Kaleidescape Movie Store Tag

Midway (2019)

Midway (movie)

Maybe one of the most important things about a film concerning itself with historical events is that it do so truthfully and accurately. Sure, we’ll forgive some minor inconsistencies at the expense of storytelling, dramatic license, and time constriction, but you need to get the majority of things right. And in this respect director Roland Emmerich’s (Independence Day, Day After Tomorrow, White House Down) retelling of Midway gets them right. (You can see a factcheck here at History vs Hollywood.)

 

Of course, the next thing a film needs to do to be successful is to be both engaging and entertaining, and I’d say Midway succeeds on these merits as well, an opinion echoed by its Rotten Tomatoes Audience score of 92%. This is not to say Midway isn’t without its flaws, attested by the critics’ less-than-enamored RT score of 42%.

 

The film opens four years before the events of Pearl Harbor with Japanese Admiral Yamamoto (Etsushi Toyokawa) ominously telling US intelligence officer Edwin Layton (Patrick Wilson) that Japan will attack if its oil supplies are threatened. Cut to December 7, 1941 and the Japanese surprise attack on Pearl Harbor, which delivers the US Navy its biggest defeat in history.

 

Midway concerns itself with the events following that attack, and how the US regroups and looks to not only save itself but deliver a counterpunch to the Japanese navy, leading up to the attack known as the Battle of Midway.

 

With the modern-day might of the US Navy, we don’t often think about just how close to utter defeat the naval forces were following Pearl Harbor. On that day, more than 2,300 sailors were killed along and 1,000-plus wounded, 18 ships were damaged or sunk, and 180 planes were destroyed. To restore naval operations, Admiral Nimitz (Woody Harrelson, wearing a white wig nearly as distracting as his big white Joe Biden teeth from SNL sketches) is brought in to take control of the Pacific Fleet, described as “the most difficult job in the world.”

Midway (2019)

Following Pearl, the US had just three functional carriers, compared to Japan’s ten and zero functional battleships compared to Japan’s nine, with the Japanese also having more cruisers, bombers, and fighters; and much of their equipment was more modern. If the gamble at Midway didn’t pay off, the United States would have likely been sidelined for much of the war.

 

The movie does a good job of presenting these stakes, as well as compressing the timeline into an easy-to-follow narrative. If it is guilty of anything, it’s of trying to cram so many stars into so many roles that none of the characters are really fleshed out. It’s hard for viewers to really care for anyone when they have just a bit of screen time before another new and famous face is trotted out in the next scene.

 

And, honestly, there is more than enough drama in the true events of the war that we don’t need to be distracted by cutaway stories about USO parties or brief shots of homelife.

 

A perfect example is Mandy Moore cast as Ann Best, wife of hotshot pilot Dick Best (Ed Skrein), who seems to be there just so they could have her name in the credits, and serves no real role in the film. Dennis Quaid is also underused as Admiral Halsey. Aaron Eckhart is given a small role as Jimmy Doolittle, a pilot awarded the Medal of Honor for leading a near-suicidal bombing mission on Tokyo who must bail out in China and evade capture from the Japanese army, which killed 250,000 Chinese civilians for aiding in the escape of Doolittle and the other American pilots who survived the raid (events covered in the 2017 film In Harm’s Way). Musician Nick Jonas is brought on to portray real-life hero Aviation Machinist Bruno Gaido, receiving enough dialogue and backstory to give his character a bit of depth.

 

It’s tough to build much suspense when retelling a story where most viewers already know the outcome, but Midway manages to give the action scenes enough tension that you can’t help but groan as bombs and torpedoes slide just past their targets, missing by scant feet. The film also blatantly telegraphs its heroes. We know early on that cocky pilot Dick Best is going to be playing a big role in the air campaign, and when we see him perform a ridiculous landing maneuver onto an aircraft carrier very early on, we know we are going to see this move again later in the film. When Nimitz instructs Layton to make sure the 

Midway (2019)

intelligence mistakes of Pearl aren’t repeated, you know the time will come when Layton will have to convince Nimitz to trust him. Or that the friction between Dick Best and Wade McClusky (Luke Evans) will turn into a grudging respect.

 

Shot on Panavision DXL cameras at 8K resolution, Midway is taken from a 2K digital intermediate, not unusual for a film so heavily laden with CGI effects. Closeups feature 

lots of detail, but don’t seem to have that Nth degree of resolution of films with a true 4K DI. There is still plenty of detail to appreciate n clothing, from a crocheted top worn by Moore in one scene, to the wooly texture of Japanese officers’ uniforms, to the collar stitching on Americans’ shirts, to the leathery texture of the pilots’ seats.

 

Since none of the ships portrayed in the film still exist (at least not in their WWII-era state), they all had to be created, and the resolution does lay bare several instances of pretty blatant CGI, where things just look a bit video-gamey. The opening shot of an aircraft carrier with sailors doing PT on the deck just doesn’t ring true, especially if you focus on individual characters long enough. Nor does a scene at a graveyard in Pearl, which just looks . . .off. Any time there are so many computer-generated ships and planes on screen—which is often—there are bound to be a few instances where some shots aren’t perfect, but it is often the long shots that seem to suffer most.

 

HDR is used to good effect throughout, not just to enhance the brilliant red-orange fireballs that erupt from exploding ships and planes, burning with a vibrant fury and intensity, but also to bring an extra layer of depth and punch to interior shots aboard ships where sunlight in pouring in through port holes or walkways. The ocean gleams in shades of blue, with bright highlights as the sun glints off its surface, and exterior scenes are bright enough to make you squint into the sunny skies. Blacks remain deep and dark, and I didn’t notice any banding, which is a challenge with the varying shades of blue and grey

in the skies as planes fly in and out of different lighting and cloud cover.

