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Emma (2020)

Emma (2020)

And, yes, before you think to ask, the title does include a period after “Emma”. According to Autumn de Wilde, making his big-screen directorial debut here, this is to signify the movie as a “period piece” set in the original era.

 

Emma. was one of the first films Universal decided to release on premium video on demand (along with The Invisible Man and The Hunt) due to the theatrical shutdown, bringing it to the home market as a $19.99 48-hour rental just 10 days after

its theatrical debut. The initial release was limited to just 1080p resolution, causing some to hold off.

 

Emma. is now available for purchase from Kaleidescape for that same $19.99 price, but with a 4K HDR transfer. (The film had a theatrical Dolby Digital sound mix, and it is provided with a DTS-HD Master 5.1-mix for home.)

 

As a movie lover, I’m always up to watch just about anything, but I’ll admit that Emma. was a bit outside the wheelhouse of films I usually take on for review. I didn’t remember anything of the story, and all the I could recall from the previous Emma (1996) was Gwyneth Paltrow holding a bow and arrow. (Spoiler: There is no archery in this version whatsoever!) Fortunately, my wife, Dana, is a huge Jane Austen fan and she was game for reviewing the film portion and offering a bit of perspective from an Austen-loving background:

EMMA AT A GLANCE

While this may look & sound better than the 1996 take on the Jane Austen classic, Gwyneth Paltrow’s earlier portrayal of Emma was far more likable than Anya Taylor-Joy’s performance here. 

 

PICTURE     

Kaleidescape’s 4K download is true to the film’s pastel tones, but the digital intermediate seems soft compared to some recent 4K transfers.

 

SOUND

The DTS-HD Master 5.1 soundtrack does a nice job conveying the dialogue, atmospherics, and evocative classical score.

I discovered Jane Austin at 14. I first read Pride and Prejudice, followed in quick succession by Emma, Mansfield Park, Sense and Sensibility, Northanger Abbey, and Persuasion. Austen’s writing draws you into a world of grand houses, ladies and gentlemen, and the proper manners expected of such people. In spite of the sometimes pretentious and flowery speeches, the wit and humor is easily understood, and the banter between characters is a bit like looking in on a 200-year-old sitcom.

 

Of all Austen’s novels, Emma is actually one of my least favorites. Emma Woodhouse (Anya Taylor-Joy) is a spoiled snob, both self-centered and vacuous. In contrast, Elizabeth Bennett, the heroine from my favorite Austen novel, Pride and Prejudice, is well-read, intelligent, and caring. In Emma, Emma’s neighbor and friend, Mr. Knightley (Johnny Flynn) berates and corrects her, causing her to pout as if she were a child, whereas in Pride, Miss Bennet and Mr. Darcy banter back and forth, sharing interesting ideas and concepts more as equals.

 

So far, there have been two film versions of Emma, the previous being the 1996 version starring Gwyneth Paltrow. (There have also been at least three TV mini-series versions.)  [JS: And not to mention 1995’s Clueless, which is a very modern retelling of the story.] While the costumes and locations are similar in both films, I found the color scheme of the 1996 version more somber. While I initially thought Taylor-Joy was actually of English descent, it turns out she was born in Miami, Florida, was raised in Argentina until she was six, and then moved to London, where she spent the next eight years. While English was not her first language—she spoke only Spanish until she was six—her English accent here is solidly believable throughout.

 

Many scenes from this retelling have a grander scope, revealing more of the vast countryside views. [JS: While the theatrical resolution is listed as 1.85:1, the home release is actually 16:9, or 1.78:1.] Some of the framing, pacing, and closeups feel a bit Wes Anderson-esque, with title cards occasionally breaking up scenes, or the way some background characters moved in scenes. 

Emma (2020)

As with many of Austen’s works, there are numerous characters and names to keep track of. In the opening scenes, Emma’s governess Miss Taylor (Gemma Whelan) weds a local gentleman, and Emma is convinced she orchestrated their union and that matchmaking is her calling.  When a Miss Harriet Smith “Biddy” (Letty Thomas) enrolls in the local ladies’ school, Emma takes her under her wing and is determined to find a suitable husband for the young lady. Though Miss Smith’s parentage is unknown—meaning she is probably someone’s illegitimate daughter—Emma is convinced Miss Smith is actually the daughter of a gentleman, and thus suitable for a good match. However, in 19th-century England, no respectable gentleman would marry someone with Miss Smith’s unknown background. Yet this doesn’t stop Emma from setting her sights on the local rector Bartholomew (Angus Imrie) as the perfect choice for Miss Smith, even convincing Miss Smith to decline a marriage proposal from someone she is quite fond of.

 

The just-over two-hour film spends most of its time with Emma negotiating and arranging meetings between characters in beautiful settings and gorgeously detailed costumes and hoping to arrange her own chance encounter with Frank Churchhill (Callum Turner). As the most well-off of Austen’s heroines, Emma sees herself as the perfect match for Churchhill as he is set to inherit one of the largest estates and salaries around.

 

As is typical of films, a lot of detail and storytelling from the book are omitted, but this version doesn’t provide as much backstory into Emma’s life or give us any sense of the history she has with the other characters as the ’96 film. For example, we know very little about Jane Fairfax (Amber Anderson) or why she is Emma’s chosen frenemy, and just a throwaway line tells you she has not family or fortune. Also, in the novel, Emma’s father, Mr. Woodhouse (Bill Nighy), is an extreme hypochondriac, constantly worried about all manner of things such as what people are eating and if they will get sick, but here, while Nighy superbly supplies most of the comic relief, his fears of catching ill have been reduced to concerns over cold drafts and having a doctor on routine call.

 

Compared to Taylor-Joy’s portrayal, Paltrow played Emma with more compassion, not as if matchmaking is just some game for her amusement, but rather as if she actually cares for the people involved. Also, Paltrow comes across as kinder and less snobbish, where Taylor-Joy seems like she is above others and has the proverbial stick lodged up her corset from the get-go. Also, Mr. Knightley—who is some 17 years Emma’s senior—treats her more like a child or irritating little sister.

 

While this version is beautiful-looking from a cinematography standpoint, and you get to appreciate far more of the well-appointed and -dressed interiors of the fine Woodhouse estate compared to the ’96 film, much of which takes place outdoors, I actually preferred the previous version due to Paltrow’s more likable portrayal.

 

Shot on ArriRaw at 4.5K and taken from a true 4K digital intermediate, you’d expect Emma. to look good, and it does. However, I never felt I was getting that hyper-resolution of some modern true 4K DI’s. Closeups were certainly rich with 

texture and detail, especially on the many finely detailed costumes and delicate lace that Emma wears, and the resolution also helps you to appreciate the fabric, patterns, and detail of the many suits and dresses throughout, but I would have bet that it was taken from a 2K DI. Perhaps I’ve just gotten spoiled by some terrific transfers lately.

 

Many of the interior scenes throughout Woodhouse estate feature rooms painted in a host of pastel colors—powdery blues, mint greens, carnation pinks—that are well represented but not necessarily saturated or pushing the boundaries of the wider color gamut. Where the video quality really shines is during the interior scenes that are lit by an abundance of candles. Here we get rich, warm tones, lighting the room and characters with glowing skin and deep shadows that look very lifelike and true with the use of HDR. Of course, the flickering flames also benefit from the added dynamic range, as do scenes where sunlight is pouring in through open windows, or exterior scenes under what seems to be a perpetually overcast British sky that have some nice punch.

