Back to the Future: The 40th Anniversary Trilogy 4K Blu-ray

Details: By Christopher Symonds; 14 November 2025

Misery (1990)

It’s hard to believe but it’s been forty years since Marty McFly drove 88 miles per hour into our collective minds and hearts and started down the road to an amazing time at the movies. Back to the Future and its sequels are indelible crowd pleasers, almost universally loved and for good reason. With the original’s birthday landing this year, it comes as no surprise that Universal wanted to cash-in—erm celebrate—the milestone with a new edition of 4K releases. But are they new? Read on!

Back to the Future (1985)

The product of two A-list protégés (at the time) floundering in their careers; a script deemed too dirty by Disney, and not dirty enough by other studios (this was era of sex comedies). Back to the Future, despite being one of the tightest screenplays ever written (then and now) just could not catch a break. Spielberg was on board from the moment he read it. But director Robert Zemeckis and writer Bob Gale had had two previous collaborations with him do nothing at the box office, and feared if there was a third, they’d be out on their ear as far as Hollywood was concerned.

Cut to a couple of years later and Zemeckis was now sitting on a mountain of praise (and cash) for his Michael Douglas led adventure comedy, Romancing the Stone. Now every studio was asking the two Bobs what they wanted to make next. They went back to Spielberg out of loyalty and gratitude for his belief in them, and the rest, as they say, is history.

"this script is one of the finest crafted in the medium"

1985 was no slouch for classics, with the likes of The Colour Purple, Witness, sequels to Rambo and Rocky, Cocoon and The Goonies landing at the box office that year. But it would be Back to the Future that would best them all and come out as number 1.

Telling the story of high school senior Marty McFly (Michael J. Fox) getting unwittingly mixed up with Dr. Emmett Brown (Christopher Lloyd) in a black-market science experiment. ‘Doc’, as Marty calls him, has conned a group of Libyan terrorists for plutonium to realize a 30-year vision and invent time travel. In a quite parking lot, in the dead of night, Marty witnesses Doc’s time machine—a DeLorean—jump one minute into the future. In the midst of celebration, the Libyans find them and murder Doc, but Marty manages to escape into the Delorean and accidently travels back to 1955 where stuff gets extra weird really quick. His arrival accidently interferes with his parents’ infamous first meeting, with his teen mother now hopelessly infatuated with him instead. Marty is forced to involve himself in their lives and refashion their now non-existent romance, before his actions eliminate him from ever existing, and he has one week to do it before his only chance of returning to his own time is gone.

As previously mentioned, this script is one of the finest crafted in the medium. Everything in every scene adds complexity and enriches all the characters and the plot. NOTHING is superfluous, everything from a flyer to an off-the-cuff comment comes to bear in brilliant, thrilling reveals throughout. Added to which, it’s damn funny, but not played for gags or set pieces. It’s accessible. Despite being removed from the 50s by several decades, all the characters have relatable arcs that speak to any generation. Even characters with a handful of lines have an arc and develop throughout. If you are ever going to study story construction or narrative, I highly recommend reading this script. And it all started from writer Gale’s personal pondering of his own parents. He saw an old high school yearbook and realized that had he gone to school with his folks, they wouldn’t have gelled.

This film also speaks to how it is possible to have a breakneck pace AND a story without, in any way, sacrificing character. You care about all these people, even minor characters, and are completely invested in everything that befalls them. Even the bad guy, Biff, has his dim-witted appeal. They’re just so damn watchable and perfectly cast.

Speaking of casting, this film was first rate. I wouldn’t be much of a reviewer if I didn’t mention that Michael J. Fox replaced Eric Stolz as Marty. However, Fox had always been Zemeckis’s first choice, and after deciding to fire Stolz (deeming him an ill fit for the character) he was able to negotiate with Fox’s TV boss from Family Ties to shoot both his show and the movie at the same time. Fox and Lloyd, both seemingly without effort, organically create iconic characters that will live on long past their time on the earth—they’re amazing. Lea Thompson, Thomas F. Wilson, and James Tolkien all give pitch perfect and memorable performances as well. For me, though, Crispin Glover’s oddball turn as George McFly makes the movie. He allegedly was a bit of a thorn in the sides of the two Bobs during production (a topic I’ll revisit in the sequel), but their pain was so worth it.

