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The kid is really smart, but like a lot of smart kids he has learned to hide it, to lay back and observe and keep his thoughts to himself.

When the new scientist arrives in town and starts to date the kid's mother, and then tries to make pals by taking the kid on a tour of the research lab where he works, the kid keeps his eyes open and his mouth shut. But he knows the lab is devoted to nuclear weapons research, and he's kind of insulted that the scientist would try to deceive him.

That's the setup for "The Manhattan Project," a clever, funny and very skillful thriller about how the kid builds his own atomic bomb.

This is not, however, another one of those teenage movies about bright kids and science projects. There have been some good movies in that genre - I liked " WarGames " and " Real Genius " - but this isn't really a teenage movie at all, it's a thriller. And it's one of those thrillers that stays as close as possible to the everyday lives of convincing people, so that the movie's frightening aspects are convincing.

The kid is played by Christopher Collet . He is very, very smart.

We know that not just because we are told so, but because the movie has lots of subtle, sometimes funny little ways of demonstrating it - as when the kid solves a puzzle in three seconds flat, just as we were trying to understand it.

The kid lives with his mother ( Jill Eikenberry ) in an upstate New York college town. John Lithgow plays the scientist who moves into the town and starts to date Eikenberry and makes friends with the kid. The movie is very sophisticated about the relationship between Collet and Lithgow. This isn't a case of the two men competing for the affections of the mother; indeed, there are times when these two bright, lonely males seem to have more in common with each other.

In particular, the Lithgow character isn't allowed to fall into cliches. He isn't a mad scientist, and he isn't a heartless intellectual: He's just a smart man trying to do his job well and still have some measure of simple human pleasure.

After Collet is given his tour of the "research center," he tells his girlfriend ( Cynthia Nixon ) that he's a little insulted that they thought they could fool him. He knows a bomb factory when he sees one.

And so, to prove various things to various people, the kid figures out a way to sneak into the plant, steal some plutonium and build his own nuclear bomb. He wants to enter it in a New York City science fair.

I love it when movies get very detailed about clever schemes for outsmarting people. "The Manhattan Project" invites us to figure out things along with Collet, as he uses his girlfriend as a decoy and outsmarts the security guards at the plant. Inside, he has it all figured out: how to baffle the automatic alarms, how to anticipate what the guards are going to do, how to get in and out without being detected.

The long closing sequence is probably too predictable, as Lithgow and the federal authorities try to convince the kid to take his bomb out of the science fair and allow them to disarm it before he vaporizes the city. Even here, the movie doesn't depend on ordinary thriller strategies; a lot depends not only on the relationship between the kid and the scientist, but on how they think alike and share some of the same goals.

"The Manhattan Project" was co-written and directed by Marshall Brickman , the sometime Woody Allen collaborator (" Annie Hall ," " Manhattan ") whose own films include "Lovesick" and "Simon." This movie announces his arrival into the first ranks of skilled American directors.

It's a tour de force, the way he combines everyday personality conflicts with a funny, oddball style of seeing things, and wraps up the whole package into a tense and effective thriller. It's not often that one movie contains so many different kinds of pleasures.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The Manhattan Project (1986)

Rated PG-13

118 minutes

Jill Eikenberry as Elizabeth Stephens

Cynthia Nixon as Jenny Anderman

John Lithgow as John Mathewson

Christopher Collet as Paul Stephens

Produced by

• Jennifer Ogden
• Philippe Sarde

Directed by

• Marshall Brickman

Photographed by

• Billy Williams

Screenplay by

• Thomas Baum
• Nina Feinberg

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The Manhattan Project (1986)

“The Manhattan Project” is a 1986 film directed by Marshall Brickman. It is a thriller-drama that revolves around the story of a high school student named Paul Stephens, played by Christopher Collet, who becomes involved in the creation of a nuclear bomb.

The film explores Paul’s passion for science and his growing fascination with the potential power of nuclear weapons. He becomes determined to build his own atomic bomb, using his knowledge and resources from a nearby nuclear research facility. As Paul progresses with his project, he catches the attention of Dr. John Mathewson, a nuclear physicist played by John Lithgow, who becomes suspicious of the young student’s activities.

As the film progresses, the tension escalates as Paul’s secret project attracts the interest of government agents who believe that he may pose a threat to national security. The stakes rise, and Paul must confront the moral implications of his actions, the consequences of building a weapon of mass destruction, and the potential danger it poses to the world.