 

Beyond the visuals, Midway offers a fun ride that sounds fantastic in a home theater. In fact, you might call it a 2-hour 18-minute Dolby Atmos spectacle masquerading as a war movie. The sound mix plays a dynamic role in nearly every scene, and if anyone has every wondered if their height speakers are working or if Atmos can add to the immersion of a movie, just show them any of the aerial attack scenes where the audio lends a wonderful third dimension to plane flyovers.

 

Planes rip along the side walls and into the back of the room, or roar past overhead, diving down on unsuspecting pilots, bullets shredding things around you. Flak shells explode left, right, above, and behind you, with bullets ricocheting all around the room.

 

Midway will also test your subwoofer’s mettle, with deep bass present throughout. Beyond the bombs and explosions, ships crash through waves with appropriate weight, and AAA guns thump you in your seat with repeated blasts. There is also the constant low, steady, bassy rumble as a background reminder that you’re aboard a warship, along with other ambient mechanical sounds to place you on

Midway (movie)

board, or the deep, throaty roar of the planes’ engines. There is also the carnage of the USS Arizona breaking up after explosions and then ripping itself apart with groans, creaks, and the rumble of crumpling steel.

 

Available for download now at the Kaleidescape Store ahead of its 4K disc release on February 18, Midway hits enough high points to overlook its flaws, and makes for a rollicking night in your home theater, with one of the most dynamic and immersive Dolby Atmos audio tracks I’ve heard in a while.

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.

Jojo Rabbit

Jojo Rabbit

In any other year, Jojo Rabbit would be fighting for the top spot amongst my favorite recent films. This absurdist lark from Taika Waititi (Flight of the Conchords, What We Do in the Shadows, Hunt for the Wilderpeople) is exactly what you would expect upon learning that the crazy bastard who actually made a great Thor movie against all odds then turned his weird attention toward the Holocaust and the Hitler Youth.

 

On the surface, Jojo Rabbit is the tale of a young lad so infatuated with der Führer that he conjures Hitler out of thin air, Calvin & Hobbes-style, not only as a best imaginary friend but also as a fellow agent of unwitting chaos and something of a conscience. Things take a turn for the weirder when little Jojo discovers a Jewish girl hiding within the walls of his home and

is forced to choose between the safety of his family and his commitment to an ideology he doesn’t understand in the slightest.

 

And if that’s as far as you decide to dig, there are loads of laughs to be had, assuming you’re not horribly offended by the premise. So many, in fact, that by the time the closing credits rolled, my cheeks legitimately hurt and I swear I felt abs forming under my tubby middle-aged tummy. 

 

But just as Waititi used the laugh-a-minute Thor: Ragnarok as a vehicle for some very real ruminations about colonialism and the lasting impacts thereof, he uses Jojo 

Rabbit to not only take the piss out of fascism, but also to explore its appeal. Seriously, what causes a precocious little boy to Sieg Heil! and buy into all manner of horrible conspiracies about the Jewish people? Furthermore, why is it that bumbling idiots seem to hold such sway over massive swaths of the general population? Waititi seems to be saying that if we can’t understand that, we’re ill-equipped to combat it. 

 

Unlike so many other filmmakers who have recently grappled with notions about why inherently good people do bad things, Waititi actually has answers. Pretty simple ones, when you get right down to it. But answers nonetheless.

 

His primary conclusion: “We’re asking the wrong questions.” Right from the opening scene of the film, Waititi uses a German dub of the Beatles’ “I Want to Hold Your Hand,” cut together with screaming crowds of Nazis that are almost indistinguishable from fawning crowds of Beatlemaniacs, to slyly point to the fact that cults of personality—any personality—are at least part of the problem.

 

Along the way from that cheeky beginning to the inglorious end of World War II, Waititi takes shots at groupthink, cognitive dissonance, nationalism, and identity politics in equal measure, but when you get right down to it, what he seems to be saying is that the root of all our problems is a lack of genuine human connection. And he uses the anachronistic disconnect between 

his setting and his choice of soundtrack music, language, and mannerisms to point out that, for all our pontification about social media and modern life, this isn’t a new phenomenon.

 

None of this should come as a surprise if you’re already familiar with Waititi’s work. What does come as a surprise is how often he plays it safe with this one. I guess he 

figured he had to tug on the reins from time to time to keep from offending literally everyone, and maybe he has a point. I wouldn’t know, since I’m not offended by much of anything. But sometimes the tonal shifts toward the conventional seem a little forced and insincere. Thankfully, the expected turn toward the sentimental at the end of the film is pulled off with such heartfelt authenticity that it’s difficult not to wooed by it all.

 

My only remaining niggle—and this is entirely subjective—is that Scarlett Johansson is somewhat miscast as Jojo’s mother. And I say this as someone who thinks Johansson is actually underrated as an actor. She positively transforms her body language and her entire demeanor for the part, but something about it all doesn’t feel quite right. Especially when the rest of the casting—especially the two adolescent leads—is so spot on.

 

Another unexpected thing is how gorgeous the film is from beginning to end. Mihai Malaimare, Jr., in his first collaboration with Waititi as far as I can tell, proves himself with this film to be an absolute master of color theory, bathing nearly every scene with a deft mix of rich warm hues and crisp, cool punctuation that’s delivered beautifully by Kaleidescape’s 4K/HDR presentation. Jojo Rabbit was shot at 3.4K and finished in a 2K digital intermediate, so it might not satisfy the 

dermatologically obsessed or those who chase razor-sharp edges. But the expanded color gamut of HDR10 does wonders for the mix of subtle pastels and retina-shocking primary hues.

 

Whatever concerns you may have about resolution, this is one you’ll want to watch on as large a screen as possible, by the way. Malaimare goes for some unexpected long shots at times to capture the beauty and scope of the scenery during some dialogue-heavy scenes, where other cinematographers might have opted for tight closeups instead. In a world where streaming video is squeezing commercial cinemas out of the equation more and more every year, he defiantly composes for a massive canvas, assuming (hoping?) that the images will take up as much of the viewer’s field of view as possible.