 

Sonically, Emma. doesn’t offer much to write about. As mentioned previously, we are given just a basic 5.1-channel track, and there a just a few moments of atmospheric audio, such as the occasional bird chirps or wind blowing, or the 

Emma (2020)

crunch of carriage wheels and the creaks and groans of a carriage as it moves along. Interior scenes are given the appropriate sense of audio space, being flat when appropriate, or lively and echoey, such as inside the church.

 

The soundtrack is actually quite nice, featuring many classical pieces that are spread well across the front channels and that upmix nicely into the height speakers. There are also a few choral pieces that offer some nice room-fill. Of course, the most important part to a dialogue-driven film like Emma. is being able to clearly understand what characters are saying, and it definitely accomplishes this, even giving them some nice movement across the front channels that tracks on-screen location.

 

Of all the versions of Jane Austen’s Emma available, this one certainly looks the best and is available in the highest quality via Kaleidescape. If you are into period films, or just need a mental palate-cleanser after the recent slate of action films that have been released, Emma. is easy on the eyes and offers a new presentation to a classic tale.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

The King of Staten Island

The King of Staten Island

I know people like the characters in The King of Staten Island exist but I don’t like paying to be reminded of that fact, especially over a grueling two hours and 17 minutes. I felt the same revulsion watching American Factory, another grisly reminder of the underclass spawned by successive generations of callous, punitive economics and an increasingly toxic pop culture. Yes, this is who we’ve become, but it’s nothing to be proud of.

 

I can’t imagine what kept Judd Apatow motivated through the protracted process of developing, writing, shooting, and doing post on something like this. When he sat down every morning, what did he see in this dung heap that gave him the energy to carry on?

 

The answer may lie with the Apatow house brand—which is something distinctly different from his style as a filmmaker, which I’ll get to it a minute. Imagine Freaks & Greeks grafted onto Buñuel’s Los olvidados, and you’ll have some idea of where he was trying to go with Staten Island. And that could have potentially been fertile ground. Problem is he couldn’t resist the

impulse to apply his patented warm and fuzzy formula in an effort to redeem his irredeemable characters, so what starts out like Trainspotting ends up a lot like It’s a Wonderful Life. The former rings true, but something nobody really needs to be exposed to; the latter is just nauseating.

 

His distinctive style has been apparent from his earliest directorial efforts. (Even a casual observer can see the clear through-line from the freeze-pop scene in Freaks & Geeks to Staten Island.) And his work has the potential of being tremendously expressive—if he can ever find the right material. The problem is, Freaks remains his strongest effort to date, aside from some occasional moments in 40 Year Old Virgin and This is 40. Whenever he’s tried to bring some discipline to his work and act more like a “filmmaker”—like with Knocked Up, the egregious Funny People, and here—he always goes seriously awry. But he’s definitely onto something, and might actually somehow someday get far enough out of his own way to latch onto a more promising subject.

STATEN ISLAND AT A GLANCE

Judd Apatow’s latest is two-plus hours of unpleasantness, a kind of Trainspotting-meets-It’s a Wonderful Life mashup yanked from theaters right before its release date and dumped onto the video market. 

 

PICTURE     

Faux documentary visuals done in the patented “independent film” style, neither helped nor hindered by the 4K HDR treatment.

 

SOUND

The clean-enough audio can’t really be held responsible for the pervasive, unpleasant Staten Island accents and fights a losing battle against the mumbled line delivery.

Staten Island was supposed to have had a limited theatrical run, mainly at drive-ins, but Universal at the last minute decided to send it straight to video. My guess is they couldn’t figure out who the audience was supposed to be and were afraid it would flop hard even at a time when people are starved for entertainment.

 

But premium video on demand wasn’t such a great alternative. I had to fork over two hard-earned sawbucks to watch this on Amazon—that’s a hefty amount to wager on a film that doesn’t give you much of a clue of what you’re in for. The bigger problem is that you can be halfway through the seemingly interminable slog of watching it and still not have a clue.

 

I know it’s heresy to bring this up at a time when every film sprawls and nobody has the creative discipline, or a strong enough sense of mercy, to cut anything to the length it actually deserves, but Staten Island could have easily been a nice, tight 90 minutes and still have been, for better or worse, the same film. At least I would have gotten 45 minutes of my life back.

 

I don’t have much to say about the acting except that, if you’ve ever seen an Apatow film, you’re seen all of these performances before. And there’s the recurring problem of nepotism. What has to happen to keep Apatow from casting his own family members? His daughter Maude is OK as Pete Davidson’s responsible, grounded, empathetic (insert morally laudable trait here: _____) sister, but is in no way exceptional and is a kind of poster child for the daughters of privilege swelling the acting ranks in New York and LA, people with only modest abilities but terrific connections.

 

There’s nothing exceptional happening on the technical side either. Staten Island is shot in the standard-issue faux documentary, “independent film” style that’s been dragging down serious films for at least a decade now. (Did I mention that this isn’t really a comedy?) Everything is well enough shot and assembled, but this could have been presented as a radio play with pretty much the same impact. Part of the almost $20 price of admission can be attributed to Staten Island being a 4K HDR release, but I couldn’t see where that really helped or hindered anything.

 

The audio is perfectly serviceable, and can’t be held accountable for the unpleasant accents and some of the actors’ inability to articulate their lines. There are the obligatory pop-music cues meant to create a false sense of energy, and some firearms are discharged during a robbery scene. I guess the gunshots sounded realistic. I’m kind of glad to say I have no way of knowing for sure.

 

Maybe this thing panders just enough to have an audience beyond self-pitying brats. God only knows Staten Island embodies the corrosive masochism that lies at the black heart of the culture. I just know that trying make our dance with Thanatos (no, not that Thanatos) more palatable by turning it into something that veers awful close to becoming a musical isn’t healthy for anybody. If you really feel like you need to piss away $20 online, go play some poker instead.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Space Force

Space Force

It’s not hard to figure out how this all began. Netflix had an unexpected boon when Millennials didn’t discover The Office until after it had migrated over to the subscription service but then seized on and devoured it as if they’ve just summoned up manna. As all that was playing out, NBC announced it would be bringing The Office back under its wing as part of its new Peacock streaming service, eventually depriving Netflix of what is probably its steadiest flow of viewers.

 

While they would never publicly admit it, Netflix found itself desperate for a new series that looked, walked, and smelled enough like The Office to retain a sizable portion of that show’s audience.

 

Enter Office creator Greg Daniels and star Steve Carell with an itch to do a service comedy—an idea as old as the hills (or at least as old as Aristophanes)—and as fresh as today’s headlines. Or at least that’s how they would have presented it at the 

pitch meeting—assuming they even had to do a pitch before Netflix handed them a blank check.

 

To cut right to the chase, Space Force is nothing but a mess, way overinflated in every possible way, the most hackneyed of sitcom premises puffed up with a stupidly large budget and a random mob of a cast. If this had been made for a fraction of the money and with a little less latitude, the constraints might have brought some badly needed discipline to the exercise, yielding something tighter, funnier, and more watchable. Maybe.

 

What we have instead is the Netflix equivalent of It’s a Mad, 

Mad, Mad, Mad World—a too-big-to-fail comedy that puts a gun to your head and tells you to laugh because it’s desperate to justify its existence. There are some laughs, occasionally (I have to admit to falling for the space chimp bit), but far too rarely. Space Force is the sitcom equivalent of spending an evening watching a room full of monkeys perched at typewriters and waiting for one of them to randomly tap out a joke.

