbine Blu-ray
Criterion | 2002 | 120 min | Rated R | Jun 19, 2018

Video
Codec: MPEG-4 AVC
Resolution: 1080p
Aspect ratio: 1.85:1

Audio
English: DTS-HD Master Audio 2.0

Subtitles
English SDH

Discs
Blu-ray Disc
Single disc (1 BD-50)
UPC 715515216210


Bowling for Columbine (The Criterion Collection)(2002) Blu-ray

In the wake of the Columbine High School massacre in 1999, the intrepid documentarian Michael Moore set out to investigate the long, often volatile love affair between Americans and their firearms, uncovering the pervasive culture of fear that keeps the nation locked and loaded. Equipped with a camera and a microphone, Moore follows the trail of bullets from Littleton, Colorado, and Flint, Michigan, all the way to Kmart's Michigan headquarters and NRA president Charlton Heston's Beverly Hills mansion, meeting shooting survivors, militia members, mild-mannered Canadians, and musician Marilyn Manson along the way. An unprecedented popular success that helped usher in a new era in documentary filmmaking, the Oscar-winning Bowling for Columbine is a raucous, impassioned, and still tragically relevant journey through the American psyche.

Director: Michael Moore
Writer: Michael Moore
Starring: Michael Moore, Charlton Heston, Matt Stone, Marilyn Manson, Trey Parker, Emma Bunton


Special Features and Technical Specs:
- NEW high-definition digital restoration, with 2.0 surround DTS-HD Master Audio soundtrack on the Blu-ray
- Michael Moore Makes a Movie, a new documentary featuring Moore, chief archivist Carl Deal, supervising producer Tia Lessin, and field producer Meghan O'Hara
- Programs covering Moore's return to Colorado in 2002, his 2003 Oscar win, and three film-festival Q&As with Moore
- Excerpt from a 2002 episode of The Charlie Rose Show featuring Moore
- Corporate Cops, a segment from Moore's 2000 television series The Awful Truth II
- Trailer
- PLUS: An essay by critic Eric Hynes

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