The effects for this hometown science-fiction tale are subtle but also iconic. The use of a decidedly 80s car (every cool TV show had a car) to infuse some heightened cool into the production design is brilliant. The multiple uses of Universal’s back lot with new dressing are amazing, economical and continued throughout the series. The costumes, the editing, the Alan Silvestri score: all iconic and are the perfect ingredients. I could gush on about this flick forever. It’s perfect. A perfect, perfect movie.

5/5 stars

4k details divider

4K Ultra HD + Blu-ray + Digital 4K

VIDEO

So, here’s your answer! These included discs are identical to the previous 4K release a few years back. Number one includes a brand-new Blu-ray disc of special features, making this a three-disc set. With that out of the way, again let me say this native restoration of the camera negative is a big two thumbs up. Grain is intact and consistent. Detail is off the charts improved over previously muddy VHS and DVD transfers, and dimensionality wipes the floor with the flatter, more sterile, Blu-ray presentations of yore. Dolby VISION HDR gives a striking pump to the picture while maintaining a faithful representation. Detail and contrast are noticeably better, especially in the opening parking lot scenes. Colour timing, perhaps due to the aforementioned HDR, skews darker than previous scans, but it remains the best transfer the film has ever gotten.

AUDIO

The same, spectacular Dolby ATMOS 7.1 surround mix is pure immersion from start to finish, from the environmental effects (a school hall, sounds like an echoing school hall etc) to the crisp and centred dialogue to the rousing, emotional and hyperactive Alan Silvestri score. Every speaker is used to full effect in this mix, and one couldn’t ask for more in a home release.

Supplements:

Commentary:

None

Special Features:

As stated above, this entry in the franchise does include a new disc with some contemporary inclusions from writer Bob Gale and a few other contributors. It’s a nice entry, celebrating the film’s 40th anniversary, but adds very little to the litany of previously released features that mine the history of the making of these films. At least they actually made something new for the anniversary though. The cover art retains the magic work of artist Drew Struzan (may he rest in peace) unmolested and the nice, more functional, foil-embossed box does the same. You can’t improve on perfection! A welcome addition.

40 Years Later: Reflecting on the Future (25:08)
Back to Hill Valley (16:41)
Untold Stories of 'Back to the Future' (37:20)
TCM Classic Film Festival Panel (16:07)
A Mystery in History (9:33)

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	Extras
Composite Blu-ray Grade

Misery (1990)

Back to the Future Part II (1989)

After the massive success of the first film, it was inevitable that a sequel would be asked for. But the two Bobs were in no rush and wouldn’t even consider it without the commitment of both Fox and Lloyd to return. They still insist, despite the ending of the first film, that no sequel was ever intended, with Zemeckis saying ‘we’d never have had the girl on the car if we intended to do another one’. I’m calling bullshit on this one. It mattered not. Fox and Lloyd readily agreed, and the Bobs set to work on not one, but two, new entries.

They wrote part for all the original actors to return but fell into trouble when Claudia Wells and Crispin Glover refused to return. Wells had left acting at the time to look after her ailing mother and was replaced with Elizabeth Shue. Glover, on the other hand, came immediately into conflict with the producers by asking for, in the words of Bob Gale, a payday well above his station in the industry. Glover counters that he didn’t like the message of the stories they wanted to tell. What isn’t open for interpretation is that the Bob’s essentially wrote George McFly out of the sequels and then only used existing footage of Glover’s performance, and stand in actor Jeffrey Weissman, to get what minimal involvement they needed from the character. Crispin successfully sued them for using his performance from the first film this way and it changed entertainment law thereafter.

2 years would be spent prepping, rewriting, and building sets, before cameras rolled on the first of the two sequels, to be filmed back-to-back (a rarity back then and now).

