Reviews

Stranger Things 2

It’s pretty safe to say that on the list of the most talked-about shows of the past two years, the Netflix-original Stranger Things ranks pretty near the top. On the off chance you haven’t seen it yet, this delightful supernatural mystery is a veritable love letter to 1970s and ‘80s pop culture. It’s a pastiche of Alien and E.T., Firestarter and The Goonies, Poltergeist and Stand By Me, with a heaping helping of Dungeons & Dragons and A Nightmare on Elm Street thrown in the mix for good measure. And it makes no apologies for any of the above. It has all the makings of a cheap rip-off, but avoids being such by wearing its influences proudly on its sleeve and using them as a hook rather than a crutch.

 

Indeed, during the course of Stranger Things 2the latest run of nine episodes, which dropped just in time for Halloween this year—a new character being brought up on the events of the previous year flirts with the fourth wall just long enough to wink at the audience and let us know that, yes, we’re aware the story is derivative. But that’s kind of the point. In its music, its cinematography, its writing, its acting—every element of Stranger Things is an unabashed throwback to the childhood of Gen Xers, who, let’s face it, had the greatest childhood of all.

 

If that’s all it was, Stranger Things and Stranger Things 2 (seriously, don’t call it a second seasonit’s a sequel) would be an absolute treat. Thankfully, it’s so much more. This brilliant series doesn’t just evoke those classic films listed above. And it doesn’t merely measure up to them. It somehow manages to live up to the nostalgia that my generation has for the genre films of our youth, which is a much taller order. In other words, it’s not merely as good as they areit’s as good as we’ve built them up to be.

Netflix Stranger Things 2

And Stranger Things 2 ups the ante with a bigger budget, better effects, and a beastlier baddie. But at the same time, it also manages to tell a more human story. It’s the rarest of all sequels, one that progresses the plot organically, raises the stakes intriguingly, and captures the spirit of what made the original so popular without rehashing it.

 

I won’t get any more specific than that, because every element of Stranger Things and its sequel deserves to be discovered in real time. But I do want to point out one thing some fans may have missed: Stranger Things 2 is one of the very few original streaming series to be accompanied by bonus features.

 

This, for me, is particularly huge because I’m a bonus-features junkie. It’s one of the main reasons I cling to my collection of five-inch discs, in outright defiance of our obvious streaming future. For me, a good making-of documentary is as essential to the home theater experience as popcorn and comfy seating. And while Beyond Stranger Things doesn’t quite count as a behind-the-scenes doc, it does adopt the sort of after-show format popularized by fan favorites like Talking Dead, and it does so quite well.

 

In its seven episodes, which range from 15 to 25 minutes in length, we get some pretty good insights into the making of the series and the thoughts that went into shaping it, and also get a peek at the bonds between its adorable adolescent cast members. Does it live up to the running audio commentary the series deserves? No. Would I still punch a baby for a full-length documentary about the making of Stranger Things 2? Indeed, I would.

 

But I’m really just thrilled to be getting any sort of bonus features at all for a series made exclusively for streaming. Aside from a 25-minute featurette for Sense8, I’m struggling to think of any other similar features. And that’s a shame. Because I’ve accepted the fact that discs are dying, but I just can’t come to terms with the fact that enriching behind-the-scenes materials could possibly die with them. 

—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.

Wonder Woman

Wonder Woman

There’s no question that DC has had serious issues competing in the superhero film genre against Disney-owned Marvel. While Marvel scores hit after hit with every attempt—Iron Man, Avengers, Guardians of the Galaxy, Thor, Deadpool—DC films have struggled with both critics and fans, flopping across the board, with none of its recent offerings (following the glorious Christopher Nolan Dark Knight trilogy) scoring “fresh” on the Rotten Tomatoes meter.

 

DC looked to 2016’s Batman v Superman: Dawn of Justice as a way of kickstarting a new franchise of hero films, introducing the characters that would make up the recent Justice League film. But while B v S was generally panned, we can thank it for at least one thing: it gave us Wonder Woman.

