Kaleidescape

Jumanji: The Next Level

Jumanji: The Next Level

After the emotional trauma Dennis Burger experienced from his review of Uncut Gems, we thought that it might be a nice palate cleanser to look at some lighter fare for the next review. Fortunately, Jumanji: The Next Level arrived on an early digital release at the Kaleidescape Store two weeks ahead of its physical media release on March 17.

 

For those interested in waiting for the disc release, Sony has confirmed it will be IMAX Enhanced, meaning it will contain an enhanced DTS-X IMAX soundtrack as well as feature a picture remastered using IMAX’s propriety post-production and Digital Media Restoration (DMR) techniques. (For more on IMAX Enhanced, you can read this post I wrote for another site.) While Kaleidescape is rumored to be in talks with IMAX about being an Enhanced partner —and would be the perfect and logical outlet for this premium content—the Kaleidescape version doesn’t include this feature.

 

It’s really no surprise that 2017’s Jumanji: Welcome to the Jungle received the sequel greenlight. As star Jack Black, returning to portray game character Professor Shelly Oberon, quips in one of the special features, “After the first film made $900 million, I wasn’t really surprised when they called us back to do another.”

 

For those unfamiliar with Jumanji, these latest films are a reboot of the 1995 original, which starred Robin Williams. Jumanji is a game (of the board variety in the original, and modernized as a video game here) where players are magically and literally sucked into the game, forced to play as one of several avatars with different skill sets, and have to work together to solve problems and survive in order to complete a quest before they can exit the game back to the real world. Each character has three lives, allowing them to die repeatedly in a variety of usually humorous ways.

 

Along with Black, the rest of the Jungle quintet returns to reprise their roles, including Dwayne Johnson as Dr. Smolder Bravestone, Kevin Hart as Mouse Finbar, Nick Jonas as Seaplane McDonough, and Karen Gillan as Ruby Roundhouse. Jake Kasdan returns as director. Joining the crew is new character, thief extraordinaire Ming Fleetfoot, played by Awkwafina. We also get a new villain in the form of Jurgen the Brutal, played by Game of Thrones’ The Hound, Rory McCann.

 

Level picks up about three years after the events of Jungle with our four real-world cast members Spencer (Alex Wolff), Martha (Morgan Turner), Bethany (Madison Iseman), and Fridge (Ser’Darius Blain) having moved on with their lives. Everyone except for Spencer is thriving, and when they plan a reunion, depressed Spencer decides he’d be happiest returning to Jumanji, picking up life again as hero Bravestone. Worried about their friend, the others decide to re-enter the game to help him survive, thus kicking off our adventure.

 

Instead of rehashing the first film with a different adventure, the writers really mix things up when the game glitches, causing the avatars to be inhabited by different players. This gives the adventurers completely different personalities and allows the actors to really have fun with their roles. This time around fearless leader Bravestone is inhabited by Spencer’s uncle, Eddie (Danny DeVito), and zoologist Finbar is controlled by Eddie’s ex-business partner Milo (Danny Glover). And football star Fridge is forced to play as the physically limited archaeologist Oberon, whose list of “weaknesses” now include Endurance, Heat, Sun, and Sand. We also have a new game feature that allows characters to switch avatars at certain points, once again mixing up the acting styles.

 

On top of the new adventure—to end a massive drought impacting Jumanji by recovering a magical necklace known as the Falcon Jewel, stolen by Jurgen —this new “casting” makes the film feel fresh, and provides lots of opportunities for hilarity. Kevin Hart does a fantastic job adopting Glover’s slow, measured speaking style; a huge contrast to his typically frantic manner. “Did I just kill Eddie . . . by talking too slow . . . like he always said I would?” Johnson also leans into the role of being inhabited by curmudgeonly old DeVito, thrust into an entirely foreign situation, and Black brings the laughs acting like Fridge, a black athlete furious that he’s forced to return to Jumanji in an even worse character this time around. “I’ve been training four hours a day for six months. How is this guy a character in an adventure game?!

 

At just over two hours, Level has enough time to develop a quest that feels of videogame epic length, with enough time to travel to a variety of new environments, such as a Lawrence of Arabia-esque desert, a Moroccan-type village, and a snow-topped castle. But it never felt too long or like it was wearing out its gags, keeping me interested throughout.

 

Sony Pictures consistently delivers terrific home video releases, and Level continues that high standard. Shot on ArriRaw at 3.4K, images consistently look terrific, with closeups that bristle with detail and razor-sharp focus. Black wears a tweed vest that has a fine plaid print with each check clearly visible. You can also see the cracks and texture in the backgrounds and costumes, and count individual strands of hair on actors’ heads.

Blacks are deep, clean, and noise-free, and there are many nighttime and indoor scenes that benefit from the film’s use of HDR. The night scenes in the Moroccan village of the Oasis look especially good, with brilliant neon lights along the streets, as well as warm interiors lit by candles and lamps, giving the film a natural and organic look. Interiors of the castle Fortress feature dark rooms lit by shafts of bright light or sun rays streaming through windows, and the snowy mountainside looks appropriately bright without crushing any detail.