"isn’t as tightly plotted as the first one and decidedly darker"

Back to the Future Part Two starts with the last scene of the first movie, with Marty and Jennifer being whisked away by the Doc, due to his concerns over the direction of their lives. He takes them to the year 2015, where Marty’s son is about to make a mistake that will unravel both his and his family’s lives. Marty, while waiting to impersonate his boy—who is conveniently a dead ringer for him—comes across a sports statistics book and strikes upon an idea to get rich with it. After successfully thwarting his son’s descent into prison, Doc discovers Marty’s greedy plan and throws the book in the trash. Little do they know that old man Biff has been eavesdropping and manages to steal both the Delorean and Marty’s idea. When Doc and Marty return to 1985, everything has become a hellish alternate reality where Biff is rich and all powerful and Hill Valley is dilapidated. They are forced to escape Biff and his goons and travel back to 1955 and retrieve the book before young Biff can rise to power. Not everything goes to plan and by the cliffhanger finale, Marty and Doc are separated by 70 years with a whole new set of problems.

Though not as favourably reviewed as the first film back in 1989, Back to the Future 2 has since risen in appreciation over the decades and earned Universal plenty of bread. It isn’t as tightly plotted as the first one and decidedly darker, but it’s still a rollicking good time. Characterization somewhat descends into slapstick this time out and becomes more caricature than character (to perfectly illustrate this, compare Fox, Lloyd and Wells against Fox, Lloyd and Shue in the exact same scene: same camera blocking, same dialogue but played in a completely different tone). The film is challenged with a much more complex narrative this time out, but adequately and cleverly pulls it off for the most part. The whimsical piss-take of what 2015 would look like has gone on to have a new appeal now we’re past it (still no flying cars about).

Performances by all the actors, by and large, favour gags in place of the natural comedic turns from the first film, and I think, with this narrative’s many disparate set-pieces, it really had to be played that way. It just isn’t as enjoyable for this reviewer. Thomas F. Wilson’s turn in this film stood out for me as Biff. In this one he stretches his range and makes for a compelling antagonist in many scenes.

The effects up the ante in this one, with the future and flying cars, holograms, age make-ups, multiple characters (played by the same actor) in several scenes. Still firmly in the era of compositing special effects, its dated but still very impressive.

Of course, this was the first of two sequels made to deliberately round out the Bobs story and by design ends without resolution. Had Marty and Doc succeeded in restoring their 1985 present to the way it was? Would Marty follow Doc’s instructions from the letter from the Old West to not come after him? We would only have to wait a year to find out…

I always liked this movie. I acknowledge it’s not an Empire Strikes Back level follow up, but there are so many wonderful moments within that revisiting it is an easy yes. The Bobs didn’t rest on the laurels and just spew out the same thing and made a follow up worth their efforts.

3/5 stars

4k details divider

4K Ultra HD + Blu-ray + Digital 4K

VIDEO

Same story here, folks. It’s the same scan as before and it’s a revelation. Any attempt at subtlety went out the window in Part 2, and the increase in optical effects reflects this. With optical effect limitations comes select moments of heavier grain and the print reflects and amplifies this in great detail. This is no flaw though, merely an observation that, even in this wondrous age, there are still limitations. I doff my cap to Universal for not reinventing the wheel and sticking to honouring what was. Having said that, the film looks immaculate. There are no real signs of print damage or artificial intrusions. The Dolby VISION helps certain moments leap off the page, like the neon nightmare of Biff’s casino and the Rockwell painterly cityscapes of the 1950’s sets. Epically fine work and near perfection.

AUDIO

Again, we are delivered perfection. We are treated to an expansive, richer and more layered mix than ever before. Deftly handling every aspect of this mix with effective clarity and immersion. Alan Silvestri’s score again wins the day here. This Dolby Atmos 7.1 mix is reference quality and is as good as it gets. Use the trilogy to show off your system with confidence.

Supplements:

Commentary:

Director Robert Zemeckis and Producer Bob Gale
Producers Bob Gale and Neil Canton

Special Features:

These are all the same inclusions as in the sets from the last 15 years. All great stuff, but nothing new.

Deleted Scenes
Tales from the Future: Time Flies
The Physics of Back to the Future with Dr. Michio Kaku
Archival Featurettes
Behind the Scenes
Theatrical Trailer

	Movie
	Video
	Audio
	Extras
Composite Blu-ray Grade

Back to the Future Part III

Back to the Future Part III (1990)

Having spent two movies worth of time flittering about through three disparate eras of Hill Valley, it would be an off-handed comment by Michael J. Fox on the first film that would plant the seed of the Old West in the Bobs minds for the third movie (another reason I call BS on the idea that they never intended sequels).