 

I’ll be honest, while I grew up reading DC comics, and was especially a fan of the Justice League series, my knowledge of Wonder Woman was pretty much limited to occasionally watching the Linda Carter TV series. I knew she was an Amazonian that wore bullet-blocking bracelets, had a magic truth-telling lasso, and used an invisible jet (not featured in the film, btw), but that’s basically it.

 

Thus, I went into Wonder Woman with fairly modest expectations. And boy, were they blown away!

 

Beyond being a good superhero movie, WW is just a good movie, period. First, the casting is terrific throughout, with every role handled perfectly. This, of course, starts at the top with Gal Gadot as Wonder Woman/Diana Prince. Gadot is not only very easy on the eyes, but her background serving in the Israeli army gave her a leg up in handling the fight scenes with incredible believability.

 

Beyond that, she nails the wide-eyed, girl-exploring-a-new-world innocence required to portray her character venturing for the first time beyond the Amazon island of Themyscira. In fact, Gadot is so perfect as Wonder Woman it’s impossible to imagine anyone else tackling the role. (She is also one of the best parts of Justice League, proving her character is more than a one-hit wonder!) Further, the chemistry between Gadot and Chris Pine’s Steve Trevor is believable and far deeper than pretty-girl-swept-off-her-feet-by-handsome-stranger.

Wonder Woman

Instead of trying to cram multiple superheroes into a single film, which weighed down and confused B v S, director Patty Jenkins wisely focused solely on Wonder Woman (with a brief cameo from another hero that ties in perfectly with both B v S and JL), fleshing out her backstory and developing her character as she grows and discovers her powers.

 

Since the transfer was taken from a 2K Digital Intermediate, it doesn’t feature the incredible micro-detail and pristine quality of some modern transfers; nevertheless, Wonder Woman in 4K HDR still looks mostly terrific. The image suffers from occasional noise in some of the night scenes, but it still has plenty to get your 4K TV’s 8 million pixels excited about. You can see the metal texture in Diana’s bracelets and crown, the detail in her armor, and the nicks in her sword.

 

While the color palette is mostly muted throughout in a slightly-faded World War I-era style, early scenes on Themyscira look gorgeous, with the wide color gamut revealing beautiful blue-green waters. Also, as there are a lot of night scenes, the high dynamic range does a great job of keeping shadows black while maintaining the piercing brightness of fires, searchlights, and Diana’s glowing lasso.

 

The Dolby TrueHD Atmos soundtrack will give your speakers a workout as well, with the numerous fight scenes bringing mayhem from every corner of the room as well as overhead. You hear Diana’s lasso whip around the room, vehicles being hurled, and bullets ricocheting and whizzing past. And if your subwoofer(s) are up to the task, Diana clapping her bracelets together produces a sonic concussion that will punch you in the chest!

 

Wonder Woman scored a 92% on Rotten Tomatoes and has a 2 hour 21 minute runtime. It’s rated PG-13 for some violence and innuendo. Download it from the Kaleidescape Store today and enjoy in your theater tonight!

—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.

Glenn Gould on Bach

Almost everything that gains traction on YouTubeexcept for the seemingly endless parade of puppies and kittensis some form of tightrope walking, people doing outrageous, often obnoxious, and inevitably trivial things in an attempt to give their vast audience a cheap thrill before it moves on to the next act in the perpetual online freakshow. You get the sense of an entire culturean entire racejust looking for a way to kill some time. But, like Thoreau said, you can’t kill time without injuring eternity.

 

But in the midst of that vast, silly, and pointless circus, you can sometimes find acts of real dexterity, intelligence, creativity, and courage. This one might not seem to fit that bill, but, believe me, it doesand in spades.

Glenn Gould

Glenn Gould was undeniably a geniushe was also undeniably insane. This 1962 program was made before his madness began to get the upper hand. And if you’re willing to appreciate it not by the current standards of brutality, masochism, and degradation but on its own terms, it is, in its seemingly modest way, an astonishing piece of work.