 

To go with another animal analogy, it’s a great, big slobbering Labrador of a show, utterly superficial, with no ideas or convictions of its own, desperately trying to please everybody and willing to do anything to get a little attention. If you’ve heard that it’s a spoof or satire, you heard wrong. Space Force doesn’t bite—it licks your face instead. It doesn’t have the creative courage to skewer a damn thing.

 

But enough of the generalities; let’s talk specifics. You get the sense Carell loves The Great Santini and decided, for some reason, to bring it up to date. But it would be hard to name another actor more different from Carell, with his extremely limited acting range, than Robert Duvall. That cognitive dissonance might help explain why he can’t get a bead on his character but constantly shifts between playing a pint-sized general, Michael Scott, and an ambiguous third being who might actually be Carell himself.

 

The cast is big and, almost without exception, unexceptional, the most offensive member being Ben Schwartz as Carell’s media manager. His every moment on screen is the comedy equivalent of waterboarding. Carell’s character fires him in the first episode, which seemed logical and felt definitive, and led to the hope we were rid of him forever. But this is a cliché-laden sitcom after all, so he keeps arbitrarily popping back up throughout the series, like a horror-movie villain or a rodent, even though his shtick is predictable, his actions implausible, and he fails to generate any laughs.

 

The biggest offense—although you can’t really blame the completely bland, inoffensive actress saddled with playing her—is the pilot who starts out as Carell’s whirlybird chauffeur and somehow ends up commanding a lunar mission. She’s not a character or the product of a legitimate creative act but a fashionable amalgam, born of checking off a bunch of boxes meant to suck up to contemporary sensibilities. As far as you can get from three-dimensional, she’s a direct descendant of the personified virtues in a medieval morality play.

 

More specifically, she’s only there to be the token tough-but-caring black girl who rises to a level of great responsibility because she has a massive father complex.

 

If there’s any glimmer of light in this black hole of a series, it’s John Malkovich as the lead scientist. He’s ultimately nothing but a stereotypically affected straw man, Alice to Carell’s Ralph, Felix to his Oscar. It’s only Malkovich’s ability to make something out of nothing that causes his screen time to add up to anything resembling creative redemption.

 

Pardon a little inside baseball, but I watched Space Force straight through when it debuted and planned to publish this review then. But my reaction was so strong, I felt the need to buy some distance before going public with my thoughts. Unfortunately, the weeks that have since elapsed have only reinforced my original impressions.

 

If you’re big on Anointed vs. Underclass fictions that come down firmly for the Anointed, this show is for you. If you find succor in a day-care center view of the world, you’ll probably actually enjoy the image of a military mission jubilantly jumping around the lunar surface like a bunch of infants. I didn’t. Space Force shows how far we’ve devolved since Metropolis, and suggests the Fredersens of the world have irrevocably won.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Another Helping of Quaint-Location Crime Fiction

ELVEN (THE RIVER)

A man finds a foot in a river. It makes him nervous, but not because he does not know where it came from. He’s nervous because he seems to already know where more body parts remain unburied.

 

A little girl finds a hand in the same river. Her name is Silja, she is 10 years old, she seems intelligent, but does not speak. “Different.” “Sensitive.” She lives with her mother and grandmother. Grace, Silja’s pretty single mom, is a barmaid who works hard to get away from her own critical mother. Grace is so lonely that when she reluctantly has to turn a trick for some extra 

money, she tells the customer that she can stay longer. When told “that’s not necessary,” her sadness is palpable.

 

Welcome to Djupelv, a tiny village on the northern tip of Norway, 800 miles northeast of Oslo, the capital. Djupelv is also the name of the river (sometimes spelled Djupelva), cold, relentless, icy, that gives the show its title. The camera pans between dramatic interactions to scenes of the flowing river, as if to say corrupt human nature cannot match the elemental, pristine, power of nature.

 

It’s not police against criminals in the Norwegian series The River. It’s a policeman from Oslo, Thomas Lønnhøiden 

(Espen Reboli Bjerke), now working in a town from which his parents disappeared in a plane crash, along with the plane, when he was an infant. He wants to find justice for Silja, but he’s also compelled to solve the mystery of his parents’ death. He’s up against a lazy, incurious police department, an ineffectual local media, and complicit Military Intelligence. Norway’s military calls the shots in this region, where the Cold War never ended, and where Russian and Norwegian agents still play Spy vs. Spy. In some ways, it’s an oddball companion piece to the brilliant three-season thriller Occupied (Netflix), in which Russia engineers a relatively subtle invasion of Norway to maintain a steady, cheap oil supply.

 

In the plot-packed first episode of The River, Russian troops have been spotted at the border. A preparedness drill, led by a determined, ambitious woman sergeant Mia Holt (Ingeborg Raustol), takes on extra urgency. When the girl Silja disappears and is found dead near a ramshackle building on Army property, no one but Lønnhøiden seems to want to find out the truth. “They talk in half-truths and riddles,” he complains, and for eight episodes, through suicides, sabotage, and snowmobile chases, the lies keep on coming. Plausibility is not a strong point, but the raw beauty and frequent bursts of unpredictable action may keep you watching.

 

Unlike some cold-weather settings that wait for better weather to shoot, The River revels in its frosty locale. There are chases through knee-deep snow in the woods, cars skidding into snowbanks, and overhead shots of long roads cleared by snowplows 24/7.

 

The scenery is reason enough to enjoy much of The River, shot in tones of Arctic gray that make it difficult to guess the time of day. Everyone is dressed in thick wool and heavy parkas, so that even though some sexual chemistry develops between Thomas and Mia, there are so many layers to take off that it’s hard for them to find the time.
Amazon Prime / PBS Masterpiece

HAMARINN (THE CLIFF)

A river is also featured in the Icelandic show Hamarrin, which takes place in a rural region hundreds of miles from the capital, Reykjavik. Helgi (Björn Hlynur Haraldsson), a special investigator from the city, is called in to help the local policewoman Inga (Dóra Jóhannsdóttir) investigate a suspicious death at a construction site. (Haraldsson and his character Helgi are also featured in The Lava Field, which has appeared on Netflix and Amazon Prime from time to time.)

 

Developers, with the eager participation of some local landowners, want to build a hydroelectric plant, which would require blowing up the the cliff and damning the rivers and falls that make the area a popular tourist area during the summer. Building the plant offers plenty of money and jobs, but to some the cliff is not just sacred but invested with supernatural powers. Shiny round blue lights, like small comets, or balls of lightning known as “the Moon of Urd” are sometimes spotted in the sky at night, falling near the cliff. The real moon hovers low in the sky, a natural wonder of its own.

 

Facing the cliffs, the few residents, and their many horses, see plain pasture. On the other side of the cliff (about 62 feet high, a brisk recreational hike to take a peek from the peak), the world looks different: a sumptuously beautiful ecosystem of hills, wild horses, streams, flowing water, and waterfalls, as gorgeous as anywhere on earth.

 

Environmentalists (and some residents) want to stop the project; some dynamite and blasting caps are found missing. The police “raid” the environmentalists’ encampment, looking for the dynamite, and if you want to see what citizen-friendly policing looks like, it’s a kind of comical scene. When Helgi and Inga rush to control the conflict, they come upon a lot of shouting, not shooting. The greens claim the police brought drug-sniffing dogs, which they describe as “rude.”

