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Joker was shot entirely on digital with a variety of high-res Arri Alexa cameras, some as high as 5.1K (5120x2880), and finished at a true 4K digital intermediate. This means that Warner Bros.' 4K disc is a near-perfect representation of the film and, as such, boasts an extremely detailed and impressive 2160p transfer that gets the added boost of HDR color enhancement. While the separate Blu-ray edition is by no means a distant second, this disc clearly offers the tighter image in direct comparison and stands as one of the format's best-looking non-film releases to date. Though somewhat desaturated by design, Joker absolutely pops with color in all the right places: warm era-specific interior decorations (Murray Franklin's set is a particular standout), moody lighting, costume designs, and Arthur Fleck's clown makeup stand out strongly among the colder and more muted color choices that dominate most backgrounds. High Dynamic Range contributes to the transfer's most impressive color-related moments, from an early chase sequence to a deadly subway encounter and its immediate aftermath. Even if your current 4K television is not equipped to decode the full HDR10 signal, you will notice an obvious difference when compared to the Blu-ray's SDR image. Of course, not all of Joker's visual strengths are color-related. Textures and fine detail are also extremely refined from start to finish, from those aforementioned costume designs to skin pores and caked-on clown makeup. While some of the perceived detail has been artificially produced via a fine grain filter over the digital image, it's a convincing formula that gives Joker an unusually film-like appearance. Modest to strong depth is achieved with various focal techniques, while black levels and shadow detail are both very stable with absolutely no flagrant signs of banding or compression artifacts. Warner Bros.' Blu-ray -- even with its surprisingly low bit rate -- received top marks in the video department, so it's no surprise that the 4K's much heftier 2160p transfer proportionally earns perfect scores by its own rating scale. This is simply a top-tier disc that likely rivals even the best theatrical experience just a few short months ago.
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Captain America: Civil War's UHD disc features a Dolby Atmos soundtrack. Per Disney norms, the track lacks volume at calibrated reference levels and requires an upward volume adjustment (around 7 db) to fully enjoy. Once it's there, the track's dynamics and details emerge. The track is fairly active generally and enjoyably chaotic, particularly during action scenes. The stage always feels expansive, whether considering the widely presented music or environmental fill, but finds its stride in action, where frenzied details harmoniously merge to create a balanced, deep, and precise symphony of comic book movie action. Sounds swing and swoop, part of the track's good directional and location-specific sound elements that clearly and forcefully, as the situation warrants, draw the listener into the movie's most exciting, and as the case may be in this film, important, scenes. An explosion in chapter seven offers a quality heft and weighty push through the stage, and various thumps in chapter eight offer some well-rounded bass, too. The low end adds bit of critical weight to music as well. It's a well rounded track, carrying both action and light environmental details with equal attention to clarity and positioning and immersion. The overhead channels offer little of discrete significance, but action is certainly enhanced, as are some smaller details, such as when when Stark addresses an MIT audience in chapter three. General dialogue is clear and well prioritized. It's firmly positioned in the front-center channel.
The one that started it all! Experience the terror - from the beginning - with the first chilling chapter of the Alien saga, directed by Ridley Scott and starring Sigourney Weaver in her breakout performance as Ripley. When the crew of the space-tug Nostromo responds to a distress signal from a barren planet, they discover a mysterious life form that breeds within human hosts. The acid-blooded extraterrestrial proves to be the ultimate adversary as crew members battle to stay alive and prevent the deadly creature from reaching Earth.
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This is a largely incredible looking upgrade, especially in keys areas of clarity, detail levels and probably especially shadow detail. As fans of the film are most likely already well aware, huge swaths of the story take place in extremely dark conditions, and there is a whole host of new details noticeable now in previously hidden nooks and crannies. Overall clarity is also materially improved throughout the presentation, with a really solid uptick in fine detail levels, even when lighting conditions aren't optimal. The improvements in clarity going rather deep into the frame continually impressed me — for just one admittedly mundane example, keep your eyes peeled in the early tracking shots through the spaceship, and when the little "bobbing" toys appear in the background, you can make out details on them that are simply MIA in the 1080p Blu-ray version. Our Forum on this title is virtually exploding (chest cavities beware) with opinions on the color grading of this release, and I have to frankly state I didn't see a huge difference in the overall palette here courtesy of HDR. Yes, there is definitely improved saturation, but in terms of general color temperature, things looked relatively similar to my eyes when doing a side by side comparison with the 1080p Blu-ray (my home theater is set up so that I can pretty much toggle between 2160p and 1080p versions played through two separate players). That said, there are some subtle but noticeable differences, starting as soon as the credits sequence, where the effulgent glow from behind the planet looked slightly more green-yellow to me in the 4K UHD version than on the 1080p Blu- ray. The yellows of the "pod" scenes with Dallas interfacing with "Mother" also have a somewhat more burnished, honey like glow in this version. The most appealing differences to me were in the big final showdown sequence, where the flashing lights surrounding Ripley offer some really beautiful oranges and reds that are considerably more vivid and nuanced than in the 1080p Blu-ray version.