 

The film’s sound mix isn’t quite as expansive, but Kaleidescape’s DTS-HD Master Audio 5.1 is a faultless presentation of it. The sound design here is far more interested in servicing the needs of the film than exercising your speakers, and as such it’s largely a three-channel mix, spread across the front, with surround channels only used to add ambience and a sense of space until late in the film when the action gets a little Looney Tunes. But that’s exactly the approach this film needs.

Jojo Rabbit

As I said in the beginning, in any other year, Jojo Rabbit would be hovering right near the top of my annual favorites. If there’s anything truly working against it, it’s not the instances in which Waititi plays it safe, or in which Johansson’s knack for emotional complexity works against her in a role that should be more one-note until it isn’t. No, the only thing really holding the film back is that it’s forced to share oxygen with a comedy like Parasite, which is more unapologetically unflinching and which navigates its tonal shifts more effectively.

 

But don’t let that keep you from watching this one. Any film that can make me guffaw as hard and as frequently as this one did without insulting my intelligence has a spot in my film library. It may not be perfect, but it’s a necessary film right now.

 

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.

A Beautiful Day in the Neighborhood

A Beautiful Day in the Neighborhood

Turn on the TV, scroll through the radio dial, or browse a few Internet pages and it doesnt take long to see that the world is a pretty angry and divisive place right now. People are often mean and spiteful for no good reason, and there is little good news to be heard. Look no further than the partisan pettiness of Tuesday nights State of the Union Address. And I think thats one of the reasons why A Beautiful Day in the Neighborhood is just so refreshing.

 

It’s hard to imagine anyone besides Tom Hanks portraying Fred Rogers and recreating his landmark television show. With little more than a wig, some larger eyebrows, a change of wardrobe, and a slower speaking manner, Hanks perfectly channels the essence and spirit of Mister Rogers. Deservedly, Hanks is up for another Academy Award, this time in the Actor in a

Supporting Role category.

 

Like Rogers, Hanks is genuinely likable and trustworthy, and he has chosen a slate of roles throughout his career that have made him beloved. I also have to think the wheels to cast Tom Hanks as Rogers might have started turning a few years ago when Hanks removed his blazer and donned a sweater during his opening monologue on his ninth hosting gig on Saturday Night Live and launched into his America’s Dad” skit.

 

However, this is not really a movie about Mr. Rogers per se, but rather the relationship that builds between Rogers and 

cynical Esquire journalist Lloyd Vogel (Matthew Rhys) after Vogel is tasked with writing a 400-word puff piece on Rogers. Vogel has a penchant for being ruthless with his subjects, to the point where his wife, Andrea (Susan Kelechi Watson, whom many will recognize as Beth Pearson from This Is Us) says, Lloyd, please dont ruin my childhood” when he tells her about his assignment.

 

Interestingly, although much of this movie is based on actual events, central character Lloyd Vogel doesnt exist. The actual writer is Tom Junod who did write a piece for Esquire titled Can You Say . . . Hero?” back in 1998. While Junod has praised the film, he asked the writers to change his name and those of his family due to the way some of the family relationships are portrayed.

 

Fortunately for us—and Andrea—Lloyd discovers that Mister Rogers is exactly as he seems. There are no hidden demons, no buried secrets, and no ulterior motives. Rogers is just a genuinely kind, nice, and decent human being who spent every day striving to make himself and the world a better place, but especially for children. In an era where other childrens programming was entertaining kids by having people smash pies into their faces, Rogers treated children as real people, taking on real subjects like death, prejudice, and divorce, and helping kids to navigate through the complex world they were growing up in.

 

His message to parents was to love your children for who they are, not for what they will be, and not to forget your own childhood.

 

The movie tracks Vogels emotional journey as he struggles with a damaged relationship with his father, Jerry (Chris Cooper). We watch as the closer Vogel gets to Mister Rogers, he grows and learns the value of letting go of anger and truly offering forgiveness.

 

If you know nothing about Fred Rogers, I invite you to watch this video of him testifying before a Senate subcommittee back in 1969. Rogers was there to defend the federal funding for Public Broadcasting, and in the course of his six minutes of 

talking, he completely disarms and wins over the subcommittee chairman, Senator John Pastore. You will learn everything you need to know about Rogerscalm, soothing nature and passion for his work in this short exchange.

 

The film has an interesting visual style, being presented almost as an episode of Mister Rogers’ 

Neighborhood. It opens with Rogers’ classic walk into the playhouse, removing his blazer and loafers and donning the famous red sweater and blue sneakers. He then introduces his new friend, Lloyd, and the story begins.

 

Scenes in the neighborhood” were filmed in Pittsburgh at WQED, home of the original set, and director Marielle Heller went to lengths to get those visuals to appear authentic, even using the same model cameras as the original production. There are many cut shots styled as the neighborhood of Make-Believe” with small-scale models as used in the original series, and even an educational video as was common from the original series showing how a magazine gets made. These scenes are all presented in a 4:3 aspect ratio, with greatly reduced resolution making them look soft and dated and accurate to the original.

 

Spending time with Mister Rogers must have been an intense, emotionally draining experience, with him giving laser focus to whoever he was speaking with. You get a sense of this when Hanks breaks the third-wall, turning to the camera and staring for long seconds as he invites us to remember those people who loved us into being who we are.

 

While the films master format is listed as being taken from a 4K digital, it also shows that it is from a 1080p/24 source format. Watching the movie, I was never struck by the sharpness or detail of the visuals. Images often looked a bit soft even in closeups, never attaining that ultra pore-revealing detail many current films exhibit. If not for the fact that both my projector

and processor were indicating they were receiving a 4K HDR image, I would have thought I was watching a Blu-ray.

 

While blacks arent truly deep, they are clean and noise-free, with images free of any banding. And while there isnt much here that truly benefits from the higher dynamic range, it does help with low-lit interior scenes and adds depth and dimension.