“The Manhattan Project” takes its name from the real-life project during World War II that resulted in the creation of the first atomic bombs. While the film is a work of fiction, it draws inspiration from the historical context and the ethical debates surrounding nuclear weapons.

The movie received generally positive reviews for its engaging storyline, strong performances, and the thought-provoking themes it explores. Christopher Collet delivers a compelling performance as the intelligent and driven Paul, while John Lithgow brings a sense of gravitas to his role as the concerned scientist.

“The Manhattan Project” tackles the ethical dilemmas associated with nuclear weapons and the potential dangers of scientific advancements falling into the wrong hands. It raises questions about the responsibility of scientists, the balance between national security and individual liberties, and the moral implications of technological advancements.

Overall, “The Manhattan Project” is a suspenseful thriller that explores the moral and ethical complexities of nuclear weapons through the eyes of a determined teenager. It combines elements of science, drama, and suspense to tell a thought-provoking story that raises important questions about the use and consequences of nuclear technology.

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Alright, folks, buckle up for "The Manhattan Project"! This groovy flick from 1986 takes you on a wild ride filled with teenage brainiacs, government secrets, and more nuclear drama than you can shake a Geiger counter at. So, we got this kid named Paul Stephens, played by Christopher Collet, who's like a science prodigy on steroids. Instead of using his powers for good or something boring like that, he decides to build his own freakin' nuclear bomb. Yeah, you heard that right. Homegrown nukes right in his backyard! Talk about a DIY project gone nuclear! Of course, all hell breaks loose when the government catches wind of Paul's little science experiment. Enter John Lithgow as Dr. John Mathewson, the voice of reason in this whole chaotic mess. He's all like, "Dude, you can't just go around building atomic bombs like it's a science fair project!" But you know Paul, he's a rebel with a Geiger counter, and he's not backing down. "The Manhattan Project" is like a rollercoaster ride of hijinks and teenage genius. It's got that '80s vibe, complete with big hair, questionable fashion choices, and a killer synth-pop soundtrack. You'll be bopping your head along while wondering how this kid managed to outsmart everyone with his MacGyver-level skills. Now, let's be real. This movie ain't exactly a scientific masterpiece. Some of the stuff they pull off in this film would make any physicist cringe. But hey, who needs realism when you've got teenage rebellion and nuclear explosions, am I right? Just suspend your disbelief, grab some popcorn, and enjoy the ride. "The Manhattan Project" may not be the most intellectually stimulating film out there, but it's a helluva fun time. It's like watching a crazy science experiment gone wrong, with plenty of laughs and suspense along the way. And hey, if you're a fan of '80s nostalgia and cheesy special effects, this movie is right up your alley. So, if you're in the mood for some nuclear mayhem and teenage genius run amok, check out "The Manhattan Project." It's a wacky, offbeat adventure that's sure to entertain. Just remember, folks, leave the nuclear experiments to the professionals. We don't need any backyard mushroom clouds, okay?

Get ready for a blast from the past with "The Manhattan Project"! This 1986 film takes us on a wild ride filled with teenage brilliance, government intrigue, and, of course, a healthy dose of nuclear shenanigans. Meet Paul Stephens, played by the charming Christopher Collet. He's not your average high school student. No, sir! Paul is a scientific prodigy with a knack for mischief. When he decides to build his own nuclear bomb in his backyard, you know things are about to get explosive. It's like "Back to the Future" meets "Dr. Strangelove" with a dash of teenage rebellion thrown in. John Lithgow, sporting a lab coat and a furrowed brow, plays the concerned nuclear physicist, Dr. John Mathewson. He's the voice of reason in this chaos, desperately trying to prevent Paul's scientific experiment from turning into a full-blown catastrophe. Will he succeed? Or will Paul's genius get the best of him? "The Manhattan Project" is a delightful mix of comedy, suspense, and teenage angst. It doesn't take itself too seriously, and that's part of its charm. Sure, the plot may have a few holes larger than the Grand Canyon, and some of the science may be a bit, well, questionable. But who needs scientific accuracy when you have teenage rebellion and homemade nuclear bombs? The film's retro vibes, complete with big hair, neon colors, and synth-pop soundtrack, transport us straight back to the '80s. It's like a time capsule of cheesy goodness, filled with laughable special effects and delightfully corny dialogue. Embrace the absurdity, and you're in for a nostalgic treat. "The Manhattan Project" is a reminder that sometimes it's okay to switch off your brain and enjoy the ride. It's a goofy, tongue-in-cheek romp through the world of teenage geniuses and the perils of nuclear experiments gone awry. So grab your popcorn, buckle up, and prepare for a hilariously explosive adventure! In conclusion, "The Manhattan Project" is a jocular ride that combines teenage genius, nuclear mischief, and '80s nostalgia. It may not be the most scientifically accurate or intellectually profound film out there, but it sure knows how to have fun. So, if you're in the mood for a light-hearted and campy flick, give it a go. Just remember, don't try this at home—building your own nuclear bomb is probably not the best idea!