 

This is a bad recording of pretty primitive TV. Grainy image, awkward camera work, maddeningly bad sound. But everything Gould tries to convey manages to break free of those constraints and take you to someplace beyond the limitations of any medium anywhere, anytime, no matter how advanced.

 

In a mere half hour, he delivers a blistering attack on the Western fetishization of reason, uses Bach to reaffirm the essentially conservative nature of art, and conducts and performs a sublime performance of the Cantata 54 that exists only on this beyond abysmal form of playback.

 

But here’s the tightrope part: Watch the monologue he delivers at the beginningan 8-minute, one camera, no cue cards, no edits soliloquy, both highly intellectual and deeply felt, a quirky but spot-on chiding and evisceration of the culture, delivered in the affected cadences of a preening, supercilious prep-school lad. I’m sure it feels like fingernails on a chalkboard to most of the people who watch it. But for the few who can look past the program’s and Gould’s limitations, it’s truly astonishing. And all too rare. And now all but extinct.

—Michael Gaughn

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

REVIEWS

The Office: “Classy Christmas”

The Office Classy Christmas

I realize it might seem like I’ve got a major fixation on The Office (the same way it probably seemed like I had Woody Allen on the brain about a month ago), but making a blanket recommendation for a series isn’t really useful for people who’ve never waded into those waters before. So I wanted to recommend a specific episode to check out, and landed on the Season 7 two-parter “Classy Christmas.”

 

This is really more of a best-of and less something for first-timers, but it showcases all the serie’s various strengths so well that it will still give you a good idea of why The Office is worth the commitment. You’ve got the company Christmas photo, Toby’s jury duty, trashing Woody (see below), the return of Michael’s true love, the outing of Angela’s boyfriend, The Adventures of Jimmy Halpert, a surprisingly nuanced portrayal of Darryl’s custody situation, and some of the best lines in the whole series.

The Office Classy Christmas

But most importantly, you’ve got Office-veteran writer Mindy Kaling and director Rainn Wilson (who plays Dwight) turning the whole Jim/Dwight relationshipwhich was central to the showon its head.

 

I don’t want to give too much away, but Jim’s charms were always lost on mehe struck me as exactly as smug and self-centered as he struck office-temp-turned-corporate-criminal Ryan, who once advised him to give “the whole Jim thing” a rest. So it’s interesting to see dorky Dwight get the upper hand for onceand that’s where most series, eager to hit audience hot buttons and reinforce their prejudices, would have left it.

 

But not Kaling, Wilson, or the other creative forces behind The Officeand while it’s initially funny to see Jim flinching at his comeuppance, by the time the show’s reached its resolution, you actually find yourself feeling sorry for the guy. And who would have thought that was possible? Plus they were able to push Dwight past his usual cartoon darkness to someplace truly scary.

 

A lot of the episode is implausible, but enough of it’s emotionally true that you’re willing to give all the cheats and shortcomings a pass. There’s no one best entry point to The Office, but “Classy Christmas” will definitely do.

—Michael Gaughn

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

REVIEWS

Kraftwerk: The Catalogue 3-D

Kraftwerk essentially invented electronic pop music in the 1970s. Their brilliantly original, distinctive musical and visual style has led to L.A. Weekly—among many otherscalling them “the most influential pop band of all time.”

 

The Catalogue 3-D Blu-ray set offers abundant evidence, featuring live concerts from various locales of all eight “official” Kraftwerk albums. (Remaining original member Ralf Hütter and co-founder Florian Schneider view the earlier Kraftwerk 1, Kraftwerk 2 and Ralf and Florian albums as “archaeology.”) Which means all the hits are heretheir international breakthrough “Autobahn,” “The Model,” “Computer Love,” “Tour de France,” and the hip-hop-germinating “Numbers” and “Trans Europe Express,” along with everything else plus “Planet of Visions.”

 

This four-disc set features 3D/2D-compatible video, Dolby Atmos/5.1/PCM stereo-compatible sound, and Headphone Surround 3D mixes (which can be listened to on standard headphones), and includes a 228-page book of images from the concerts.