 

Sonically, the Dolby Atmos track is dynamic and active, looking for nearly every opportunity to immerse you in sound. Beyond the big action scenes, there are lots of little environmental sounds like wind blowing, birds chirping, and insects buzzing. One of the film’s recurring sonic elements is the sound of deceased players re-entering the game, with a chime that sounds overhead and has them dropping back into the game from the ceiling. Bass is also solid and weighty, either from explosions or Bravestone’s superhuman punches or the jungle drums that resonate from all around to indicate danger.

 

As is typical of Dolby Atmos soundtracks, dialogue is centered and easily intelligible throughout.

Jumanji: The Next Level

While watching Welcome to the Jungle isn’t a pre-requisite to enjoying and understanding Next Level, it is certainly suggested as it is an entertaining film in its own right. Beyond a bit of swearing and some non-bloody videogame violence, Jumanji: Next Level makes a great family night at the movies, offering a plot that will keep everyone engaged and entertained, while looking and sounding great in a luxury home environment.

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.

Castle Rock

Castle Rock

“There is a lot of history in this town. Not all of it good . . .”

 

You might recall my post “Exclusive Content Causes FOMO & Piracy” (or you might not—in which case, feel free to click that link and then come back to join me here in a bit . . .) where I opined how all of these streaming providers coming up with their own content was really frustrating viewers. One of the shows that inspired that post was Castle Rock, a new Hulu original series that takes place in the Stephen King multiverse.

 

Now, this is a show I really wanted to see when it was announced, as it checked all of my must-see programming boxes. J. J. Abrams involved? Check. Stephen King an executive producer? Check. Set in the Stephen King world with tons of King Easter eggs? Check. A solid cast featuring several actors who’ve previously been in King adaptations? Check.

 

But, as much as I wanted to see Castle Rock, I was not willing to add another streaming subscription to my monthly credit-card statement.

 

Fortunately, you can now experience Castle Rock without a Hulu subscription by purchasing the series on disc (4K UltraHD, Blu-ray, or DVD) or via digital download in HD quality at the Kaleidescape store (which is how I watched).

 

So, before I get into my Castle Rock review, we need a little background . . .

Castle Rock

I am a really big Stephen King fan—or Uncle Stevie, as he likes to call himself. I’ve read all of his books, and seen many of the movies that have been adapted from them. The quality of King movies ranges from the fantastic (Shawshank Redemption, It, Misery, Stand by Me)* to the pretty good (The Green Mile, Thinner, Firestarter) to the abysmal (Cell, Lawnmower Man).

The problem with turning a Stephen King novel into a film is that when you try to compress 800-plus pages into a two-hour runtime, you end up chopping out so much material that the results are often just pale reflections of the original. Or you go the other way, trying to stretch something that worked well as a 10- to 20-page short story into a two-hour feature that just blunders around lost. (Two of King’s best adaptations—Shawshank and Stand by Me—were actually novellas, providing just the right amount of source material.)

 

The recent The Dark Tower film is a perfect example. Tower wasn’t a book but rather a magnum opus made up of seven books totaling nearly 4,000 pages. Trying to condense that much story into a single 95-minute film was an impossible task that only ended up angering and insulting fans.

 

King adaptations tend to work especially well as miniseries, where the source material can be given the room it needs to develop story and characters over multiple hours. Hulu showed they knew how to handle this perfectly with its 2016 eight-episode miniseries 11.22.63, which also happened to be the first pairing of Abrams and King. (Another outstanding example is Mr. Mercedes on DirecTV’s Audience Channel.)

 

Castle Rock is a ten-episode series that takes place in a small, fictional Maine town that will be familiar to King fans. Other King works set there include The Dead Zone, Cujo, The Dark Half, Needful Things, and The Mist. It’s important to stress that while King does get an executive producer credit, he wasn’t involved in crafting this story, or apparently much with the production, and it isn’t based on any of his stories.

 

Rather, Castle Rock is a new tale set in King’s established world and features numerous subtle and overt connections and allusions to previous King works. These include Sheriff Alan Pangborn (Scott Glenn), Diane “Jackie” Torrance (Jane Levy), niece of The Shining’s axe-wielding Jack Torrance, references to a certain rabid dog, events from The Body (which became Stand by Me), the Juniper Hill Psychiatric Hospital, and a certain prison no one wants to visit called Shawshank.

 

The opening episode, “Severance,” does a nice job laying the groundwork for what to expect from the series along with introducing us to several principal characters, including death row lawyer Henry Deaver (Andre Holland), who has his own troubled past connections with Castle Rock. He returns to the town after mysterious prisoner The Kid (Bill Skarsgard), who has apparently been kept locked in solitary confinement in a hidden section of Shawshank for years, utters Deaver’s name and nothing else. And there’s recently retired Shawshank warden Dale Lacy (Terry O’Quinn), who had been keeping The

Kid locked away for reasons known only to himself.

