I actually really like this one. The only thing negative is that they don’t talk that much, but when they do, it’s great. They have a good time watching it and don’t contribute any information important to know, but they provide some wonderful nostalgia. This is the second best commentary on this disc after Tarantinos. 8/10

While it's great to hear Christian Slater and Patricia Arquette reminisce, it's all a bit too few and far between. Arquette tries to add more towards the end, but Slater mainly just agrees or laughs. Maybe if a few other cast members had contributed and the track been edited to include them when Slater and Arquette had nothing to say this might have been a better track.

All Christian and Patricia do is watch the film and praise every scene and every actor that comes on. Booooooorrrr-ring!

Mr Slater, you suck at doing commentaries!

This is the first (but wont be the last) Tony Scott commentery that ive listened to.
Apart from his semi irritating 'yeah' at the end of every 10th sentence (on average) Tony is nearly as engaging as his brother Ridley (on his commentaries)
He talks us through the genesis of the project, financing, cut scenes, altertions, and theres plenty of amusing behind the scenes tales. Highly recommended

This is a great movie, and in large part because of Tony Scott, but his commentary is a pretty boring thing. He’s not very into the movie, and provides only factual information in a boring way. He does say some things worthwhile, but not very often, and in competition with two other tracks on this edition, he loses to the other two. 5/10

Great to hear Tony Scott discuss this film. Anyone who knows the north of England will know how grim it can be, to see such a beautiful glossy 'Americana' film made by a bloke from Northumberland, just blows my mind, so to hear his take on it was great.

Scott is generally very complimentary about his cast and crew, insightful about his choices - including why he decided on his happier ending than what Tarrantino had written. But my favorite story involved the 'persuader' technique he used to get Patricia Arquette into the right emotional frame of mind.

A laid back commentary track that some may find a bit slow, but as a fan of Scott's work I found it very engaging.

All Tony does is describe what's happening on screen and how great each actor is. The only bit that interested me is how he thought the first Beverly Hills Cop was better than his one.

Apparently I liked this commentary more than most, but not by that much. The enjoyment of it stems mostly from the many little details and interesting trivia about the film I was not aware of, even from the Tarantino track (and his many interviews).

You get a lot of your usual praise, and occasional mention of the film making process, but not as much as I would have liked. This is actually a very technically well made film, even though the script gets so much attention.

Too... much... information. Seriously. I couldn't imagine Tarantino doing a commentary track for one of his own movies (either he'd modestly say nothing or you'd have to slow down the track just to hear everything). Anyways, this is a great informative track. He talks at great length about his early years trying to write scripts, finish scripts, visiting the set of The Last Boy Scout, constantly sidetracks himself and waxes lovingly (like no one else can) about how great Tony Scott is and how he's the only filmmaker who can use smoke artistically.

I love this commentary. Not too much information at all. Quentin is a fountain of information and brings a lot to the table for this commentary. He talks about writing the script, meetings with Tony Scott, how he is a big fan of his and ”Revenge” (horrible movie). It’s kind of like he is more enthusiastic commenting on something he didn’t direct. He is very pleased with the result, but also offers us a little glimpse into how he would make it (cutting it a little more like Pulp Fiction). And about the infamous Hopper/Walken scene he argues that the scene is actually too good, and I kind of agree, but as a scene it goes down as one of the truly great ones. Very good commentary, the best one of the three. 9/10

If you like QT, then this is for you. He rambles off more facts and movie-geek stats than you can keep up with, but in great fun. His stories are interesting, mostly about the screenplay and his very few differences with director Scott. QT comes off like an over-caffinated, eager teenager; what's not to like?

Tarrantino is my ultimate movie geek hero and here he does not let me down. Whether he's discussing his reasons for writing the screenplay or talking about his love of Tony Scott's previous films - he's always nothing if not fascinating. I could listen to Tarrantino commentaries all day long. And listening to this makes me wish he would record more.
He's honest, insightful and passionate. A great commentary.

If you really love movies, you can't go wrong with 2 hours of QT.

I wonder if it would have been better or worse, had he recorded this right when the movie came out, rather than years later on the re-release?

In the beginning, he spends a long time talking about getting it written and made, more than he does talking about what is on the screen. Which is too bad, as it may have been more interesting to those of us who already know his story well.

He mentions later about having strong opinions, and here he talks about how he knows it sounds arrogant, but he thinks the Christopher Walken Sicilian scene is almost too good. Most films could not survive it coming so early in the film, because it is so good, people have a hard time thinking about or remembering everything afterwards. But the film is fun enough, with a few other great moments that it lasts, even though ten years later, everyone mostly remembers the Walken Sicillian scene.

Unlike a lot of writers, much less writer/directors, he acknowledges and admires when the director or an actor improved upon his script. He points out small actors he particularly liked and was overjoyed to get cast. He never visited the film set once, as he was in pre-production for Pulp, and felt the movie was out of his hands, and into very good hands.

He points out the more autobiographical parts, and brings up that he did not like the fact Scott had movie posters in the small LA house, because those guys would never have the money to frame them. He mentions how Burt Reynolds was the king of cool still when he wrote this in 1987, but feels dated now. He is glad he mentioned Rio Bravo, and it stayed in.

He talks about how this film was not a financial success when it came out, and he was in pre-production with Pulp Fiction, and it did worry him, so he kept bring up Reservoir Dogs when promoting Pulp, rather than this film.