"The Manhattan Project," directed by Marshall Brickman in 1986, is a captivating thriller that delves into the moral quandaries surrounding nuclear power and its potential consequences. With a well-paced narrative and strong performances, the film effectively explores the ethical dilemmas faced by its characters while delivering an engaging and thought-provoking experience. The story centers around Paul Stephens, portrayed convincingly by Christopher Collet, a brilliant high school student with a keen interest in science. Paul's curiosity and ambition lead him to embark on a secret project: constructing his own nuclear bomb. As his project gains momentum, it catches the attention of Dr. John Mathewson, a nuclear physicist portrayed skillfully by John Lithgow, who becomes increasingly concerned about the potential dangers posed by Paul's experiment. "The Manhattan Project" skillfully balances suspense and moral introspection as Paul's actions attract the attention of government agencies and heighten the tension surrounding his project. The film raises vital questions about the responsibility of scientific research, the ethical implications of nuclear power, and the potential threats posed by unchecked technological advancements. Christopher Collet delivers a compelling performance, capturing the conflicting emotions of a gifted but conflicted teenager. John Lithgow's portrayal of Dr. Mathewson adds depth and gravitas to the story, as he grapples with his own moral compass and the dilemma of protecting society while still encouraging scientific progress. The film effectively captures the atmosphere of the 1980s, reflecting the anxieties of the Cold War era and the growing concerns surrounding nuclear weapons. The cinematography and production design complement the story, providing a visual backdrop that enhances the film's overall impact. "The Manhattan Project" shines in its exploration of the moral complexities surrounding nuclear power and its potential for both positive and devastating consequences. It prompts viewers to reflect on the delicate balance between scientific advancement, national security, and the preservation of human life. While the film's premise is rooted in reality, it does take some liberties for dramatic effect. Some aspects may stretch credibility, and a few plot developments may feel contrived. However, these minor flaws do not detract significantly from the film's overall impact. In conclusion, "The Manhattan Project" is a gripping and thought-provoking thriller that tackles the ethical dilemmas and potential dangers associated with nuclear power. With strong performances, an engaging storyline, and its exploration of moral responsibility, the film successfully captures the tensions and anxieties of the era. For those interested in suspenseful dramas that prompt deeper reflection, "The Manhattan Project" offers a compelling exploration of the ethical implications of scientific progress and the consequences of unchecked ambition.

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The Manhattan Project (1986)

The manhattan project.

Named after the World War II-era program, the plot revolves around a gifted high school student who decides to construct a nuclear bomb for a national science fair. The film's underlying theme involves the Cold War of the 1980s when government secrecy and mutually assured destruction were key political and military issues.

The Manhattan Project: Special Edition Comes to DVD June 19

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SCREEN: 'MANHATTAN PROJECT'

By Vincent Canby

• June 13, 1986

''I NEVER thought I'd say this to anybody,'' says young, clean-cut Paul Stephens (Christopher Collet), a high school science whiz, ''but I've got to go get an atomic bomb out of the car.''

It's a funny line, and there are many other funny lines in Marshall Brickman's ''Manhattan Project,'' but Paul Stevens isn't kidding. He does have an atomic bomb in his car. It's ''the first privately produced nuclear device in the history of the world,'' put together by Paul for a national student science fair and loaded with enough liquid plutonium to erase much of the state of New York.