Now on to the element which may provoke a bit of controversy, at least with regard to my personal perceptions. I have frequently stated in my reviews of 4K UHD product that I haven't always been totally "convinced" by how grain looks in the increased resolution this format offers. My complaints in this regard have been mostly leveled at Lionsgate releases, where grain can frequently look noisy or swarm like, and where it can kind of hang or freeze in unnatural looking ways. Now, Alien is frequently a very grainy looking outing, and some sequences here, notably a bunch with the white backgrounds of the spaceship, just looked a little odd to my eyes. The "awakening" scene is probably exacerbated by a bunch of optical dissolves, but if you keep your eyes peeled toward the upper section of the frame, the grain kind of swarms and clumps weirdly and just doesn't look completely natural to my eyes. While this chunkiness is probably most noticeable in the more brightly lit scenes, it isn't confined to them — there's a brief view "outside" at circa 23:06 which is swathed in darkness and mist where the same clumpiness accrues. Other viewers may well find the grain resolution well within the bounds of what they feel is "organic", but I personally had a few passing if admittedly niggling qualms in this regard. It never approached the levels of some of the more problematic Lionsgate releases I've personally reviewed, but it stuck out enough to me that I felt it warranted mentioning.
All of this said, this is undeniably a major upgrade in video quality, with manifestly increased detail levels and a really appealingly saturated palette. To my eyes, the most significant upgrade here is with regard to shadow detail, which is materially improved in this version.
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John Wick: Chapter 3 — Parabellum features a stupendously energetic Dolby Atmos track that announces its "verticality" from the first moment, with a fantastically fun downward panning sound that immediately establishes the dimensionality of the sound design. The bustling, rainy urban environment provides a glut of opportunities for nice ambient environmental effects surrounding and occasionally passing over the listener, and the many bone crunching sound effects in the fight scenes are realistically spread throughout the sound stage. Dialogue is always rendered cleanly and clearly on this track, one that offers excellent fidelity and extremely wide dynamic range.
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Overlord's Dolby Atmos soundtrack can be summarized in a single word: bonkers. The track is a delight of sonic mayhem, stage expansion and extension, potent bass, and intensely and insanely fun full-stage saturation. Every action scene is a delight, cranking up the sonic mayhem and making full use of every speaker in the configuration, including the subwoofer, to paint a chaotic picture of wartime insanity. Right from the outset on the plane full of paratroopers, the track struts its stuff, which includes engine hum and interior rattle and eventually features bullets ripping through the plane's bottom half, explosions popping all around the aircraft, screaming men, all variety of wartime chaos that the track introduces and executes with startling precision, placement, and clarity. Such holds true for every shootout throughout the film and particularly in the film's climactic action scene. Every inch of the stage is filled with perfectly defined and carefully placed sound details that instantly and fully draw the listener into the battles and environments, where every shot, scream, crash, bang, and bullet slam find their proper, harmoniously balanced place. Overhead speakers are mostly folded in rather than discretely used, though some loudspeaker announcements do offer some nice and obviously positioned overhead usage. "Reserved" is not in this track's vocabulary, though lighter support effects do help better define various scenes when the action isn't front-and-center. Musical clarity and stage saturation are terrific and dialogue is clear and detailed from its natural front-center position. This is a reference quality track from start to finish.
American car designer Carroll Shelby and driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary race car for Ford and challenge Ferrari at the 24 Hours of Le Mans in 1966.