 

Sonically, the Dolby Atmos track certainly isnt going to push the dynamics of your theater system. There are some nice atmospheric effects in some of the exterior scenes in New York as well as aboard the subway, and some reverb in large spaces such as a speech at a wedding early on, or the spaciousness of the soundstage of Rogersset.

 

Music is given plenty of room to breathe across the front channels and up into the front height speakers, giving it a better sense of space and width.

 

Neighborhood is a predominately dialogue-driven film, and fortunately the Atmos track does a wonderful job of keeping dialogue clear and understandable. 

A Beautiful Day in the Neighborhood

There are a lot of movies that will look and sound better in your theater than A Beautiful Day in the Neighborhood, but there aren’t many that will leave you feeling better. The film released digitally this past Tuesday at the Kaleidescape Store, and will be available on 4K Blu-ray February 18. As a terrific companion to this film, I also suggest the fantastic documentary Wont You Be My Neighbor?, also available from the Kaleidescape Store.

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.

Honeyland

Honeyland

If you want to have any sort of overarching context for the events that unfold in Tamara Kotevska and Ljubomir Stefanov’s Oscar-nominated documentary Honeyland, prepare for some homework. Perhaps listen to some podcasts. Certainly read at least the Wikipedia entry. Dive into some interviews with the filmmakers, for sure.

 

But only do so after you’ve seen the film. You’ll be a little lost, mind you, wondering who all of these people are, how (or even whether) they know each other, how one event leads to the next in this sometimes-confusing narrative. But it’s worth it to go

in blind, I think, and explore Honeyland on its own terms.

 

Quite frankly, this is unlike any documentary I’ve ever seen. There’s zero narration. None of the participants looks at or speaks to the camera. There’s no indication of where the story unfolds, except for a handful of references to Skopje, the northern Macedonian city that apparently isn’t too far from the little stretch of mountainous land where the bulk of the action takes place. What you do manage to pick up from the film will mostly be gathered from hard-won context clues.

 

And in the end, I don’t think any of that really matters.

At its heart, Honeyland is a film about a middle-aged woman named Hatidze, a beekeeper who lives in harmony with nature and has a rule of always leaving the bees with exactly as much honey as she takes. “Half for me, half for you,” she says as she harvests her hives. Soon after we meet her, though, her peaceful existence is disrupted by the arrival of nomads who drag their trailer into the plot of land next to hers with a pack of farm animals and an unruly pack of loathsome children. Hatidze does her best to teach the patriarch of this traveling brood how to harvest honey sustainably, to no avail.

 

If it sounds like a simple story told simply, that’s because it is. But the way in which it’s told—without context, without explanation, without larger connective tissue—makes it as intriguing as it is inscrutable at times. When you get right down to it, the visuals are the star of the show. (Spoiler warning: In digging around for any info about the film after the closing credits rolled, I learned that the filmmakers edited purely visually, ignoring their audio recordings entirely until the final cut was locked down. And it shows.)

 

To get a sense of what I mean, simply watch the film’s trailer—perhaps the most honest and representative teaser I’ve ever watched. It’s a one-hundred-percent faithful condensation of everything this film is. Imagine another 87 minutes of exactly this, and you’ll have a pretty good indication of exactly what unfolds on the screen and how.

While limited to HD resolution even via Kaleidescape, Honeyland still exhibits more detail, crisper edges, and a richer overall look than you’ll find in most films shot and released in UHD. From the craggy terrain in and around Bekirlija to the dim and dingy interior of the hut Hatidze shares with her dying mother, every location is rendered stunningly, and every frame is a 

printable work of art.

 

And despite being of no concern to the filmmakers while editing, the DTS-HD Master Audio 5.1 soundtrack brings the environment to life almost holographically. Every gust of wind through every sparse patch of grass, every flicking flame, and every stirring swarm of bees is delivered as if they’re emanating from the air rather than speakers in a room.

 

I have to admit, though: As masterfully shot and edited as it is, I found much of Honeyland difficult to watch, and I’m not sure I’ll be returning to it again anytime soon—though part of me wants to, now that I have a better understanding of what’s going on. What keeps me from pressing Play again mostly boils down to several scenes involving child abuse (primarily verbal, but certainly with threats of the physical) and animal cruelty, which genuinely upset me to the point of near physical illness. So, if you’re squeamish about such things, perhaps it’s best that you take a pass.

 

If you can get past that, though, Honeyland is just such an unabashedly weird film that it’s worth at least one viewing. It’s a stark reminder of the importance of sustainability. But that message isn’t delivered preachily. In fact, the film is just as 

Honeyland

stark a reminder that sustainability is, at times, something of a luxury, especially to those for whom scorched-earth capitalism represents the ever-elusive but tantalizing promise of an escape from abject poverty.

 

If that gives you the impression that Honeyland is something of a Sisyphean tale, I can’t really argue with that. But it is a beautifully made documentary in the purest sense of the word, and its numerous critical accolades aren’t unwarranted.

 

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.

Ford v Ferrari

Ford v Ferrari

The old adage “fact is stranger than fiction” applies more to crime dramas like CSI and Dateline, but in the case of Ford v Ferrari fact can be more fascinating than fiction, and is certainly a heck of a lot more entertaining than much of what Hollywood has been delivering recently. While the physical 4K Blu-ray will arrive February 11, the 4K HDR version is available for download from the Kaleidescape Store now, which is how I watched.

 

The film’s plot is pretty simple: Ford is in the midst of one of its longest sales slumps in years and looking for a way to re-energize the brand and make its cars relevant to Baby Boomers, who are coming of age and looking for something more exciting to drive. Lee Iacocca’s (Jon Bernthal) solution is to tie the Ford name to winning, specifically at the grueling 24 Hours 

of Le Mans where Ferrari had long ruled the throne, including a string of six wins in a row. When Ford’s bid to purchase Ferrari (who “builds fewer cars in a year than Ford does in a day!”) is rudely rebuffed by “il Commendatore” Enzo Ferrari (Remo Girone), Henry Ford II (Tracy Letts) decides to go all-in on winning Le Mans, spending whatever it takes, and hiring the top race-car designer, Carroll Shelby (Matt Damon) to put together a car and team helmed by veteran British driver Ken Miles (Christian Bale).