This is a tricky subject for comedy, even one that aims at being both instructive and cautionary as, I believe, Mr. Brickman means ''The Manhattan Project'' to be. Yet ''The Manhattan Project'' tends to neutralize its own serious intentions by being too jokey much of the time and, at other times, too much the teen-age adventure-comedy whose conventions deny the immensity of the horror with which it's concerned.

''The Manhattan Project'' is not as frivolous as John Badham's ''WarGames,'' in which another brilliant teen-ager similarly plays with nuclear disaster by breaking into a top-secret Government computer system. Like the Badham film, however, ''The Manhattan Project'' is less disturbing than soothing. Whatever happens, it seems to say, everything will come out all right, just as it does in the movies. Perhaps only a comedy as consistently, bleakly sardonic as Stanley Kubrick's ''Dr. Strangelove'' can handle this theme without making it seem as trivial as the misunderstandings that fuel the average sit-com.

''The Manhattan Project,'' which opens at the Sutton and other theaters today, is nicely acted by a first-rate cast that, in addition to Mr. Collet, includes John Lithgow, as the scientist who unwittingly provides the liquid plutonium for the homemade bomb; Jill Eikenberry, as the teen-age genius's average American mom, and Cynthia Nixon, as Mr. Collet's loyal, admiring girlfriend.

As long as the film isn't playing with the bomb, ''The Manhattan Project'' displays the intelligence and wit that distinguished Mr. Brickman's two earlier films, ''Simon'' and ''Lovesick.'' The sequence in which Mr. Collet and Miss Nixon slip into the supposedly impregnable laboratory to carry off the plutonium is both comic and ingenious. There's also a briefly funny sequence at the science fair in New York, where Mr. Collet plans to show his bomb. Among his competitors for first prize are one boy who's made a study of social behavior in elevators and another with six toads sleeping in frozen hydrogen.

Mr. Brickman, who directed the film and wrote the screenplay (with Thomas Baum), has a real gift for eccentric comedy and characters. ''The Manhattan Project,'' with its vaguely populist leanings, isn't crazy enough. Mr. Brickman fails to make big issues comprehensible. He just makes them small.

''The Manhattan Project,'' which has been rated PG-13 (''Special Parental Guidance Suggested for Those Younger Than 13''), contains some vulgar language. GEE-WHIZ, AN A-BOMB - THE MANHATTAN PROJECT, directed by

Marshall Brickman; written by Mr. Brickman and Thomas Baum; director of photography, Billy Williams; edited by Nina Feinberg; music by Philippe Sarde; produced by Jennifer Ogden and Mr. Brickman; a Gladden Entertainment Corporation presentation; released by Twentieth Century-Fox Film Corporation. At RKO National Twin, Broadway and 44th St.; Sutton, 57th St. and Third Ave.; Cinema 3, 2 W. 59th St.; 86th St. E., between Second and Third Aves.; Bay Cinema, Second Ave. at 32d St.; RKO Art Greenwich Twin, 12th St. and Seventh Ave.

Running time: 120 minutes. This film is rated PG-13.

John Mathewson...John Lithgow; Paul Stephens...Christopher Collet; Jenny Anderman...Cynthia Nixon; Elizabeth Stephens...Jill Eikenberry; Lieut. Col. Conroy...John Mahoney; General...Paul Austin; Scientists...Adrian Sparks, Curt Dempster; Science Teacher...Gregg Edelman.

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The Manhattan Project (1986)

Synopsis: named after the world war ii-era program, the plot revolves around a gifted high school student who decides to construct a nuclear bomb for a national science fair. the film's underlying theme involves the cold war of the 1980s when government secrecy and mutually assured destruction were key political and military issues., connect with us.

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MOVIE REVIEW : ‘MANHATTAN PROJECT’: BOMB PLOT

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Sometimes a movie’s central notion seems so clever, or strikes such a resonant popular chord, that any thinness or sloppiness beyond it doesn’t much matter.

But there are some premises that absolutely aren’t going to work--no matter how much intelligence, talent or craft the film makers bring to them. And Marshall Brickman may have stumbled onto such a premise in “The Manhattan Project” (citywide).

It’s about a brilliant Ithaca teen-ager, Paul Stephens (Christopher Collet), who decides to build his own atomic bomb for a high school science fair. Opportunely, his mother, Elizabeth (Jill Eikenberry), is dating the laser-eyed, burningly enthusiastic John Mathewson (John Lithgow), research engineer at a local secret atomic lab.