 

The series is slow in parts, but definitely picks up for the final episodes, with Episode 7, “The Queen,” being especially good and featuring a fantastic performance by Sissy Spacek as Ruth Deaver that really deserved some kind of award nomination. Another standout was the gore-filled eighth episode, “Past Perfect,” that actually had my wife scream out.

 

There are some nice King-esque jump

Castle Rock

scares along the way, along with tons of general creepiness as we slowly move towards solving the mystery of who is The Kid and how did he get here, along with the overall question of, “Why is Castle Rock so rotten?”

 

The video is mainly a palette of muted browns, greys, and cool blues, but images are clean and detailed. Even better is the 5.1-channel DTS-HD audio mix, which does a wonderful job of keeping dialogue understandable while still delivering a lot of sonic atmospherics that certainly add to the experience when watched on a surround system.

 

I appreciated the brief “Inside the Episode” rundowns for each episode by the series creators/writers, which offered some explanations and pointed out some of the Easter eggs. The download also includes two new features: “Castle Rock: Blood on the Page” and “Clockwork of Horror.”

 

Be sure to watch a couple of minutes into the credits after the final episode, “Romans,” as you get a nice glimpse into what might be in store for the second season that Hulu has already committed to.

John Sciacca

 

* I’m sure some of you noticed that I didn’t include Stanley Kubrick’s The Shining in this list of fantastic King adaptations. Well, the truth is, while The Shining is indeed a great movie, it veers way away from the original source material, almost to the point of being a completely different work.

Castle Rock

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.

Blue Planet II

My wife and I watch a lot of documentaries. No, seriously, a lot of documentaries. Air a special about dinosaur dung or the restoration of a 1967 barn-find VW Beetle or how a famous actress invented frequency-hopping encryption during World War II, and we’re pretty much guaranteed to boost your Nielsen numbers for the night. Here’s the thing, though: We watch a lot of documentaries exactly once. That seems pretty normal to me. After all, do I really need to re-learn how Lego bricks are made?

The one exception to this rule is David Attenborough’s captivating nature docs, because there’s absolutely nothing normal about the treasures this wonderful man has bestowed upon the world. If you’ve never seen one of his series, I’m truly envious that you have the opportunity to discover him for the first time. His infectious, childlike sense of wonder about nature, combined with the wisdom you’d expect of a natural historian with 92 years under his belt, makes each of his series seem like a sci-fi/fantasy exploration of a planet in a galaxy far away. There’s a weird and wonderful sense of cognitive dissonance that comes from realizing, somewhere in the middle of one of his shows, that we actually live on this weird and wonderful world.

 

A scant 11 months after the incredible Blue Planet II first aired here in the Colonies, my wife and I have already devoured the series from start to finish three times. And as we were sitting down for our fourth feast this weekend, we finally decided to retire the 4K broadcast recordings clogging our DVR and move on to a proper home video release.

 

Netflix seemed the logical place to turn to, since the series just made its way to the service this month. And it took no more than a few seconds of viewing to note that their version was a huge step up from the original 4K satellite broadcast. Kudos to Netflix’s engineers for compressing such a visually complex image as well as they have. Simply put, Blue Planet II looks brilliant streaming in 4K, as long as you’ve got a good ‘net connection.

 

But shows come and go on Netflix. I can’t count the number of times that utterly re-watchable favorites have been yanked at pretty much exactly the same time I had a hankering to watch them. So, when I noticed that Blue Planet II is also now available on Kaleidescape—along with a whole host of other programming from BBC America—downloading it was a no-brainer. At a hefty 193 gigabytes, the seven-episode mini-series is not an impulse download, but as I said above, this is a show that’s already in heavy rotation in the Burger casa. I knew it was worth the wait.

 

I just didn’t realize how wait-worthy it would turn out to be. As lovely as these alien undersea vistas are via Netflix, they’re positively stupefying in Kaleidescape’s full-bandwidth presentation. The tiniest of details simply fly off the screen here. And

thanks to the High Dynamic Range presentation—something Blue Planet II lacks via Netflix, for whatever reason—you can’t help but be sucked right into the image, eyelids peeled, jaw agape, breath bated, mind blown. If the Broca area of your brain can crank out much more than the occasional “whoa” while watching a technicolor cuttlefish hypnotizing its 

cancrine prey in Episode Three, you’re made of sterner stuff than I. Switch over to the Netflix stream (or the YouTube clip above), and that scene almost seems monochromatic by comparison.

 

Even if you’re not a biology nerd or a connoisseur of great documentaries, Blue Planet II is an absolute must-own on Kaleidescape (or on UHD Blu-ray, if you haven’t made the leap into the discless future just yet). It’s perhaps the most torturous AV demo material I’ve lain eyes on in ages. It’s the title you’ll pull up when skeptical guests ask, “Do I really need this HDR business?” Because Blue Planet IIs answer to that question isn’t a mere “yes.” It’s a yes with an exclamation point, delivered in a charming British accent, with a wink and an unforgettable lesson about the kooky unexplored corners of our own globe.

Dennis Burger

Blue Planet II

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.