 

If you avoided FvF during its theatrical run because you’re not a car lover or a racing fan, rest assured this film still offers plenty to keep you engaged through its just over two-

and-a-half-hour runtime. Watching history unfold with a story not many outside the auto or race industry are familiar with is interesting enough, but the dynamic between Shelby and Miles is the engine that truly drives this film.

 

Of course, car and race fans will appreciate the movie on a different level (a higher gear?), reveling in the technical details of car design and race mechanics, the lore of Scuderia Ferrari S.p.A., and what it took for Shelby and Miles to fight Ford’s corporate culture to create a car many felt the company simply incapable of producing.

 

The film is up for four Academy Awards—Picture, Editing, Sound Mixing, and Sound Editing—and Bale received a Best Actor Golden Globes nomination. And, further speaking to its broad appeal, it received a Rotten Tomatoes “Certified Fresh” rating of 92, with an Audience Score of 98.

 

Shot in ArriRaw at 4.5K resolution, FvF is taken from a true 4K digital intermediate; and the movie looks terrific, with tons of detail and texture in every scene. The images aren’t overly enhanced with unnatural sharpness, but use every pixel for truly high-resolution visuals that bristle with detail. In an early scene where Bale is working on a car wearing a shirt with a tiny and tight check pattern, you can see every fine square. Closeups show every pore and line in actors’ faces, and the paint jobs on the cars have a glossy, liquid sheen. You can also appreciate the various textures in different suit and shirt fabrics and interiors.

Ford v Ferrari

Many of the scenes are shot outdoors, and the day scenes frequently have the sky in that certain shade of powder blue that reveals a bit of digital noise, but this just gives the images a more film-like quality. While HDR isn’t used aggressively, it does provide wonderful shadow detail, adding depth and dimension. Night race scenes benefit in the form of deep blacks while still showing bright headlights. And I’m not sure that the Ferrari’s rosso corsa color actually pushes the boundaries of the wider color gamut, but it does pop off the screen.

 

Beyond these visual qualities, it is the director James Mangold’s (Logan, 3:10 to Yuma, Walk the Line) dynamic filming style, angles, and editing of the racing scenes that make FvF so exhilarating. I frequently had to remind myself I was supposed to be reviewing the film instead of just enjoying it in order to pull myself back from the engaging images and story to take note. The race scenes pull you in with various perspectives, from driver view, to low follow, to over the shoulder, to tight on the drivers. You can feel the tension and stress both the racers and the cars are going through as they click through the eight-and-a-half miles of country roads for 24 hours at Le Mans.

 

The filmmakers painstakingly recreated the exact twists and turns of the 1960s Le Mans raceway as it existed during this famous race, a course that has been significantly modified over the past 50 years. And the realism of the lengthy race at the film’s climax never loses intensity or becomes monotonous as you watch cars and drivers increasingly wearing down under the stresses.

 

One scene where Shelby is trying to impress Ford II with the importance of having the right man behind the wheel of the new Ford GT nearly has you experiencing the G forces and stresses on the body as he muscles the car around a tight road  

course. It’s possibly the closest you can get to what racing actually feels like without ever actually getting into a car, with the images capturing the intensity, excitement, thrill, and absolute speed of the race. (If you do fancy yourself a racer—and wind up in England—I can’t recommend a day at Palmer Sport enough. I got to drive the Formula 3000 open-wheel racer, and it was absolutely brilliant!)

 

As good as the images are, race cars are the soul of this movie, and it’s the vehicles’ dialogue through their engine sounds that pull you into the action. From the opening shots—even before the production credits have finished—there is a swirl of cars racing all around you with race announcers in different languages filling the room. The crash and bang as they shift up through gears, the throaty room-filling bass of the naturally aspirated engines revving up to red line, the cars braking late and hard into a corner—the audio puts you right in the car and sounds fantastic.

 

Frustratingly, 21st Century Fox still refuses to provide Kaleidescape with the Dolby Atmos soundtracks for its releases, so the download was limited to the 5.1-channel DTS-HD, but that still does an admirable job of putting you square in the action, and the Atmos upmixer provides a nice sense of immersion.

Ford v Ferrari

Even non-race scenes are filled with ambience, from the sounds of mechanics working, to the echoey expanse of the Ford factory, to the spaciousness of the outside world. My only quibble with the audio is that dialogue—especially Bale’s—was occasionally difficult to understand. I don’t know whether this was due to the noise of the races drowning out the voices, or just the heavy accent Bale used for Miles.

 

Ford v Ferrari is an entertaining and dynamic film that looks and sounds fantastic in a luxury home cinema, and one that should be on the very shortlist for your next movie night.

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.

Terminator: Dark Fate

Terminator: Dark Fate

Going back and undoing a canon is one of those things we find Hollywood doing more frequently when it wants to reboot a franchise whose mythology has grown so large and expansive—or troubled—that screenwriters or filmmakers feel they need to wipe the slate clean to have the creative freedom to move forward. The Star Wars universe saw a large number of extended-universe books removed from its canon after Disney bought the property from Lucasfilm, as did the latest X-Men Days of Future Past and Dark Phoenix, which saw characters previously killed off returned to life.

 

(I felt these were examples of “retconning”—or retroactive continuity—where plot holes are adjusted, corrected, or explained after the fact, such as Rogue One’s explanation that the Death Star’s fateful port hole was actually not just a design flaw on the Empire’s side, but rather a bit of purposeful subversive engineering. However, Cineluxe’s resident film reviewer and expert

on all things meta explained to me that removing things from a canon is not a retcon.)