His mother’s love life enables Paul to filch some superpurified plutonium. He swipes Mathewson’s access card, breaks into the lab and dodges the security on a stormy night. (It seems only slightly more taxing a prank than breaking into the high school gym and rifling the trophy case.) Immediately, his contraption triggers a major manhunt and brings most of the Northeastern United States close to annihilation.

Just as immediately, you see some touchy problems. For one thing, how do you make this unlikely burst of genius plausible? For another, how do you make a character who wants to build an atomic bomb--for whatever reason --sympathetic? And how do you make the people trying to frustrate him into villains? Who are you likelier to root for: a guy running around your backyard with an A-bomb or the people trying to stop him?

How does the story resolve itself? What’s it about? Unreasonable government secrecy? Good old Yankee ingenuity? High-tech teens against the crusty-musty Establishment? The terrifying worldwide proliferation of atomic weapons? Superkid and the world’s biggest phallic symbol? Oedipal problems in the nuclear family?

What we get, actually, is “WarGames” warmed over.

Marshall Brickman, who co-wrote “Annie Hall” and “Manhattan” with Woody Allen, is an amusing writer and director--though without Allen (especially in “Lovesick”), he’s seemed sappier and more slickly complacent. There are a variety of approaches he could have taken here--the one that might have worked best is the daffy, black, anything-goes farce with serious undercurrents. Here Brickman is trying for plausibility, human interest and social preachments. He’s probably set himself an insoluble problem, one that neither he nor a skilled creative team nor a good cast--including Lithgow, Collet, Eikenberry and Cynthia Nixon (as Paul’s girlfriend Jenny)--could have cracked.

Paul’s motivations are vague enough. Is he bomb-manufacturing for the challenge, “because it’s there”? Or to help Jenny with a Rolling Stone-style expose? The sheer ease of his atomic breakthrough--made in a garage, in between schoolwork and home life--is flabbergasting. Genius has its own infinite forms, and Brickman and Collet are trying to show the “regular guy” variety--Kid Galileo. Paul makes the bomb in between stints as goalie on the soccer team, but he’s never shown more portentous signs of genius than the meticulous way he spoons Ovaltine into his mother’s cup.

You might also suggest, kindly, that anyone this ingenious might ponder briefly the inevitable consequences of stealing government plutonium (even from this “secret lab” with its puzzling one-guard security force). Or think twice about leaving the bomb in his car trunk in Manhattan, while checking into a local hotel and leisurely taking in the sights.

Perhaps Brickman just isn’t making the movie he wants to make. Apparently, his original inspiration was the actual Manhattan Project, that “last burst of real innocence” before the age of nuclear anxiety. It might have been a fascinating film, probably far superior to this one--supposedly, the high cost these days of period re-creations doomed it. But there’s also an element of cynicism. The Manhattan Project, after all, was accomplished by adults. Here we have something snappier: teens with bombs; Dr. Strangelove at the Breakfast Club.

Marshall’s nuclear Brickmanship may fail, but his old flair for quips--along with John Lithgow and the film’s composer Philippe Sarde--occasionally saves him. Lithgow gets another of his specialties--a slightly goofy, off-center character, shot through with uncanny believability. At the climax, he’s the only man in the room who actually looks like he’s afraid a bomb is about to explode. (Perhaps he has good reason.)

Brickman earns a bronze star for some of the dialogue--like Mathewson’s frantic warning to Paul: “These guys are tough. You get funny with them and they’ll lock you in a room and throw away the room.” A few dozen more cracks like that, and you might have been able to swallow the whole movie.

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Named after the World War II-era program, the plot revolves around a gifted high school student who decides to construct a nuclear bomb for a national science fair. The film's underlying theme involves the Cold War of the 1980s when government secrecy and mutually assured destruction were key political and military issues.

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The Manhattan Project

Can anyone stop this Armageddon? A high school science whiz kid builds an atomic bomb as a prank... only to trigger a horrifying race against time - The Manhattan Project is an intelligent, gripping and entertaining thriller with a satisfyingly suspenseful finale. Teenage genius Paul (Christopher Collet, Firstborn) realizes the lab of Dr. Mathewson (John Lithgow, Raising Cain, Blow Out) his mother's (Jill Eikenberry, Hide in Plain Sight) new boyfriend, isn't really developing lasers... it's building nuclear bombs. To expose the lab's secret mission, Paul and his girlfriend Jenny (Cynthia Nixon, Sex and the City) steal some plutonium, build a bomb and enter it in a science fair. But the military learns of Paul's plans and pursues him with lethal intent. Now, as time is running out, only Dr. Mathewson can save Paul... and stop the unthinkable from occurring! Co-written and directed by Marshall Brickman, the co-writer of Woody Allen s all-time classics Sleeper, Manhattan, and Annie Hall.