 

Obviously, there is plenty of tension beneath the façade of Icelandic cooperation. Everyone seems to have had a past with everyone else, marriages are frayed but alternatives are few. The men do have the option of visiting Halldora, who runs a massage parlor. Helgi and Inga are always knocking on her door, as she in quick turns is considered a witness, a suspect, and a victim.

 

Everyone suspects everyone else; even families are divided. “A bit of jealousy and envy is normal,” one of the residents says. A bit, sure. But long-buried emotions often swell, punctuated by the sometimes spare, sometimes symphonic electronic music soundtrack. In this remote place, some people (and children) are more attuned to the currents emanating from the cliff than others. Those who do not heed those powerful vibrations don’t see trouble until it’s too late.
Amazon Prime / PBS Masterpiece

Wayne Robins

Wayne Robins is a veteran journalist, music critic, and author. His books include A Brief History
of Rock . . . Off the Record, 
and Behind the Music: 1968. His articles and essays have appeared
in anthologies about Steely Dan, Leonard Cohen, Bob Dylan, Paul Simon, Frank Sinatra, Joni
Mitchell, and others. A 2021 inductee of the Long Island Music Hall of Fame for his writing and
criticism at Newsday (1975–
1995), he is an adjunct professor at St. John’s University in
Queens, NY.

5 Great “Road” Movies

5 Great "Road" Movies

The Straight Story

It’s no secret that road-trip movies are usually metaphors for the characters’ inward journeys, but that doesn’t make them any less entertaining. Road trips are particularly well suited to American filmmaking, thanks to the vastness of the North American continent and the highway system that transects it. With all those thousands of miles available, there’s no story that can’t be told. The following examples represent a collection of human types as various as the regions they travel and the vehicles they travel in.

LITTLE MISS SUNSHINE (2006)

If any movie can be described as dark and light at the same time, it’s this one. Directed by Jonathan Dayton and Valerie Faris, Little Miss Sunshine is a comedic gem with a bitingly funny script by Michael Arndt.

 

Olive (the wide-eyed, adorable Abigail Breslin) is an average-looking but unusually determined seven-year-old girl. She’s been training for the Little Miss Sunshine competition, coached by her foul-mouthed grandfather (Alan Arkin is the 

5 Great "Road" Movies

embodiment of a man powered by pure sarcasm). Her exhausted, underappreciated mom (Toni Collette) convinces her hypercritical dad (Greg Kinnear) to drive the family from Arizona to California for the contest.

 

Along for the ride are Olive’s angsty teen brother 

(Paul Dano), who’s stopped speaking in honor of Friedrich Nietzsche, and her gay uncle (Steve Carell), a Proust scholar who’s fresh out of the hospital after trying to off himself over a failed love affair. The script’s best moments happen in the van on the highway as this crazy bunch of characters spar with each other.

 

Little Miss Sunshine may be about the ultimate dysfunctional family, but the movie is underpinned by such intense love that the joy outweighs the black humor in the end.     A / G / I / KV / Y 

 

 

THE STRAIGHT STORY (1999)

Family is also the driving force behind The Straight Story, and this time the journey moves from darkness into light. But don’t expect the revelations to announce themselves in Hollywood fashion. This movie takes its pace from the people and landscape of the rural Midwest—long, slow, patient, inevitable. While it might be a surprising piece of work to come from David Lynch, it’s one of his best films. The screenplay, based on a true story, is by John Roach and Mary Sweeney, who also edited the movie.

Alvin Straight (Richard Farnsworth), an elderly Iowa man, learns that his estranged brother (Harry Dean Stanton) has had a stroke. With his eyesight too poor to drive, and no available bus service, Alvin hitches a trailer to a 30-year-old John Deere riding lawn mower and sets out toward Wisconsin to heal the rift with his brother 

while he still can. The story is told through Straight’s interactions with strangers along the way, as he quietly doles out wisdom and humbly accepts small kindnesses. Sissy Spacek is wonderful as his special-needs daughter who holds down the home front while he’s away.

 

Profound but never preachy, the script is often very funny and the visuals rewarding. Rich green farmland melts into gray autumn sky, forming a continuous backdrop, the work of Oscar-winning cinematographer Freddie Francis.     A / G / I / V

 

 

AMERICAN HONEY (2016)

Family doesn’t always mean blood relations, but chosen families can be just as challenging as biological ones. That’s one of the themes of American Honey, the ruthlessly hyper-realistic road movie written and directed by Andrea Arnold.

A young woman named Star (Sasha Lane) is stuck in poverty and an abusive relationship, so she doesn’t need much convincing when slick-talking Jake (Shia LaBeouf) tells her he can get her a job selling magazines in Kansas. She joins up with his band of scarred and scared people all seeking some strand to hold onto in life. The van they travel in acts as a protective chamber, letting them be their true selves in safety. Whenever the van stops and its inhabitants have to venture out, we see the “normal” world through their eyes, as a harsh, hostile place that can’t adapt to accept outsiders.

 

As the team’s leader, Riley Keough is an unsettling combination of maternal and cold. Arnold is careful to

Where to See Some Road Movies

Little Miss Sunshine, American Honey, and My Own Private Idaho are available on all of the non-subscription streaming services as well as Kaleidescape. You won’t find The Straight Story on YouTube or Kaleidescape, and Transamerica isn’t on Kaleidescape.

 

A = Amazon Prime / G = Google Play
I = iTunes / K = Kaleidescape
V = Vudu / 
Y = YouTube

avoid stereotypes among the troubled young people, focusing on specifics that make them individuals. A standout is Arielle Holmes, who plays Pagan, a tiny, delicate woman obsessed with Darth Vader because she understands the darkness he represents.     A / G / I / KV / Y 

 

 

TRANSAMERICA (2005)

While it’s not as original in its structure as any of the previously mentioned films, Transamerica is groundbreaking for its subject matter. A trans woman in L.A., only one week from her transition surgery, is amazed to discover that she has a 17-year-old son in New York. He’s in jail with no one to help him. She shows up, bails him out, and offers to drive him to California. But she neglects to mention that she’s his dad.

 

The script by director Duncan Tucker, while satisfyingly emotional and hilarious, uses the road-trip trope in predictable ways to develop, destroy, and rebuild the main characters’ relationship. Still, the issue of a young person discovering his parent is trans is new enough to cinema that it’s well worth exploring. Felicity Huffman is completely convincing as Bree, the trans woman, even if activists at the time were disappointed that a trans actor was not cast in the role. As her son Toby, Kevin Zegers hits the right range of teen overconfidence, rage, and sexual confusion. Graham Greene makes a wonderful cameo appearance as a good Samaritan who helps and befriends them as they pass through Texas.     A / G / I V / Y 

5 Great "Road" Movies

MY OWN PRIVATE IDAHO (1991)

Most road trip movies are about completing a journey; My Own Private Idaho is about how we are stuck being whoever we are, no matter how far we travel. River Phoenix is Mike, a homeless narcoleptic who turns tricks to scrape together a living. Keanu Reeves is Scott, heir to a fortune, who turns tricks because it amuses him to dabble “in the life” until he inherits his money.

 

Mike is in love with Scott; Scott acts like Mike’s friend—he even drags him to safety when his narcolepsy strikes, over and over—but friendship has no meaning to him. Their ragtag band of misfits is lorded over by Bob Pigeon (William Richert), aka Fat Bob, who is their Falstaff. Just so you don’t miss that allusion, writer/director Gus Van Sant wrote Bob’s scenes in iambic pentameter.