 

The sound quality is astounding. Kraftwerk have always been sonic perfectionists, and The Catalogue 3-D is another technological step forward.

 

Since their electronic music doesn’t have to replicate any kind of sonic “reality,” Kraftwerk is free to place sounds anywhere, fixed in place and moving around the soundfield, morphing and shaping aural space to their will, from tightly focused to vastly expansive. Their use of echo and delay alone is masterful.

Kraftwerk The Catalogue 3-D

The dazzling variety of “synthetic, electronic sounds” (to quote “Techno Pop”) is reproduced with extraordinary clarity, dynamic range, and wide frequency response. The low-frequency synth sounds and bass drums are exceptionally powerful and articulate. You can hear the time Kraftwerk spent crafting these sounds. There is no crowd noise mixed in. This is simply state-of-the-art demonstration-quality sound.

 

I don’t have a Dolby Atmos system (I have 6.1 surround), but I heard previews of some tracks at an Atmos demo, and the added height dimension contributed to the sense of immersion. But those who don’t have Atmos won’t feel shortchanged. The Headphone Surround 3D mixes work well, sounding spacious without being exaggerated.

 

Kraftwerk’s retro-futuristic visuals and minimalist color palette are presented with stunning clarity, from the charming animations of Volkswagens and Mercedes whizzing down the autobahn to the stark abstractions of “The Man Machine” and Spacelab flying at you from Earth orbit (a particularly fantastic effect in 3D). The band is seen from time to time playing their keyboards, controllers, and computers, dressed in their future-man grid suits. (An included “Film” version presents the visuals only.)

 

Why would Kraftwerk bother doing another live album and why would they change (some would say tamper with) iconic versions of their songs? Well, they have always evolved and incorporated new sounds as new musical technologies become available, so the band’s performances now are different than even a few years ago. I suspect that Ralf Hütter and company wanted to capture the band using the latest audio and video technology to have an historic record of Kraftwerk live. (Sure, I’d love to hear an album of new materialbut if this is where Kraftwerk pushes the Stop button, I’m OK with that.)

 

Seeing Kraftwerk live sometimes seems less like a rock concert than witnessing some kind of alien transmission from another galaxy. This Blu-ray set goes a long way toward conveying that experience.

—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.

Kraftwerk The Catalogue 3-D

Kraftwerk: The Catalogue 3-D

Kling Klang/Parlophone 190295924959

 

4-disc Blu-ray 3D/2D set

Dolby Atmos, Headphone Surround 3D, and
PCM stereo audio formats

REVIEWS

The Office

It could be argued that nobody needs to sing the praises of The Office. But it depends on what you’re praising it for.

 

Mass perception says that more than a decade of “quality” series has led to a TV renaissance, with a lot of the shows being more sophisticated and satisfying than movies. There’s nothing to that.

 

Almost every “quality” series is a fetid gumbo of convoluted, smartass plots, affected stylistic ticks, and a giggly fascination with perversity and nastiness amplified by a masochistic eagerness to wallow in the muck, handled with all the tact and subtlety of Gilligan’s Island. The only reason these shows seem cinematic is because movie cliches have become so deeply embedded in our DNA that any film-school nerd can ape them, and the culture has become so fundamentally adolescent that the bar for sophistication is so low it barely exists.

 

The Office tends to get lumped in with that renaissance. But as its reputation continues to grow, it becomes even clearer it has practically nothing in common with its “quality” brethren.

 

I’m not saying it was perfect—the Dwight stuff sometimes got so cartoony it threatened to rend the fabric of the series, there was way too much fawning product placement in the early seasons, the attempts to “flesh out” Pam ultimately just made her seem like a bitch, there was an unfortunate predilection for “message” episodes (remember “Gay Witch Hunt” and “Secret Santa”?), the camerawork got so mannered over time it started to telegraph the jokes, and the writers sometimes succumbed to obvious sitcom “wackiness.”

Netflix The Office

And it was obvious to everyone on the planet that the series should have ended with Steve Carell’s departure, and yet they decided to slog on through two and a half more pointless and embarrassing seasons.