Storyline: Our Reviewer's Take

Nostalgia is a dangerous thing. The seemingly perfect memories of old may be far from being factually correct. Moments and things that trigger fond responses may be completely inaccurate. Your memories can play tricks on you. Things that you once loved may not be worth loving at all. One of those things, as I recently learned, is 'The Manhattan Project.'

As I kid, I recall watching 'The Manhattan Project' with my brothers with frequency. We loved it. Being a kid, how could you not love a story about a kid who takes his life by the horns, mouthing off and sticking it to the rules and adults along the way? With government officials after him, it's basically an ' E.T. ' story with a nuke instead of an extra terrestrial – only it lacks everything that made 'E.T.' worth watching. Unfortunately, 'The Manhattan Project' doesn't hold up. It's an artifact from the past that, as it turns out, should remain in the past.

The movie kicks off with a scene that would lead you to believe that John Lithgow is the leading man – but he's not. We see his scientist character, John Mathewson, demonstrate a new method for creating 99.997% pure plutonium. With lasers, tubes and all sorts of sciency equipment, his product is something that Walter White would be proud of. The government folks are so impressed that he and his team are immediately signed to a secret contract that will never go public. Although he trusts them, we, the audience, see the shifty eyes they give one another and immediately know that they're not trustworthy.

Cut to the next sequence. We meet Paul Stephens (Christopher Collet), a 17-year-old that's the high school equivalent of MacGyver. The mischevious kid is constantly up to no good. He's similar to Ferris Bueller , only without any of Matthew Broderick's charm or charisma. He's actually pretty unlikeable. For example, he bullies another scientific kid by tricking him into setting off a miniature explosion in class, something that would get any kid permanently kicked out of school these days. The personal rebellion that I once loved in Paul is now a pestering nuissance that's present for the entire movie.

Dr. Mathewson and young Paul meet when the doctor moves to town. The work of creating batch after batch of the near-perfect radioactive material moves forward just outside of town in a facility that's hidden beneath the facade of a locked down medical research company. While looking for an apartment, the doctor meets Paul's mom (Cynthia Nixon), a property manager who rents him a place to live. The two flirt and eventually start dating. Suspecting that the medical company is toying with radioactive materials, Paul breaks into the doctor's car, steals his ID badge for the compound, and elaborately heists the joint for a jug of green gel that holds shavings of metallic plutonium.

Rewatching the heist scene, I have to admit, was fun. It's ridiculous and even absurd, but the fun is still there. It's unfortunate that everything that happens before and after the sequence carries a drastically different tone. This heist is like something out of ' The Goonies ,' but everything else is dead-pan and ' Red Dawn '-ish – and not the fun stuff in 'Red Dawn.' I'm talking about the political, all-too-serious stuff in 'Red Dawn' that's not really entertaining. One other escape sequence briefly captures the magic, but not enough to carry it along. The story of a kid who makes a homemade nuclear bomb just so he can prove to the public that the government is using a fake medical research plant for nuclear testing isn't as entertaining as I once believed.

The pacing of 'The Manhattan Project' is another big issue. Early on, Paul explains his plan to make the nuke in order to win the national science fair; however, once we get to the science fair, we feel like we're watching the climax, yet we've barely made it into the second half of the movie. After that, it glugs along at a snails pace. The nonchalant demeanor of Paul creates a worriless sense of security despite potentially heavy consequences looming around the corner. Although there's conflict, it carries no weight. Not only is this present in tone, but in story. After all that the characters go through, there's ultimately no consequence whatsoever to any of their actions. By the time everything is resolved, things simply go back to the way they were.

If you're clinging to any amount of nostalgia with 'The Manhattan Project,' leave it there. Don't revisit it. Ignorance is bliss.