 

As for the road-trip element—well, there’s definitely a road. The movie begins with an endless black highway cutting through the flatness of Idaho (cinematographer John J. Campbell captured some breathtaking vistas). Mike stands on the shoulder, with no car in sight. This film is largely about what isn’t there. As Mike and Scott travel around—to Seattle, Portland, Idaho, even to Rome—it doesn’t matter how they got there. The places have roads between them, but just like Mike’s narcoleptic experience of the world, much of their surreal journey is riddled with blank spots. Even if you know what road you’re on, you might still be lost.      A / G / IKV / Y

Anne E. Johnson 

Anne E. Johnson is a freelance writer in Brooklyn. Her music journalism appears
regularly in
Copper Magazine, Classical Voice North America, and Stereophile. She’s
also the author of several novels and over 100 short stories, mostly science fiction
and fantasy. Learn more on AnneEJohnson.com.

King Creole

King Creole

So often when we techie types attempt to explain the benefits of High Dynamic Range to the masses, we fall back on the clichés of “blacker blacks!’ and “brighter highlights!” as if that were the beginning and end of the story. If anything, though, Kaleidescape’s 4K HDR release of King Creole—Elvis Presley’s fourth film and the last before he went into the Army and came out the other side as an amphetamine-addled self-parody—proves that this simple explanation is woefully inadequate 

when it comes to explaining the actual benefits of HDR video.

 

Compare the 4K HDR download of the film to the Blu-ray release (the best you’ll find on disc, since the 4K transfer is a digital exclusive), and you’ll see that the blacks are no more black, the whites no more vibrant. The difference HDR makes is on the journey from one end of the value scale to the other. What the 4K HDR download has that the 1080p disc doesn’t is a proper richness and nuance between those two extremes. Rather than merely cranking the overall brightness of the image to drag it out of the shadows, this transfer allows the bright spots to shine and the darkness to revel in its inkiness, while also allowing for some middle ground. And the result is an image that’s wholly dimensional, with believable depth and oodles of texture that’s lost in the overly contrasty 1080p transfer.

 

It helps, of course, that the film was beautifully shot to 

CREOLE AT A GLANCE

One of the few “good” Elvis movies, thanks partly to Michael Curtiz’ expert direction, atmospheric Big Easy locations, and a provocative turn by Carolyn (Morticia Addams) Jones. 

 

PICTURE     

4K honors Russell Harlan’s evocative cinematography, which benefits greatly from a non-gimmicky application of HDR.

 

SOUND

The DTS-HD Master mix is primarily mono, until Elvis bursts into song, when it blossoms into multichannel splendor.

begin with. Director Michael Curtiz (best known for Casablanca and White Christmas) and cinematographer Russell Harlan (who deserves more credit for the success of Robert Mulligan’s To Kill a Mockingbird) approached this musical noir/melodrama as if they were filming Olivier instead of Elvis, and their choice of New Orleans as setting lends the film a gritty verisimilitude that’s positively captivating.

 

It isn’t just the HDR treatment that helps push this download into must-see territory, though. The 4K transfer also reveals fine details—the filigree in the iron terrace railings on Bourbon Street, the fine mesh of screen windows—that simply get lost in the film’s 1080p transfer.

The visuals alone more than make up for Creole’s occasional shortcomings—the uneven performances (especially by Dolores Hart of The Virginian fame) and the often-laughable lip-syncing during Elvis’ barnburner performances. There’s also the weird sexual tension between Presley and Carolyn Jones, who slinks her way through every scene in a way that’s wholly distinct from her turn as Morticia Addams on the small screen just a few years later. When Presley’s down-on-his-luck Danny Fisher and Jones’ gangster concubine Ronnie share the frame, there’s a dangerous energy that’s unmatched by most films of the era. Watching them together, one can’t help but wonder what could’ve been—what Presley’s film career might have been like if Colonel Parker hadn’t kept the King on a leash, forcing him to take roles in fluff like Girls! Girls! Girls! and Viva Las Vegas when he returned to the spotlight a couple years later.

 

But go too far down that road and one also can’t help but wonder what King Creole would have been had James Dean lived to play the role of Danny Fisher, which was written for him before it was rejiggered as a musical about a New Orleans singing sensation rather than as a straight drama about a New York boxer.

King Creole

We’ll never know, of course. But I do know this: King Creole has never truly thrived on home video until now, until our residential display technology finally caught up with the capabilities of good old-fashioned film stock. Indeed, the film sounds better than ever as well. True, the DTS-HD Master Audio 5.1 remains a mostly mono affair except during Elvis’ musical numbers, when the soundstage comes to life thanks the multitrack recordings of those songs. But much like the rest of this wonderfully and captivatingly imperfect film, somehow it just works.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Gladiator

Gladiator

Having not watched the film for years, what I most remembered about Gladiator prior to this viewing was the incredible recreation of the Roman Colosseum filled with tens of thousands of cheering, blood-thirsty fans. I recall marveling at the size and scope of it and how they had been able to resurrect and recreate this 1,900-plus-year-old monument.

 

Those digital effects didn’t hold up quite so convincingly viewed in 4K resolution 20 years later, but that’s OK. While the movie boasted some impressive visual effects for its day, they were always there just to serve the greater purpose of telling the 

story and never just for the sake of, “Look what we can do!” digital wizardry. At its heart, Gladiator remains a thoroughly compelling story featuring powerful acting all around with impressive practical sets and effects and action scenes that remain dynamic and thrilling, keeping this film as entertaining today as it was on its release back in 2000.

 

I had also forgotten just what a powerhouse Gladiator was at the 2001 Academy Awards, snagging a total of 12 nominations and pulling down a total five Oscars including Picture, Actor (Russell Crowe), Costume Design, Sound, and Visual Effects. 

 

Director Ridley Scott wastes no time jumping into the story, quickly introducing us to General Maximus Decimus (Crowe) as he is about to lead his Roman army to victory against a Germanic horde in what will be the final battle of his latest campaign. It’s immediately clear Maximus is an accomplished war fighter, leading from the front, and beloved by his men.

GLADIATOR AT A GLANCE

Twenty years on, aside from some of the digital effects, this sword & toga potboiler holds up surprisingly well in 4K, thanks to its strong acting, excellent production design, and classic action scenes.

 

PICTURE     

The 4K transfer is excellent, and true to the movie’s 35mm roots, with occasional glimpses of grain in the images and an analog softness.

 

SOUND

The DTS-HD Master mix is consistently effective, whether evoking the subtle sounds of casual interaction, the mayhem of battle, or the intense engagement of gladiatorial combat.

Following the battle, aging Caesar Marcus Aurelius (Richard Harris) tells Maximus of his plans to leave rule to him rather than his debauched son Commodus (Joaquin Phoenix). Predictably, Commodus doesn’t take this news well, instead killing his father in private and declaring himself Caesar and then ordering the Praetorian Guard to kill Maximus and his family. When the soldiers fail to kill Maximus, he rides towards his home, arriving just in time to see it burned to the ground and his family slaughtered. Severely wounded, Maximus is taken prisoner and sold as a slave to Proximo (Oliver Reed) and made to fight as a gladiator. Maximus’ motivation throughout remains solely to survive long enough to be able to avenge his family by killing Commodus.