After leaving Marty stranded in 1955 and Doc blasted back into the Old West, Part Three would quickly add a new quandary for Marty to struggle with. Even though Doc had written down the means for Marty to get back to 1985 and warned him not to come get him, Marty discovers that his mentor had been murdered shortly after arriving in 1885 by Buford ‘Mad dog’ Tannen (Biff’s distant relation). With Doc’s tombstone mysteriously foot-noted ‘by his beloved Clara’, Marty, of course, disobeys Doc’s instructions and arrives in the Old West, instantly damaging the DeLorean’s fuel line. When he reaches Doc in Hill Valley—nothing more than an 1885 ramshackle town in its infancy—they both come afoul of Tannen almost immediately. They have but a week to find a way to get the DeLorean (which has no gas left thanks to the broken fuel line) up to 88 miles per hour before Doc’s (and subsequently Marty’s) tombstone becomes reality. Then they save schoolteacher Clara (Mary Steenburgen) from a bolting horse and another major hurdle lands: Doc falls hard for her and doesn’t want to leave.

"simpler and much sweeter entry than its predecessor"

This is simpler and much sweeter entry than its predecessor. Gone are very 1980’s concepts a material happiness, replaced with a simple love story and a strong sense of family and loyalty. Marty has some character growth in this one, bringing resolution to his character’s ego’s flaws, but Fox takes the reactionary role for the most part in this one. Lloyd’s ‘Doc’ takes to the fore (essentially the lead) with his romance, which displays a range and appeal within the character not seen in the other films. Steenburgen is pitch-perfect in her role as Clara (apparently written for her by the Bobs). Supporting characters in this one are the weakest of the three films but still very watchable. Buford Tannen falls more on the buffoon side of things than Wilson’s nefarious and powerful presence as Biff in Part Two. He’s too stupid to feel like an actual threat. Lea Thompson and Micheal J. Fox do the clichéd Irish imitation with Mary and Seamus McFly that are okay, but not very interesting or intrinsic to the plot (they’re frankly underwritten). And Shue as Jennifer is a wasted resource in this one, given nothing of value to do.

The Vistas, as one might come to expect from an Old West set film, are amazing. The custom-built Hill Valley is a nod to the films of old and beautifully done. Effects in this one are more sparing. Unburdened with the demands of the more science-fiction elements of Part Two, Part Three is a simpler looking film but beautifully photographed. With the exception of the finale, which is rife with spectacular set pieces and white-knuckle moments, calling that simple would be insulting.

Silvestri again delivered a marvellously nuanced score that perfectly encapsulates the varying emotions this film elicits.

All in all, this rounded out that rare and precious gift: a trilogy to be proud of. The two Bobs never rested too heavily on old successes. Each of the Back to the Futures have their own unique identity and fulfill their own place in the story of Marty and Doc. Part Three is a remarkable bookend, sweet and soothing in some ways. It leaves one totally satisfied. It kind of doubles down on this open ending from the first film that I still doubt was intended ;) But you leave this one saying ‘I’m good. Marty and Doc will now live happily ever after. Who could ask for more than that? (The Bobs insist, as long as they breathe, there will not be another).

4/5 stars

4k details divider

4K Ultra HD + Blu-ray + Digital 4K

VIDEO

Stunning is the adjective that comes to mind here. Part 3 benefits from a more emotional, less effects heavy, conclusion to the others. Being set in the West, with real sets throughout, it shines with its rich grain, natural colours and epic landscapes. All of which are reproduced here in gorgeously rich hues that span the entire colour wheel. Clarity, from Clara’s dresses to the dusty buildings and horses she rides on, are brilliantly rendered here. Then there is the Dolby VISION HDR boost that adds dimension and punch to every scene. Grain is consistent and very complimentary. A perfect looking print.

AUDIO

Gives the open planes, the dusty sheds, the ranches and the train station an expansive and realistic accompaniment. Every chuff of the steam engine, clatter of a horse bridle and dusty plant of a boot is captured beautifully. The hyperbolic gunshots and every element really, hit to great effect and once again Silvestri’s score wins the highlights with his rousing and moving score. Also perfection from this Dolby ATMOS 7.1 mix.