The Blu-ray: Vital Disc Stats

'The Manhattan Project' has been brought to Blu-ray via a plain and stripped down Region A BD-25 disc that's housed in a standard blue Elite keepcase. Nothing but a forced Kino Lorber reel places before the static music-set main menu.

Video Review

To my surprise, 'The Manhattan Project' has received a pretty decent upgrade with its 1080p/AVC MPEG-4 transfer. It's not flawless, but it's worlds better than I expected.

Not including the highly flawed Gladden Entertainment Corporation reel that kicks off the movie, the first shot immediately shows the clarity, crisp sharpness and common high definition of the cleaned-up video. The tight close-up on a keylock reveals fine lines, tiny key scratches that would appear on the metal surrounding the unit caused by fumbled keys. Unless shots feature soft focus, details and textures remain intact throughout. For example, Lithgow's hideous sweaters show more texture than they should and Collet's facial pores and imperfections are clearly visible.

A light amount of grain is visible and remains present for the majority of the movie. On a handful of occasions, there's some side-to-side shakiness. Although no scratches, specks or debris appear during the opening lock shot, they occassionly show up throughout and will last for an entire scene or so. Fotunately, they're never dense or wildly distracting. Bands and artifacts never show up, but I noticed one instance of aliasing (within the Medatomics company logo) and there are several occasions in which mild noise appears. Aside from that, it carries a pretty good overall quality.

Audio Review

'The Manhattan Project' carries a two-channel DTS-HD Master Audio track that's void of any aging flaws - cracks, hiss, warbling, syncing - but is too congested for its own good. The dialog, effects and music are cluttered together in such a way that scenes with three-way traffic are a bit overwhelming. Having said that, being a transfer of the original audio, it's safe to assume that the track was always mixed this way and that it's no fault of the remastered audio.

Scenes with plain conversational dialog that don't have underlying score or effects tend to have a quiet feel to them. This made me turn the volume up, which in turn resulted in scenes with other sound dynamics being a little louder than I like. Aside from that, the dialog sounds great. It's crisp, clear and natural.

The movie's score is a little unfitting for the movie itself, but it's got some great arraingements. On many occasions it reminded me of the '60 and '70s score that Disney composed for their nature films. It's quite pleasant. Aside from some effects with horrible sounds - like a dirtbike passing on-screen that sounds nothing like an actual dirtbike - the effects are also smooth and enjoyable.

My only real gripe with the audio itself is the fact that there are never any left-and-right effects that add to the dynamics of the mix. Nothing catches you attention and makes you think, ' That sounded great. ' In that regard, it might as well be a mono track.

Special Features

• Trailer (HD, 2:13) – See the horrible quality of the un-remastered 30-year-old footage. The contrast between it and the movie itself shows how strong the transfer really is.

Final Thoughts

Some things from the past are better left in the past. 'The Manhattan Project' is one of those things. There's great potential to the story of a kid heisting a shady government organization, but the story written comes nowhere near meeting that potential. Instead, it's a disjointed and tonal mess. Fortunately, the audio and video qualities are solid - but there's not a single true special feature to be found. If you, like me, had a childhood affection for it, then don't revisit 'The Manhattan Project.' You're only setting yourself up for disappointment.

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Dmitri Brown, Tewa History of the Manhattan Project

• Episode aired Jul 9, 2022

Santa Clara Pueblo scholar Dmitri Brown shares Tewa perspective of the Manhattan Project. Cuban artist Juana Valdes created "Rest Ashore" to explore the migration experience and the refugee ... Read all Santa Clara Pueblo scholar Dmitri Brown shares Tewa perspective of the Manhattan Project. Cuban artist Juana Valdes created "Rest Ashore" to explore the migration experience and the refugee crisis. Natasha Tsakos wants to convert the energy and emotions generated by "Humanode" to... Read all Santa Clara Pueblo scholar Dmitri Brown shares Tewa perspective of the Manhattan Project. Cuban artist Juana Valdes created "Rest Ashore" to explore the migration experience and the refugee crisis. Natasha Tsakos wants to convert the energy and emotions generated by "Humanode" to positively impact people. Jackson Pollock's 1950 drip painting "Autumn Rhythm" changed th... Read all

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• July 9, 2022 (United States)
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A Compassionate Spy

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A Compassionate Spy 's personal approach to its real-life story makes the end result mostly compelling despite an uncritical tone that verges on hagiography.

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