 

If Gladiator were just about fighting, fancy sets, and costumes, it wouldn’t hold up nearly so well. What keeps it great is the acting, primarily by Crowe who earns his Oscar in every scene and seems fully at home in the role of commanding troops and fighting. Maximus is always believable as the general who could come in and organize a band of gladiators to overthrow the people they are forced to fight, leading a rebellion from within. Phoenix brings just the right level of loathsomeness to petulant Commodus, someone solely interested in his own rise to power and willing to do whatever it takes to keep it, along with his lecherous relationship with his sister Lucilla (Connie Nielson).

 

At over two and a half hours, Gladiator is a long film that doesn’t feel long. Rather, Scott takes us on what feels like an epic journey, even though, in reality, the events portrayed in the film would take less than a year to play out. The running time gives us plenty of opportunity to care about Maximus and his journey; to root for his fellow gladiator/slaves Jubu (Djimon Hounsou) and Hagen (Ralf Moeller); to follow the political machinations of Roman Senators Gauis (John Shrapnel) and Gracchus (Derek Jacobi) as they try to keep Commodus in check and do what is right for the Republic. It also allows enough time between matches in the arena to keep the film from feeling like just a string of fights.

 

Filmed in 35mm, Gladiator was given a restoration in 2018 and both the Ultra HD Blu-ray disc and the Kaleidescape download are taken from a new true 4K digital intermediate. The movie looks like it has been born anew. Image quality retains its film-like look, with grain occasionally visible in some of the early-morning sky scenes or through some of the battlefield smoke, but you are drawn closer to the action with the clarity and cleanness of the picture. Native film scanned to 4K doesn’t produce the micro-level of detail seen in modern transfers, but you can still appreciate far better resolution here than in the previous, HD version.

 

Closeups reveal the texture and feel of the fabrics used on the elaborate Academy Award-winning costumes, the nicks and dents in the battle armor or links in chainmail, the cracks and lines in the walls of the city, or the fine stalks of wheat with individually detailed wisps, or the dirt and dust Maximus rubs on his hands before each battle.

 

The added detail also helps you to appreciate the large vistas that give the film its sense of scope and scale. But I did notice that some of the long shots and even the occasional closeup appeared a bit soft. Also, the lengthy shots leaning heavy on CGI, such as the Colosseum and the initial Rome flyover, are softer due to the graphics limitations of the day, and the greater resolution makes the digital crowd feel a bit less real.

 

The added contrast from HDR also helps to improve images. There are a lot of low-lit scenes here, whether in tents or prisons or at night time, and the deep black levels and shadow detail add to the realism. Many interior scenes are lit by numerous torches, and we not only get the nice pop of brightness from the fires, but the warm, natural glow of the firelight, and the deep shadows as actors move around a space. The spectacle of Commodus’ Rome benefits from the wide colors, with bright, gleaming golds and other regal colors looking vivid, along with the bright-red blood spilled in battle and the deep red-orange of fireballs and flames in combat.

While the UltraHD disc receives a new object-based DTS:X soundtrack, the Kaleidescape version gets a DTS-HD Master 7.1-channel mix that’s still exhilarating and exciting, especially when run through an upmixer found on modern AV processors.

 

The opening battle features shouts and chants from the armies along with the din of soldiers, which engulfs you from all around the room, followed by the sounds of arrows whistling past you into the surround channels and fireballs sailing overhead and bursting into treetops. The crowd noise inside the Colosseum is also appropriately huge and room-filling, putting you right in the midst of the action. Bass is deep and authoritative when appropriate, such as chariots crashing in the arena or when the fireballs smash into trees.

 

Equally as impressive as the bombast are the subtler audio moments that help to define and establish the scene and space the characters are in, with nearly every scene or moment featuring little bits of audio that help to set the space of things happening on or off camera. Listen to the carriage ride as Commodus is riding to the front—you hear the sounds of the rocking and creaking of the carriage itself 

Gladiator

along with things jingling inside, as well as the noises of the horses and the wheels turning outside. In another scene, you can hear the delicate, gentle tinkle of Lucilla’s earrings knocking together as she talks. Or in the prison at night, where you hear the sounds of doors opening and closing, crickets chirping in the distance, or echoing footsteps. Throughout, the audio mix is impressive whether in the midst of battle or in quieter moments.

 

Of course, Hans Zimmer’s dynamic Oscar-nominated score sounds wonderful here, giving more room to breathe across the front channels and up into the height speakers.

 

Gladiator holds up remarkably well after 20 years, not just visually and sonically, but also from its involving story and acting, and the new 4K HDR version clocking in at a whopping 95 GB from Kaleidescape represents the best you’ve ever experienced this film!

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

How to Listen: The Firebird

How to Listen: The Firebird

Stravinsky: The Firebird

Mercury Living Presence (original LP & Qobuz 16-bit/44.1 kHz)

 

We haven’t yet done a classical LP in our “How to Listen” series, which many would consider an egregious omission—and I would agree. Aside from the considerable musical merits of classical, there’s arguably no better form of music to demonstrate what a good audio system can do—and perhaps no better disc than this 1959 recording of Igor Stravinsky’s The Firebird, performed by the London Symphony Orchestra conducted by Antal Dorati. It’s legendary, long-revered by audiophiles and classical aficionados for its sensational sound and thrilling performance. Simply put, The Firebird is a class in itself on what to listen for in an orchestra—and in a great stereo system.

Among Golden Age classical record labels, Mercury “Living Presence” and RCA “Living Stereo” LPs are the most acclaimed, with Decca right beside them. (Other labels like London, Everest, and Angel aren’t to be slighted, but among audiophiles and collectors, Mercury and RCA are the two most mentioned and re-issued.) Mercurys tend to be more dynamic and brighter, RCAs warmer and more lush-sounding.

 

The Firebird is a 1910 ballet (it’ll have its 110th anniversary on June 25!) about the journey of hero Prince Ivan and his encounters with the evil Koschei the Immortal, the mythical and captivating Firebird, and 13 captive princesses. As you might imagine, this is rich material for musical portrayal, and Stravinsky’s score is magnificently evocative—you really don’t have to know a word of the story to “get” the work’s emotional range. The music is energetic, colorful, impassioned, with a tremendous range of dynamics, moods, and tonal colors. Composer Sergei Rachmaninoff summarized The Firebird’s greatness: “Great God! What a work of genius this is! This is true Russia!”

 

The recording was engineered by C. Robert Fine and produced by Wilma Cozart Fine, two of the greatest figures in classical recording. The disc was recorded in half-inch three-track tape using three Telefunken 201 microphones. It was then mixed down to stereo. This simple, straightforward method of miking an orchestra yields remarkably natural sound, with the orchestra spread over a wide and deep soundstage, instruments accurately placed, and the natural ambience of London’s Watford Town Hall to be clearly heard—if your system is up to the task. The multi-miked recording techniques that later came into vogue gave engineers the ability to create instrumental balances after the fact and “fix it in the mix,” but also destroyed the phase relationships and hall ambience that make purist, simply-miked recordings sound so convincingly real.

 

And what a sound those mics and that tape captured. In particular, the dynamics are fantastic. Starting with quietly-bowed basses, the first few minutes sneak up on you. Set your volume control low, because this recording begins with a barely audible string passage, and then explosive orchestral bursts happen, beginning with the appearance of the Firebird in the musical story about five minutes in. If you’re wondering about the low-frequency capability of your 

system, the first time the timpani come pounding in, you’ll know just how deep and articulate your speakers are—or aren’t.

