A Star is Born
In one sense, the 2018 version of A Star Is Born is nothing new. This is the fourth version of the film, after all—and countless other movies have borrowed heavily from the basic premise: An aging, addiction-stricken star takes a young, talented woman under his wings, falls in love, and watches her star soar while his comes crashing brutally to the ground.
Generation Xers like myself probably have a strong tie to the 1976 version starring Barbra Streisand and Kris Kristofferson. It’s one of those “soundtrack to my childhood” kind of movies that I just remember being on my TV all the time. Then there’s the classic 1954 version with Judy Garland and James Mason. The original version dates all the way back to 1937. When I first heard that Bradley Cooper was going to direct and star in a new version, my reaction was, “Eh, just another unnecessary remake.”
But I have to give credit where credit is due. There’s an in-the-moment newness to Cooper’s version, due in large part to a script and a director that seem like they left a lot of room for improvisation. Everything about the film—from its pacing to its performances to its cinematography—makes you feel like you’ve been dropped in the middle of these people’s lives, right now. And that’s not always a comfortable place to be. In a film era defined by witty repartee and slick editing, you might find yourself growing frustrated as you watch people sometimes struggle to find or at least speak the right words. It’s awkward, but it works.
The chemistry between Bradley Cooper and Lady Gaga is undeniable, and the decision to cast a musician and not an actress in the role of Ally just reinforces that sense of authenticity.
All that being said, the glue that really holds this film together is the music. Everything else takes a backseat to the fantastic musical performances, which means there’s some great demo material available in the Dolby Atmos soundtrack to show off your surround sound system. The concert sequences are mixed to sound like you’re listening to a concert, with lots of space and ambience in the surrounds.
The 4K HDR image in the iTunes version I watched (it’s available in Dolby Vision if your system supports the format) looked excellent, with rich color and a high level of detail. This isn’t a super-stylistic movie, so the HDR is employed subtly to just flesh out that you-are-there sense of contrast. I didn’t see a lot of noise or compression artifacts in the iTunes version.
If you’ve decided that you don’t need to see A Star Is Born because you’ve already seen it, trust me, you haven’t. You haven’t heard it like this, and you haven’t felt it like this. You may know where the story ends up, but this is definitely one of those movies that’s more about the journey than the destination.
Adrienne Maxwell has been writing about the home theater industry for longer than she’s
willing to admit. She is currently the AV editor at Wirecutter (but her opinions here do not
represent those of Wirecutter or its parent company, The New York Times). Adrienne lives in
Colorado, where she spends far too much time looking at the Rockies and not nearly enough
time being in them.