 

Call it what you will, the latest Terminator film, Dark Fate, basically wipes the slate clean and says this movie is the only true sequel to 1991’s Terminator 2: Judgment Day, removing Terminator 3: Rise of the Machines (2003), Terminator Salvation (2009), Terminator Genisys (2015), and the television series Terminator: The Sarah Connor Chronicles (2008–2009) from the canon.

 

Admittedly, none of the works following Judgment Day lived up to the initial greatness of the franchise, but I found them 

all to have their moments, especially the extended director’s cut of Salvation, which featured solid performances by Christian Bale as John Connor, leader of the resistance, and Sam Worthington as part man/part cyborg Marcus Wright. Special effects continued to improve, and each story worked to flesh out the Terminator universe.

 

Terminator creator James Cameron lost the rights to his own story, and when he declined to do an original third film, Hollywood went on without him. However, creative control returned to Cameron in 2018, and he finally set about making the sequel on his terms.

 

According to Cameron, who has writing and producing credits and also had his hand in the film’s editing, “This new film has recaptured the tone of those first two films. It’s gritty, it’s fast, it’s intense, and it’s just a white-knuckle ride.”

 

Amen.

 

Dark Fate is packed with action almost from the first frame, and has very little downtime, with just a few expository scenes explaining who our new heroes are, what Sarah Connor (Linda Hamilton reprising her role) and a T-800 (Arnold Schwarzenegger also reprising his role) have been up to these past years, and what the stakes are this time around.

 

The film opens three years following the events of Judgment Day, with digitally de-aged versions of three main characters setting the stage for the rest of the film. The de-aging (shown below) is so well done it made me wonder if this was footage restored from Terminator 2. Just two minutes in you get a very clear message that Cameron and team aren’t screwing around and will be taking this film in new directions when one character is brutally killed off.

Terminator: Dark Fate

From a storytelling standpoint, Dark Fate doesn’t really offer much we haven’t seen covered in previous Terminator films. We have a new and improved REV-9 Terminator (Gabriel Luna) sent back in time by Legion, the future AI ruling group built for cyber warfare, to kill Dani Ramos (Natalia Reyes), who will become the new future leader of the resistance. Of course, the resistance counters by sending back a protector, Grace (Mackenzie Davis), who is a cybernetically augmented and enhanced human able to fight toe-to-toe with Terminators, though only for short, intense bouts.

 

What it offers is just a bigger, more over-the-top, and evolved version of what we’ve seen before. The Terminators have advanced, and the REV-9 is a combination cybernetic endoskeleton with a shapeshifting liquid metal exterior that can split into two parts, doubling its fighting and killing power. With Grace, we have a far more capable human; stronger, faster, smarter, and more lethal. The fights, chases, and explosions are all bigger, faster, better choreographed, and more devastating.

 

My wife and I both enjoyed the movie. It kept you engaged and entertained with non-stop action that kept ratcheting up in intensity. It was great to see Hamilton back in action as Connor, and Arnold offering a different take as a Terminator that has lived among humans for 22 years with no mission to carry out and trying to fit in. Mackenzie also does a great job as Grace, her near-6-foot height making her a believably imposing fighter. I felt they could have done a bit better with the casting or acting by Luna, as he doesn’t quite capture the relentless steel-eyed-killer persona mastered by Robert Patrick as the T-1000 in T2.

 

Filmed in ArriRaw at 4.5K, Terminator: Dark Fate is sourced from a true 4K digital intermediate. But it doesn’t have that razor-sharp detail of many modern 4K films, and I actually thought it had been sourced from a 2K DI.

 

I found image quality to be far more organic and film-like than typical digital capture, with long shots and interiors on the softer side than what we’re used to seeing. This isn’t meant as a knock, as images are clean and noise-free, and look great in closeup, revealing every mark, scar, and wound on Grace’s body and every detail of the REV-9’s endoskeleton construction; rather, stylistically, this movie looked more like film than video. Oddly, the very last scene appears to be very sharp, definitely 

visually different from what came before it. Whether this was done by design (the future looks bright!) or just happenstance I can’t say.

 

It also takes a very mild hand at the HDR pass, having blacks that are generally dark-dark-grey as opposed to inky-black. Many of the scenes also have a very muted, earth-tone color palette, not lending themselves to colors capable of taking advantage of HDR’s wider gamut. Even early explosions don’t have much visual intensity, though scenes later in the film appear more vibrant.

 

Sonically, however, this Dolby Atmos soundtrack is reference throughout, with the sound-mix team never missing a chance to squeeze every note of atmospheric sound from a scene. From the opening moments, there are organic, textural sounds of waves breaking, water running through sand, and a crackling fire that distinctly place you in the moment. Nearly every subtle moment fills the room with sounds of wind blowing, leaves rustling and trees rubbing together, to the more dynamic action sounds of machines and things flying along the sides of the room and overhead, or water flooding all around you.

 

Bass is also flat-out aggressive and powerful, having a ton of weight, crunch, and impact. Shotgun blasts are appropriately huge and brutal, punching you in the

Terminator: Dark Fate

chest with bass energy, with cars slamming into each other and explosions having real weight. The Dark Fate mix is active and exciting, and the stuff home theaters are made for.

 

This is not a cerebral film, and one that doesn’t add anything truly fresh to the Terminator story. Rather it’s a popcorn-munching, special-effects extravaganza with familiar lines echoed from new characters that will keep you entertained for its full runtime. It also features a truly immersive and intense sound mix that is sure to make you and your guests ooh and ahh.

 

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.

Parasite

Parasite

Three thoughts occurred to me pretty much simultaneously as I sat and reflected upon Bong Joon-ho’s Parasite as the closing credits scrolled by.

 

Thought the first: How on earth am I going to say anything meaningful about this film without spoiling the entire experience? I’ve never been one for rehashing plots, so it’s easy enough to shy away from giving away story beats or plot twists. What a

film means and how well it’s made are generally far more interesting to me than the what-had-happened of it all.