 

But when it worked—which it did almost all the time—it was better than just about anything that’s ever been on TV. There was a fundamental generosity to the show it’s virtually impossible to find elsewhere—in its characterizations, ensemble play, vast bounty of jokes and gags, adventurousness, and general tone, which rarely talked down but instead pulled you up to a level where TV’s hardly ever bothered to go.

 

Given how much of this drained away after Carell left, it would be easy to attribute most of the show’s virtues to him. And it would be hard to adequately assess and praise everything he brought to The Office. But it’s more like they’d created an organism that needed every one of its major parts to thrive, and taking Carell out of the equation threw it so far out of whack it eventually wound down and succumbed to entropy.

 

So, to “see” The Office, you need to consider it separate from any so-called renaissance, or even what’s supposed to work on TV, and judge it on its own terms, which were so bold yet, somehow, modest, that it really was exceptionalas in, one of a kind.

—Michael Gaughn

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

REVIEWS

Gran Turismo Sport PS4

Draw a Venn diagram of car enthusiasts and video gamers, and where the two circles intersect you’ll find a group of people who, without exception, have very strong opinions about the Gran Turismo series.

 

For most of us contained within that vesica piscis, the original “Real Driving Simulator” was far from merely a gameit was a religion. It taught us how to accelerate out of hairpin turns. It made us love mid-engine powertrains and AWD drivetrains. It turned us into oil-changing obsessives. Granted, many of us have graduated from Gran Turismo to more hardcore racing simulators over the years, especially since the disappointing sixth entry was released in 2013, but the nostalgia is still strong with this one.

 

In an attempt to win back the racers it lost to games like iRacing, Assetto Corsa, and Project CARS, GT developer Polyphony Digital is back with a wholly new and completely different effort dubbed Gran Turismo Sport. Don’t call it Gran Turismo 7. This is intended as the first entry in a newly revamped series whose emphasis isn’t on the single-player career mode that defined the franchise for the past 20 years but rather on eSports—ranked competitive multiplayer online gaming, that is to say. 

 

The results are a stunning mess, to put it mildly. Let’s focus on the stunning part first, because Gran Turismo Sport features without question the best use of High Dynamic Range video I’ve seen to date. And I’m not limiting the comparison to video games, either. Find me a movie with more lifelike use of shadows and piercing sunlight, and I’ll eat that UHD Blu-ray Disc. Without ketchup.

Pass alongside trees and other obstructions, and you can almost feel the shadows crossing your arms. Turn your car toward the west as sunset approaches and you’ll be scrambling for your sunglasses. This isn’t merely demo materialit’s the new gold standard for HDR that all content producers should be measuring themselves against.

 

Polyphony has also seriously upped the ante in terms of the game’s audio mix, likely in response to criticism of its previous games in this department. No longer does a supercharged V8 sound like a Singer sewing machine. The sound this time around is positively ferocious.

 

Sadly, in all other respects, Gran Turismo Sport is a rather hollow experience. At least for now. Long gone are the days when you could buy a cheap, beat-up four-cylinder car and scrape your pennies together to upgrade it as you slowly advanced through the ranks.

 

The single-player experience mostly consists of the game’s legendary driver’s-license challenges and a few driving-school scenarios. These are fun while they lastespecially with a good racing wheel like Logitech’s G29but they don’t last nearly long enough. And the online racing experience is sadly ruined by trolls who take pleasure from turning a good race into a demolition derby. What’s more, the punishment system set up to discourage such behavior punishes victims as harshly as instigators.

 

If Polyphony Digital can sort out such problems and add some more compelling single-player content down the road, it’ll have a successful game on its hands, if only on the strength of the audiovisual experience alone. For now, the lack of content and a middling online experience make Gran Turismo Sport feel more like an extended demo than a full-blown racing game.

—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.