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Ford v Ferrari is presented in 4K UHD courtesy of 20th Century Fox Home Entertainment with a 2160p transfer in 2.39:1. As mentioned in our Ford v Ferrari Blu-ray review, this was captured with Alexa cameras and reportedly finished at a 2K DI (according to the IMDb), though, as I also mentioned in the review of the 1080p Blu-ray version, detail levels often struck me as being at "real" 4K levels even in that presentation, and that is certainly the case here as well. The uptick in general clarity and overall detail levels is apparent from the very first POV shot in the movie, a shot of a speeding raceway covered in mist seen from Carroll's perspective. But fine detail levels are often noticeably improved throughout this presentation, and the increased saturation of the palette with some really appealing highlights courtesy of HDR is also quite noticeable. I was actually kind of awestruck by some of the reds in the presentation, including Carroll's "private" car early in the film and, later, one of the racecars at Le Mans. There's a kind of interesting peach hue to some scenes now that wasn't quite as prevalent in the 1080p presentation, including the Ford plant sequence where Henry Ford II makes his peculiar speech to the assembled masses, and even some of the later outdoor material. One thing that really struck me as noticeably different about this presentation was the much more evident digital grain that has been added. It frankly barely rose to a level of general notice when I watched the 1080p version, but here it's unmistakable, clearly visible in many of the outdoor scenes especially, notably when bright skies are in the frame, as in the sequence that introduces Carroll and Ken "together" for the first time, or even in the charming nighttime - sunset sequence with Ken and his son. This particular aspect didn't always strike me as looking completely organic, but it also didn't rise to the level of a major distraction for me personally.
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For its 45th anniversary, Universal brings Jaws to the UHD format with a practically impeccable 2160p/Dolby Vision UHD presentation. In the early minutes beyond the campfire scene the picture demonstrates superb command of its elements, the first of many notable scenes of practically reference quality. Grain is fine, accentuating the native filmic roots and bolstering the sense of cinematic texturing that sweeps through the shots with resplendent accuracy. Throughout, the picture proves to be very dynamic. There are many examples of notable, superb textures that stand apart at this resolution, notably period attire: light jackets, heavier sports coats, even a thin veil worn by a grieving mother. There's a tangible increase in sharpness and clarity across the board when comparing to the previously issued, and still perfectly workable, Blu-ray, but the UHD brings out the absolute best the original elements have to offer. Many of the weathered accents around the beaches and piers are tack-sharp and tactile and details both interior and exterior around town gain appreciable boosts to sharpness and clarity, even at distance, obvious in comparison but even plain to see when simply watching the UHD straight through. Skin textures and hairs are unsurprisingly some of the most obvious beneficiaries of the resolution increase and clarity gains. What a vivid, flowing, and fine film-like experience.
The Dolby Vision color grading is just as big a victory for the picture as the resolution increase. The colorists have certainly not gone overboard by redefining the film's color temperature or fundamentally altering any component. On the contrary, this is a perfectly natural grading that amplifies where needed without drastically changing any scene's essential tonal parameters. Depth is certainly improved over the existing SDR Blu-ray, giving more balance and life to flesh tones, more stability to sand under harsh daytime sun, more resplendence to blue waters and skies, the latter two of which transform from looking fairly washed out on the previous format to much fuller and pleasing here (see a dialogue scene with the camera positioned slightly below the characters, aimed upwards to allow plenty of sky into the frame, at the 52:40 mark for a very good example of both color grading gains and textural finesse). And when the water becomes saturated with blood, the red depth and its contrast with the serene blue makes for a striking juxtaposition. Brighter whites gain stability and clarity, such as the Brody home or the police station exteriors, both featuring white paneling and fencing. White abounds around town and is certainly one of the most readily improved components, with the green shutters and accents another point for high praise. Look at some of the seaside silhouette shots early in the film, say the 4:25 mark on the UHD. The improvements to black level output, shadow detail, and the rising sun behind clouds gently enhance the mood and screen command, reinforcing the juxtaposition between the terrifying events unfolding in the water and the detached, relaxed scene on the beach.
Further, the UHD handles challenging scenes with ease, such as a foggy nighttime boat trip in chapter 10 where light pierces through fog with no sign of troublesome artifacts. It's remarkably smooth and efficient and, combined with the wonderful black levels, fine grain, and improved clarity, makes for one of the more surprising reference moments in the movie. The print appears virtually free of unwanted blemish. The odd smudge or speckle does creep in but they're rare and barely visible, such as on the left-hand side of the screen at the 1:24:17 mark. There are no encode artifacts of note, either. This one's a keeper for sure and a must have for any UHD library.
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uch like previous Nolan blockbusters on 4K and Blu-ray, Tenet attempts to re-create the IMAX theatrical experience with another mixed aspect ratio presentation that frequently opens up to 1.78:1; it's not exactly 1.43:1 but, under the circumstances, achieves the same effect. No matter its shape, this 2160p transfer is indeed a stunner and one of the best overall 4K presentations I've seen to date. Image detail is absolutely phenomenal from the opera house opening onward, as shot after shot delivers incredible depth and fine detail that's further aided by deep blacks and extremely refined contrast levels. Of course the modern "orange and teal" palette is in full effect here, which also aids the push-and-pull effect that makes an immediate sensory impact and heightens the film's more stylized moments.