 

With Parasite, though, the themes are so nuanced and ever-evolving that to go down that road would be to rob you of half the experience of watching the film. Just as you think you’ve figured out what Parasite is really about, it 

becomes about something subtly different, in a way that seems shocking at first but utterly inevitable in retrospect.

 

Thought the second: What a fascinating counterpart to Todd Phillips’ Joker this film is. It isn’t, I think, a spoiler to say that on the surface Parasite is about wealth inequality and class struggles, territory Joker explored as well. But while Phillips uses this thematic kick-starter primarily as fuel for one of the most enthralling character studies of the past few years, Bong uses it as the bedrock of a tightly scripted narrative that doesn’t merely encourage rapt attention—it downright demands it.

 

While Joker lives or dies by Joaquin Phoenix’ improvisation, and indeed feels like it could have been cut together a hundred different ways resulting in a hundred different films, Parasite by contrast comes across as a meticulous orchestration that 

hinges upon every piece of punctuation in the screenplay. Shorten one lingering glance or snip one line of dialogue, and I can’t help but feel as if it would be akin to playing Rush’s “YYZ” in 4/4 time.

 

Of course, comparisons between the two films can only go so far, as one is a drama based on a comic book and the other is a wholly original black comedy that morphs into farce before shifting gears into thriller territory before evolving into . . . well, something else altogether. And yet, I can’t help but see the two films as opposite sides of the same coin. Perhaps due to the proximity of their release? Maybe. But it feels like there’s a deeper connection going on here. Something both zeitgeisty and timeless.

 

In addition to surface thematic similarities, the films do share one other thing in common: Stunning cinematography and absolutely unimpeachable home video presentations. Kaleidescape’s UHD/HDR release seems to be an absolutely faithful transfer of the 4K digital intermediate of the film, which was shot on Arri Alexa 65 cameras and captured at 6.5K resolution. The transfer doesn’t lean too heavily on intense highlights, but has a wonderfully high-

contrast look that makes most use of its expanded dynamic range at the lower end of the value scale.

 

Colors are simply sumptuous, but more than anything else, it’s cinematographer Hong Gyeong-pyo’s eye for framing and composition that makes Parasite such a visual feast. Kaleidescape presents the film with your choice of 5.1 or stereo sound, both in Korean despite being labeled as English. There are no caption options, as subtitles are baked into the transfer and positioned within the 2.39:1 frame.

 

There will be some controversy, I’m sure, over the fact that Universal decided to release the film here in the U.S. without its original Atmos soundtrack. This is true of both its digital release now as well as its disc release (Blu-ray only, no UHD) later in

the month. Interestingly, other local distributors (The Jokers Films in France, for example) are delivering Parasite with its object-based audio intact, and I’ll admit even I’m intrigued to hear what that sounds like, because the surround mix is as bold and cheeky as the film itself. Aggressive pans from the surround soundstage into the front channels are employed frequently, though not gratuitously, to redirect the viewer’s attention and extend the fabricated reality of the film out into the room.

 

If I had to speculate about why we’re not getting Atmos in the U.S. (and let’s be clear here, this is nothing more than speculation), I would guess that the 5.1 option we’ve received is a new nearfield mix intended for the relatively more intimate confines of home theaters or media rooms. Whatever the reality, it’s hard to complain about such a brilliantly crafted audio experience, and it does up-mix quite nicely into Atmos, if that’s your preference.

 

Thought the third: If Parasite wins a condescending Best International Feature Film Oscar and gets snubbed for Best Picture, I’m going to pitch a hissy. (And I say this as someone who normally puts as much stock in the Academy Awards as I do the serving-size suggestions on a box of Cheez-Its.) This isn’t the sort of token foreign film Hollywood trots out every year and then dislocates its collective 

Parasite

shoulders in an effort to pat its own back for patronizingly celebrating a film with subtitles. It’s a universally applicable work of art whose themes resonate across cultural boundaries.

 

It’s also one of those rare films that manages to be both poignant and approachable. It asks tough questions without offering pandering answers and it somehow manages to not be even slightly opaque in the process. Quite frankly, if it doesn’t win Best Picture, I can only assume it’s because the Academy jealously recognizes that few modern American directors would have had the courage to make this film, at least not in quite this way.

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.

Gemini Man

Gemini Man

Between Men in Black, Bad Boys, and Independence Day, there was a time when Will Smith ruled the summer box office with hit after hit. He was a bankable star studios could count on to carry tentpole films, but then a string of disappointments took some of the shine out of Smith’s star, and he stopped being offered those marquee roles.

 

Smith’s latest bid to return to box office bankability was Gemini Man, which is available as a 4K HDR download with Dolby Atmos soundtrack from the Kaleidescape Store a full three weeks prior to its January 14th 4K Blu-ray release. Unfortunately for Smith—and Paramount Pictures—Gemini was a flop at the box office, costing an estimated $138 million to make, and grossing just $173 million worldwide against an estimated $275 million needed to break even. Further, Gemini belongs to that increasing list of films that sees a real divide between critics—receiving a measly 26% on Rotten Tomatoes—and viewers—scoring 83% from audiences, making you wonder, “Who’s right?”

 

According to Wikipedia, Gemini Man was originally conceived in 1997, but “the film went through development hell for nearly 20 years.” Over that time, multiple directors were attached along with numerous actors, with Harrison Ford, Mel Gibson, Sylvester Stallone, Nicholas Cage, Denzel Washington, Bruce Willis, Dwayne Johnson, and many others set to star at

various points. This kind of struggle to get a film to screen rarely results in box office success.