REVIEWS

GAMING

The Astral Factor

The funniest MST3K ever isn’t even an episode from the series. It’s not even an official video but bootleg audio from a live show MST veterans Hodgson, Beaulieu, Conniff, Pehl, and Weinstein-understudy Allen did in San Francisco during their final tour under the Cinematic Titanic banner, synced by a fan to a copy—a workprint, no less—of an unspeakably bad TV pilot some misguided soul pumped up into a feature film (mainly by showing off Stefanie Powers’ butt crack).

 

So the video really sucks, and the audio really sucks. But it doesn’t matter because the quips and jabs from these nonpareil virtuosos of movie riffing are really f***ing funny.

 

The film Hodgson & Co. mercilessly bludgeon like a recalcitrant piñata really is about as bad as it gets—bad script, bad production design, bad editing, bad makeup, bad clothes, bad music, lame stunts, bad fonts, and criminally bad acting and directing. To paraphrase a line from MST3K‘s legendary Manos, there’s a buffet of loathsomeness here.

But The Astral Factor achieves a level most MST episodes could only dream of because there’s a whole bevy of has-been stars on the premises, including Elke Sommer, the aforementioned Powers (“with Stefanie Powers come Stefanie responsibility”), and, in a stomach-churning cameo, Sue (Lolita) Lyon, whose production company was apparently responsible for this flaming sack of dog poopie.

 

The pacing of the jokes is relentless, with the crew landing solid blows at least every 20 seconds, and sometimes releasing whole barrages that left the audience in San Francisco’s Castro Theatre breathless.

 

Don’t come here looking for 4K HDR or the perfect aspect ratio or perfectly calibrated sound or even surround sound, let alone Atmos. (Atmos?! On a policeman’s salary!?) This is about laughing your ass off—pure, and simple, and all too rare.

Michael Gaughn

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

REVIEWS

Patton Oswalt: Annihilation

Patton Oswalt Annihilation

Patton Oswalt is obviously a really smart guy. He has a jaw-dropping ability to react to, dissect, build on, and recontextualize situations on the fly. And anything that brings together him, Bob Goldthwait, and M. Ward can’t be all bad.

 

But . . .

 

You always get the feeling he could do better but he’s decided to take the easier path. (Witness his decision to play second banana on the MST3K reboot.)

 

He’s obviously trying to push his personal envelope with the Netflix Annihilation special, and the result is a comedy routine that’s frequently funny even when it ventures into what, even by the current, low standards, is uncomfortable territory. But it all ultimately feels safe—nerd safe.

 

There’s vast creative potential in exploring what happens when nerds are confronted by brutal reality in ways they can’t shrug off by retreating into a womb-like fantasy world. And Oswalt comes really close to going there—but he never crosses the line into the truly risky, and that’s where the special falls short. And that failure underlines an even greater flaw.

 

Oswalt has always been a guy in a bubble talking to other people inside the same bubble. He talks a lot in Annihilation about empathizing, but it’s not really empathizing if you’re just telling people who believe exactly what you do exactly what they want to hear.

 

He spends about the first third of the special venting, with good cause, over the current sad state of things. But he ultimately just reinforces his audience’s prejudices—the same smug, judgmental, knee-jerk behavior that helped create the crisis in the first place.

 

Simply put, if he can’t acknowledge the weaknesses in his positions, and by extension the positions of his audience, he’s not really empathizing. This epidemic of people within every imaginable political and cultural subgroup preaching only to the converted, and by doing so only reinforcing the oppressive divide & conquer worldview they claim to abhor, might be the single most malignant cultural disease.

 

That doesn’t mean every comedian should stop what they’re doing and submit their philosophies and dogma to merciless scrutiny—most of them aren’t up to the task so it would only lead to another empty exercise in narcissism. But the ones who claim to be deeply disturbed by the broken social landscape should, and they should do it publicly. Otherwise, nothing’s going to change.

 

Put another way, people have gotten so desperate for constant, unqualified praise that they’re scared crapless to challenge anybody or anything directly, and instead blame all their woes on some bogeyman Other.

 

But let me make the point again: Oswalt is really funny here. And he’s obviously really smart. So Annihilation is a good use of your time. I’m just not comfortable with anyone who decries the state of the world while turning a blind eye to what they’re doing to contribute to the fiasco.

