Blue Thunder 4K UHD Review

The early ‘80s brought two competing helicopter TV shows – Airworlf, about a Vietnam veteran seeking his lost brother, and Blue Thunder, based on this movie, which is about a Vietnam veteran pilot suffering PTSD.

Just to potentially rile up the helicopter TV show geeks, I’ll note Airworlf was the better show.

However, Blue Thunder makes for a fine movie, one with layers that include yes, flashbacks to Vietnam, a corrupt political system, and the police using the disadvantaged in inner city Los Angeles for their own ends. It’s not only a super helicopter out to save us all, but a nuanced perspective on rotten policing and the desperation to cover the precinct’s plot.

Blue Thunder captures dazzling imagery of the title chopper flying through early ‘80s Los Angeles

Roy Scheider took his role as hero pilot Murphy to avoid being cast in Jaws 3, and who could blame him? Regardless of the circumstance, Scheider gives Murphy a fun personality, able to crack a joke amid danger like any great screen action hero, while wrestling with the mental after-effects of the war. There’s less definition to his piloting rival Cochrane (Malcolm McDowell), a dull villain who does villain things as he tries to cover up evidence of his crimes.

An impressive production, regardless of who’s flying what, Blue Thunder captures dazzling imagery of the title chopper flying through early ‘80s Los Angeles (that now serve as a wonderful time capsule). The stunt flying deserved Oscar recognition, if only that were a category (although Blue Thunder did get a deserved nomination for editing all of this footage together coherently). Flight around skyscrapers, under bridges, and low to the ground look incredible on camera, and with few visual effects; nearly all of this is done with actual aircraft.

Blue Thunder was a warning about expanded police violence. The story concerns the new government prototype helicopter and how the advanced spying and weaponry capabilities could be used in urban suppression. Scheider’s eyes roll when he begins to understand the implication, showing he disagrees from the outset with the future use of Blue Thunder, and does so without saying a word. He remains professional, but appears immediately aware something is amiss, a great bit of performance. His final act then is less about uncovering conspiracy, but rather ensuring there are no other victims of his advanced technology, a rebellious hero for the ages.

There’s a combo of awesome to Blue Thunder’s 4K debut. First are the outstanding black levels, giving LA nights perfect, dense, consistent shadows. Crush happens, but it’s natural to the source. Providing the counter? Some dazzling sunsets, spotlights on the helicopter, and various city lights. A few exploding fireballs make use of the expanded contrast too. The Dolby Vision pass isn’t held back, taking full advantage of the tech.

Equally grand is the refreshed color, bold and saturated. The density of the flesh tones looks stellar, while other primaries carry their own zest without looking unnatural.

The fresh 4K scan makes a definite difference in terms of fidelity. Texture is extensive, resolved in close or from afar as the city skyline provides ample opportunity. Well managed grain doesn’t bring about any compression issues, remaining organic throughout, even with smoke/haze. The print itself is spotless and restored/preserved flawlessly.

Defaulting to 2.0 for purists, the DTS-HD 5.1 mix is also worth noting. Both resolve the vintage audio with excellent clarity. Dialog sounds almost modern in its precision; only the rougher sound effects give it away. The score exhibits strong dynamics, although the overall thin range isn’t impressive (and sounds very much of 1983). Helicopter engines produce a little rumble, but it’s mild. Explosions are much the same.

With all of the helicopter flying, the surround mix has all of the opportunity to branch outward, stereos and rears actively engaged. Even small stuff, like doors shutting inside the police station, happen in the proper channel away from the center.

Director John Badham, editor Frank Morriss, and motion control supervisor Hoyt Yeatman begin things with an older commentary track. Badham returns for a new interview. Additional new interviews include Malcolm McDowell and Candy Clark. Next is a 2006 documentary on the production, and there’s another feature on the helicopter itself. Promo materials, one extra scene, trailer, and still images close things out.

Full disclosure: This 4K UHD was provided to us for review. This has not affected the editorial process. For information on how we handle review material, please visit our about us page to learn more.