Of course, the disc's HDR enhancement contributes to this intended effect and, when paired with the film's 65/70mm roots*, creates an immediate and lasting visual impression. The warm interior of the opening opera house sequence -- a peaceful and inviting atmosphere that's shattered within moments -- sets the bar very high but it's easily cleared soon enough. From there, Tenet continues as a collection of visually stunning moments rather than something that can be described in broad, blanketed terms. The impossibly vivid blue of open waters, combined with sunlit scenes aboard Andrei Sator's luxury yacht. Unparalleled depth in panoramic exteriors, especially cityscapes. Deep blood-red and crimson hues of the mirrored "inversion" room. Glowing amber lights against the darkened backdrop of a plane crash. Everything pops nicely and even the most, well, normal-looking scenes are heightened by its cinematography, creating a palpable level of visual stimulation that, if I'm being perfectly honest, carries the film more capably than its overly twisting narrative. From a purely visual perspective, Tenet is just about as perfect as it gets.
What you can't see can hurt you. Emmy winner Elisabeth Moss (Us, Hulu's The Handmaid's Tale) stars in a terrifying modern tale of obsession inspired by Universal's classic monster character. Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Moss) escapes in the dead of night and disappears into hiding, aided by her sister (Harriet Dyer, NBC's The InBetween), their childhood friend (Aldis Hodge, Straight Outta Compton) and his teenage daughter (Storm Reid, HBO's Euphoria). But when Cecilia's abusive ex (Oliver Jackson-Cohen, Netflix's The Haunting of Hill House) commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turns lethal, threatening the lives of those she loves, Cecilia's sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see. Jason Blum, our current-day master of the horror genre, produces The Invisible Man for his Blumhouse Productions. The Invisible Man is written, directed and executive produced by Leigh Whannell, one of the original conceivers of the Saw franchise who most recently directed Upgrade and Insidious Chapter 3.
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The Invisible Man can hide nothing on the UHD format. The native 4K 2160p/Dolby Vision UHD presentation improves upon the companion 1080p Blu-ray in every way, most immediately and very obviously in the opening dozen or so minutes in darkness where black level depth is greatly enhanced, finding a tangible add to density while improving shadow detail and even object sharpness in extreme low light. Noise management is improved in low light, too; check out a scene around the 33-minute mark when Cecilia believes there's an invisible man in the bedroom. Not only does the scene demonstrate far greater command of it black levels and details, noise is reduced from moderately troublesome on the Blu-ray to nearly non-issue on the UHD. Betterments to sharpness and color rendition alike prove obvious along the way both watching the film in isolation and while conducting some choice A-B comparisons with the 1080p/SDR presentation. Overall color depth improvements are quite striking. Well-lit scenes are obviously where this is most evident to the broader palette. Look at a sequence in chapter seven when Cecilia and James meet with Adrian's brother, Tom (Michael Dorman). Skin tones are more flush, eyes pop with more realistic intensity, the backgrounds sparkle with improved depth, and yes, even Tom's black suit jacket finds another gear of depth (blacks really are a big selling point in the UHD's Dolby Vision favor). The scene is also a prime example of the UHD's adds to overall clarity. Skin definition is more intimate, elements better defined, and the scene in general just appears more clear and brilliant. Such holds true throughout. At every opportunity and in every light, the UHD takes the image's foundational excellence from the 1080p version and only amplifies it in a positive way, bringing out richer colors and superior clarity. It's well worth the upgrade.
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The HDR color spectrum compliments the movie well. The opening sequence when Ren and some stormtroopers arrive on the planet and confront and capture Poe Dameron is certainly darker on the UHD, but to the image's benefit. It's more intense, the villain's black mask and surrounding fabrics find a new gear for depth, fiery backgrounds and bright red laser blasts present with more intensity and punch, and white stormtrooper uniforms are deeper and more reflective of the lighting and environment. Poe's X-wing blows up in spectacular fashion, a light show that is many times more intense and visually satisfying compared to the Blu-ray. When Rey first meets BB-8 in chapter 10, the scene has a much more pronounced dusk feel to it. Deeper and warmer tones define the scene, and the added depth to the droid's orange accents serve as one of the picture's highlights, not just in this scene but throughout the film. Takodana greenery also enjoys impoved color depth, variation, stability, and accuracy. Lightsaber intensity only rises in brilliance and color saturation, ditto laser blasts. Black level depth is superior in space and in various low light shots; the beginning of chapter 11 -- a star destroyer exterior followed by a low light interrogation interior -- is a good example. Skin tones never miss a beat. This is a very good improvement to an already first-rate Bu-ray; fans are going to be beyond pleased.