 

One of the many other striking things about this recording is its clarity. Instruments are reproduced with astonishing transparency and detail. The tonal colors and characters of each instrument are remarkably distinct and, on a good system, 

easy to hear. In fact, the ability to hear and differentiate between all the instruments is crucial to the full appreciation of Stravinsky’s often densely—and brilliantly-orchestrated score.

 

You shouldn’t just hear masses of woodwinds and strings—you should clearly be able to pick out the sweetness of the oboes as opposed to the timbre of the clarinets, the distinction between the violins, violas, and cellos, and other nuances. Percussive sounds are rendered with exceptional transient realism, with the pluck of a harp or the striking of a mallet instrument almost thrilling in their clarity. A real system test? In some spots the strings are playing some very fast, quiet bowed passages. They’re almost imperceptible at times—but they’re there. On a lesser system they’ll sound like one continuous bowed note—or won’t be heard at all.

 

The reproduction of the hall sound is also superb. When a solo trumpet plays or a timpani strikes, you can easily hear the echo of the acoustic space, and if you have the appropriate speakers, you’ll get a sense of the size of the hall and its physical presence. There’s a vast spaciousness, width and depth. For me, the combination of orchestral and hall sound is perfect. It’s simply beautiful to listen to.

 

If there’s one quibble to the overall sonic splendor, it’s that during very loud passages, the sound can get more than a little bright. The upper range is never harsh or grainy, but this recording, and other Mercurys, certainly can’t be accused of erring on the side of mellowness. If your system is on the edge of brightness, this recording may push it over that edge. On the other hand, the bass is rich and authoritative and the midrange is spot on—not too lean, not

The Firebird on Qobuz:
Streaming a Vinyl Icon

 

The original Mercury Living Presence LP of The Firebird (catalog no. SR90226) has long been considered one of the greatest orchestral recordings of all time. It’s had a “Best of the Bunch” highest ranking on The Absolute Sound’s Super LP List for a very long time (a fact I’d forgotten about until doing this review). So . . . how did this iconic recording sound on a digital stream—a format that’s anathema to vinyl-sniffing purists? (Don’t get me wrong—I’m a vinyl aficionado myself.)

 

Well, I listened on Qobuz in 44.1k/16-bit on an extremely high-quality system and was impressed. It sounded smooth with good detail and not very “digital.” The wide dynamic range and tonal balance were there. It didn’t quite have the same richness or spatiality, and I think you need a good copy of the LP to get the “magic.” (There have been a few reissues of varying quality over the decades.) On the other hand, nothing can diminish the transcendent performance.

 

However, Qobuz gives the release date of this Decca Music Group reissue as 1991—jeez, can it really have been 30 years ago?—so this is crying out for a true hi-res 192/24 remastering.

—F.D.

too thick, just right. Instruments like violins and those oboes have a sweetness and expressiveness—the sound just gets out of the way.

 

You can truly hear Dorati’s hand—literally—in conducting the LSO, every nuance of control and relaxed grace easily heard. You feel as much as hear the ebb and flow. The performance of the orchestra is masterful. The musicianship is transcendent.

 

There’s not much more I can say other than to conclude with this: In writing the review, I listened to The Firebird multiple times. First to reacquaint myself and take notes. Then, having trouble tearing myself away, to simply bask in the utterly beautiful sound and performance.

Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.

Video Options

The Cineluxe Guide to Media Rooms: Video Options
The Cineluxe Guide to Media Rooms

photo by John Frattasi

Our ongoing series on media rooms has, to this point, focused primarily on audio solutions, and with good reason. When constructing a stereo, surround sound, or Atmos audio system for your entertainment space, you’ve got a wealth of options, from soundbars to in-room speakers and discreet architectural speakers, on to completely (or almost completely) invisible speaker systems.

 

When it comes to video displays, though, the choice seems a little simpler: You either get a big TV or you get a projector, right? Actually, no, it’s not that simple. Once you move beyond media-room setups for smaller spaces like bedrooms or home

offices, where a TV is really the only way to go, you’ll want to weigh the pros and cons of a TV versus a projector. You might even find that the solution is to have both—as it is for our own John Sciacca.

 

That may spark a few questions for the uninitiated—namely “Why?” and “How?”

 

To get to the why, we need to back up to something I said in the first post in this series: We here at Cineluxe consider home cinema to be a shared experience. So, while a 75- or 85- inch TV may be more than sufficient to give two or three people sitting on a couch a panoramic viewing experience if the screen is a mere six or seven feet away, your room may be far too large for that sort of setup. If you’re 10, 12, 15 feet away from your screen, no reasonably-priced TV is going to give you and your family enough screen real estate to create a truly immersive viewing experience. A projector and screen, on the other hand, can. Quite easily.

 

So, why not just go with projection and forget the TV? To answer that, we need to remember that media rooms are also called multi-use spaces. The same room where you gather the whole family together to watch The Last Jedi may also be the room where you watch Last Week Tonight on Sunday evenings. And far be it from me to besmirch John Oliver’s looks, but do you really need to see his face at IMAX proportions? Because we’re talking about a media room and not a dedicated home theater, it should be able 

to accommodate casual watching but be able to transition to a more focused and immersive experience for more serious viewing. And depending on the size of your room, a single display may not give you that kind of flexibility.

 

Having a dual-screen setup means you can match the display to the needs of the moment. But how does it work, exactly? It usually involves a retractable screen that slides down from a hidden compartment housed in the ceiling (or in the floorspace above a room in a multi-story dwelling). Stewart Filmscreen’s Cascade is a great example, although other screen manufacturers offer their own variations on the theme: Evanesce from Elite and the gorgeous Zero-G from Screen Innovations (shown below), just to name two.

The Cineluxe Guide to Media Rooms: Video Options

Mind you, going this route does complicate things a bit, at least in terms of using your system, so you’ll definitely want to add a good control and automation system to your media room budget. This will allow you to drop the projection screen down in front of your TV for movie night at the press of a button (or the uttering of a simple voice command), and still access your source devices with a single remote.

 

And it probably goes without saying that if you’re going through all this trouble to ensure the most spectacular video presentation, you probably don’t want to rely on a soundbar for your audio experience. Instead, you’ll want to spec in all of the speakers and processing necessary for true 5.1 to 9.2.6-channel surround sound, depending on your appetite for aural immersion.

 

So, putting it all together, what would a complete dual-screen media room system look like? Combine a 124-inch SI Zero-G drop-down screen with an 85-inch Sony Z9G Master Series 8K LED TV, and add to that the sound system and sources detailed in our previous post: An Anthem AVM 60 or Lyngdorf MP-50 surround sound processor, driving three GoldenEar Technology Invisa Signature Point Source in-wall speakers, two or four GoldenEar Invisa MPX MultiPolar in-walls, four Stealth Acoustics SLR8G invisible speakers, and two Stealth Acoustics B30G invisible subwoofers. Throw in a Kaleidescape Strato Movie Player and Roku Ultra streaming media player, and you’ve got the makings of an incredible home cinema system that practically disappears when not in use. If you want to take that ethos to the extreme, you could even add a TV lift and projector lift from Future Automation to keep your gear completely hidden when not in use.

 

Tie it all together with a professionally installed home control and automation system like Crestron, Control4, or Savant, and you’ll have the power to transform your unassuming living room into your own private cineplex at the touch of a button.