Michael Gaughn

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

REVIEWS

Blade Runner: The Final Cut

Kaleidescape Blade Runner

Blade Runner is one of those movies people seem to either love or hate. On the one hand, Ridley Scott created a richly detailed and developed world that feels dark, gritty, real, and fleshed out in nearly every sense. On the other, the movie is a bit slow and plodding, light on action, and weighted down with its own mythology.

 

Beyond incredible set design, what Blade Runner really has going is a terrific performance by Harrison Ford. Remember that BR was released in 1982 at the height of Ford’s stardom, when he was coming off two massive Star Wars films and the first Raiders movie. Here, his portrayal of rogue-replicant hunter Rick Deckard has none of the cocksure swagger or wry humor of Solo or Indy, but rather is a man living a dark, solitary existence, taking no joy in his job, and frequently finding solace in alcohol. He’s a much deeper, darker, more real hero than what is normally portrayed.

 

The film also has one of the most tortured pasts when it comes to versions, with alternate cuts, and approvedand non-approveddirector’s cuts. In fact, there’s a fair bit of debate over which version one should actually watch, or if the full Blade Runner immersion requires viewing all and taking bits and pieces from each. I myself have journeyed with BR for years, having watched the LaserDisc and owned the DVD and Blu-ray. And while you can read about all of the various versions here, I can tell you the definitive one is the new 4K HDR version available for download now at the Kaleidescape store.

 

While only Ridley Scott’s 2007 The Final Cut (or 25th Anniversary Edition) receives the full Ultra HD makeover, the download gives you access to the US Theatrical Cut, International Theatrical Cut, Director’s Cut, and Work Print, along with hours of supplemental material to complete your Blade Runner journey. And let me assure you, no matter how many times you’ve seen the movie, or how you felt about it on prior viewings, this is an entirely new Blade Runner experience. The film looks and sounds better than ever, and it’s especially timely given the recent release of the sequel, Blade Runner 2049.

 

The movie underwent an extensive restoration for the Ultra HD conversion, with much of the original footage scanned at 4K resolution and some of the 65mm effects footage scanned at 8K. There was also a frame-by-frame digital cleanup, the film has been re-color-timed to Scott’s specifications, and the remixed audio received the full Dolby Atmos treatment.

Kaleidescape Blade Runner

The result is a stunningly clean and magnificent-looking movie with virtually no grain or noise, with fine details apparent in nearly every shot. The HDR has been used to great effect, with solid, stable, and noise-free blacks and with neon lights and bright colors popping from the screen.

 

I’d forgotten how much of the movie was really a video torture test, with many scenes shot in darkly lit, often smoky interiors with bright lights piercing in from windows. This would normally reveal tons of banding and other video nasties, or have details totally lost in the dynamic-range contrast crush, but UHD’s higher bit rate keeps everything solid and pristine. Going back and comparing the look of this film to the original DVD version reveals the shocking level of care and restoration that has been taken, with the DVD marred by a sea of noise, grain, and age.

 

The Atmos audio mix is also used to greatly enhance the film, with many environmental sounds and Vangelis’ score mixed to the overhead speakers to great effect. I’d forgotten how it almost constantly rains in Los Angeles in 2019, but this plays right into Atmos’ overhead channel strengths. The bass mix is also quite dynamic, with deep, powerful explosions that will give your subs a workout.

 

While this transfer might not make Blade Runner your favorite film, it will definitely command your attention for its 117-minute run time. Download and enjoy it today!

—John Sciacca

 

Minor spoiler . . .

It has long been a “was he, wasn’t he?” argument regarding Deckard, with even Ridley Scott and Harrison Ford differing on their take. One thing I really noticed in the 4K version of the film was how Deckard’s eyes glowed in a specific scene when talking to Rachelsomething that happens to all replicants in the film and which would seem to clearly indicate Deckard is one. Was this an intentional color change by Scott, or perhaps a subtle detail just brought out by the better transfer?

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.