 

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Live Die Repeat: Edge of Tomorrow

Live Die Repeat

Having already covered Top Gun from the recent spate of HDR releases from the Tom Cruise catalog (which includes War of the Worlds, Vanilla Sky, and The Firm), we thought we would dip back in and take a look at Live Die Repeat, which was released theatrically as Edge of Tomorrow before being rebranded for the home video market. While Repeat was released on Blu-ray several years ago, it never got a higher-resolution release on physical disc. Fortunately, you can now enjoy the movie in its full potential via Kaleidescape, which offers it in a near 60 GB download featuring 4K HDR video with a Dolby TrueHD Atmos immersive audio soundtrack.

I belong to what I can only imagine is a fair-sized group of people that doesn’t really care for Tom Cruise the person but who really respects the choices made by Tom Cruise the actor. Say what you will about the guy’s antics, he gets a first look at some amazing scripts, he makes a lot of really smart choices of roles that work for him, and his decision to perform his own stunts is well documented. (His role as Jack Reacher aside, something I’ll never forgive the casting department for. I mean, Reacher stands 6 feet 5 inches and weighs about 250. Cruise wouldn’t even come up to his armpit! But I digress . . .)

 

My wife and I saw Repeat when it was released theatrically back in the summer of 2014, but it wasn’t our first choice for a movie that night. I recall we had a babysitter lined up that evening, and we went to the theater to see something else (X-Men: Days of Future Past, I think). When X-Men was 

REPEAT AT A GLANCE

One of the earliest takes on the “let’s kill off the  lead character repeatedly” trope, the film is hugely entertaining, because of—and despite—the presence of Tom Cruise in the starring role.

 

PICTURE     

Not the last word in razor-sharp detail, but the clean and clear Kaleidescape download is a big step up from the Blu-ray release.

 

SOUND

An aggressive and fun Atmos mix will keep all your speakers active, with lots of room-rattling seismic subwoofer action for the bass-head crowd.

sold out, we turned to whatever was playing at a similar time and bought tickets to Repeat.

 

I don’t recall knowing much of anything about the film as we went into the theater, but I clearly remember turning to my wife about halfway in and saying, “Man! I am really loving this movie!” Boasting Rotten Tomatoes critics and audience scores of 90%, I’m really surprised Repeat wasn’t a bigger success than it was. Perhaps it was the title, thus the rebranding for home release. Whatever the case, Repeat is a really entertaining and clever sci-fi film based on the Japanese short novel All You Need Is Kill by Hiroshi Sakurazaka.

 

Imagine Groundhog Day meets War of the Worlds and you’ll have a rough idea what Repeat is about.

 

Against his will, Major William Cage (Cruise) is stripped of his rank and sent to Heathrow Airport to join a misfit bunch of soldiers in J-Squad who are preparing to head to the front lines as part of a major invasion force to combat an army of aliens known as “Mimics.” Cage has just enough time to piss off everyone in his new squad before suiting up in a mechanized armored suit and being loaded on a dropship into the heart of combat. Just moments after hitting the beach, he manages to kill a rare alien known as an “Alpha”—but in the process of doing so, manages to get himself killed as well.

 

Moments later, Cage jolts awake exactly 24 hours prior, back at Heathrow ready to join J-Squad and prepare for the fight.

 

He lives the same day over and over (and over . . .), retaining knowledge of each prior day before being jolted awake in the same instant. Each time he learns a bit more about the fighting pattern and habits of the Mimics (and of the people around him), and we watch his character and story slowly continue and develop. What keeps it from being dull and repetitive are some great turns by supporting actors Brendan Gleeson as the general ordering the assault, Bill Paxton as Cage’s new J-Squad master sergeant, and Noah Taylor as Mimic expert Dr. Carter.

 

Even better is the relationship between Cage and war hero Rita Vrataski (Emily Blunt). Vrataski uniquely understands Cage’s predicament as she too once had the power to reset the clock, using it to defeat the Mimics in the battle of Verdun . . . before losing it.

 

Instead of the usual cocksure, toughest/smartest-guy-in-the-room character Cruise typically portrays, here he starts way out of his element, and it is Blunt who takes on the alpha role. With no warfighting experience—Cage was part of the Army’s media relations following a failed career in advertising—Cage relies heavily on Vrataski for combat training, and she is merciless, repeatedly killing him over and over (and over . . .) at any sign of a wound. The results are humorous and keep the film interesting as Cage and Vrataski work together to figure out strategies to continue advancing their day and problem solving.

 

Originally shot on 35mm film, this 4K HDR transfer is taken from a 2K digital intermediate. Images are not bristling with micro detail, but the transfer is just incredibly clean and clear. I really wasn’t impressed with the image quality until I went back and compared it with my Blu-ray version, and that is when the fine layers of detail and benefit of higher contrast really come through.

 

Comparing closeups, the 4K transfer is considerably sharper, producing more fine detail like pores, whiskers, and lines in the actors’ faces. During one shot, you can see the fine weave on Cage’s collared shirt, and one tight closeup on him would enable a dermatologist to conduct a full exam. In another lengthy shot, you can clearly make out the individual strands of razor wire on a fence in the 4K version; they were small blob-dots on the Blu-ray.

 

While the movie retains its film-like image quality, what really impressed me throughout was just the clean, clear, noise-free quality.

 

Much of the film is on a dirty, drab battlefield under grey French skies, so there isn’t a lot of room to push the color gamut here. However, HDR does a nice job of keeping blacks deep and dark and clean, while still allowing for bright highlights—nothing that really pushes the boundary, but that just results in very natural-looking images. There are some scenes where 

HDR is used to boost the brightness, such as in fluorescent lights in the barracks, or lights inside the dropships, some bright red fires burning in the dark of night, or the bright blue-white glow of an alien underwater.

 

Even more entertaining was the Dolby TrueHD Atmos soundtrack, which makes full use of all the speakers in your system. There is a lot of combat in this film, and the sound mix does a great job of placing you in the midst of the mayhem. We get helicopter blades and turbine fans blowing, jets streaking past overhead, troopers falling out of dropships swinging past you, along with all matter of ordnance blasting around the room. The area where Vrataski trains Cage has these spinning metal blades that slice and dice around the large space, clearly traveling 360 degrees around the listening position. There are also some nice, subtler audio moments— just the rattles and hum that put you aboard the dropship, hearing Mimics climbing and crawling on metal structures up over your head, or the drips of water and echoes of cavernous spaces with Mimics moving all around the room.

 

Also, be warned that this soundtrack features some serious low-frequency information. Bass heads will love it, as the many explosions definitely hit you in the chest and rattle your couch. And for no apparent reason, the very opening 

Live Die Repeat

scene has some of the most seismically huge deep-bass notes you will hear outside of a test tone. That ultrasonic bass will energize every air molecule in your room and possibly damage your subwoofer if it isn’t up to the task, so set your volume knob—and alert your neighbors!—accordingly.

 

Live Die Repeat is just a really fun movie that retains its entertainment value. If you’ve never seen it, it is definitely worth a viewing. If you avoided it because you’re not a Tom Cruise fan, I assure you watching him get killed over and over (and over . . .) is highly entertaining. And if you haven’t seen it with the Dolby Atmos audio soundtrack, then you will definitely enjoy giving it another viewing. They are rumored to be working on a sequel—Live Die Repeat and Repeat—so now is a perfect time to (re)watch the original.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.