 

Another challenge Gemini faced was director Ang Lee’s insistence on shooting the film at a high frame rate (HFR) of 120 frames-per-second (fps), five times the 24fps Hollywood standard. Besides adding to the cost and complexity of production, this limited the number of screens that could actually show the film at Lee’s desired frame rate, with just 14 Dolby Cinema screens in the US able to show the film at the full 120fps. (Even then, the Dolby Cinemas were limited to showing it at 2K resolution, being unable to display 3D, 120fps, and 4K simultaneously.)

Lee’s previous HFR release, Billy Lynn’s Long Halftime Walk, was given a chance for a wider audience in its home video release, becoming the first major title to be released in 4K HDR at 60fps, the technical limit of the 4K Blu-ray format. And while the film had some stunning, truly reference-caliber visuals, it had a distinctly un-filmlike video look that distanced many viewers.

 

While the 4K Blu-ray disc of Gemini Man will include the film at 4K 60fps, the digital download is currently limited to the traditional 24fps, which is the version currently available from Kaleidescape and what I’m reviewing here. (It’s important to note that Billy Lynn was initially available from Kaleidescape at only 24fps, but later became available at 60fps as a free upgrade, so it’s possible the same will be true for Gemini Man. According to Kaleidescape, “There is no announcement at this time. Paramount hasn’t made a 60 fps file available for digital, but we have made them aware that we are interested.”)

 

Smith plays Henry Brogan, a former Marine Scout Sniper now working as a top-tier assassin for the Defense Intelligence Agency. Brogan’s skills behind a rifle are legendary, but he’s a bit haunted from years of killing and the 72 people he’s dispatched, and decides to retire when he feels he’s losing his edge.

 

When he learns that his latest kill might not have actually been guilty and that he has been used, Brogan starts investigating. In retaliation, the DIA decides to get rid of all loose ends, including sending kill squads to take care of Brogan and his former team. When Brogan dispatches the first hit team, Clay Varris (Clive Owen), who heads a black-ops unit codenamed Gemini, unleashes a young new assassin to finish the job.

 

This young assassin named Junior (a digitally de-aged version of Smith) bears a striking resemblance to Smith and seems to know and anticipate all of his moves. After a test reveals that Brogan and Junior share identical DNA, Brogan is determined to learn where this clone came from and what the government is using him to do.

 

Shot in a combination of 3.2 and 4K at 120fps, Gemini’s transfer is taken from a true 4K digital intermediate, and the images look reference-quality throughout. Closeups bristle with detail, showing every pore, whisker, and strand of hair. Images of Smith’s hands and fingers while he’s holding his sniper rifle reveal every whorl and loop in his fingerprints. Apparel shows fine textural details like the weave of a linen shirt, the loops in a terrycloth robe, or even the individual gold links in a necklace.

 

Without question, this film put all the resolution and detail up on the screen, and it looks gorgeous. Only once, at the very beginning, did I notice any video that was anything short of reference—a small bit of line twitter in the lines and structure of the roof complex.

 

The plot takes Brogan to multiple locations around the world, and outdoor scenes are bright, sharp, and very detailed, with long-range shots featuring rich depth and dimension. The scenes in Cartegena are especially vibrant and rich with color. Some scenes, like in Budapest, look like they were obviously filmed against a green screen—one of the dangers of 4K’s ultra-revealing nature.

 

Blacks are clean and detailed, though many night shots on the ocean are lit like via a full moon and aren’t totally dark. HDR is used nicely to create shadow and dark-level detail in outdoor scenes resulting in beautifully realistic images. A scene in some catacombs includes a fight where a flare is thrown into water, creating layers of shadows with no hints of banding. And a

scene in Varris’ office is bathed in various shades and layers of black while still revealing rich detail and clean images.

 

One of the film’s big gimmicks is Smith’s digital de-aging, where you get him fighting a much younger version of himself. The first big encounter/fight between the two Smiths played out like a non-stop video game battle, with them running, jumping, leaping, and chasing each other from building to building and through the streets, including a John Wick-esque motorcycle fight, as if each character had multiple lives in reserve. At a distance, the de-ageing effect worked very convincingly.

 

But closeups of young Smith looked just slightly . . . off. His face was a bit waxy and smooth, like he’d undergone excessive digital noise reduction, and his mouth while talking looked somewhat digitized or like the audio was out of sync. My wife felt Junior looked like a videogame character. Since the movie’s premise rides on the believability of this effect, I have to say that as good as Smith looked, you were often aware that you were watching an effect.

 

As mentioned, the Kaleidescape download includes a Dolby Atmos soundtrack, and the audio is used nicely to create some ambience in scenes, such as birds and bugs buzzing about on Brogan’s farm. Gunshots also have nice snap and 

Gemini Man

impact. The Atmos mix also provides a ton of width to the front images, making sounds extend well out into the room and far beyond the screen.

 

While I found the soundtrack adequate, it wasn’t especially dynamic or immersive. Whether this was because I was so caught up in the movie and enjoying the drama or just because the mix actually was a bit restrained, I can’t honestly say.

 

While Gemini Man is far from perfect, it is entertaining, with a plot that’s just complex enough to stay interesting; and the picture quality looks fantastic on a luxury home cinema system. This might not be a movie we’ll still be watching years from now, but it does make for an entertaining night in your own theater.

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.

Joker

Joker

I had to watch Todd Phillips’ Joker twice to write this review. And it required two viewings because I realized, as the credits rolled the first time around, that I had absolutely nothing meaningful to say about the video transfer or the sound mix. From beginning to end, I was so hypnotized (and indeed horrified) by Joaquin Phoenix’ performance as the titular character that I honestly forgot I was supposed to be reviewing a home video release.

 

Had I gone ahead and put fingers to keyboard after that first viewing based on my hazy impressions, I would have told you a story about a grungy, filmic 4K HDR transfer that evoked the gritty neo-noir classics of the 1970s and ’80s. It took a second pass to realize that Joker’s cinematography is actually pristine, which makes sense given that it was captured digitally in a mix of 3.4K, 4.5K, and 5.1K resolutions, and finished in a true 4K digital intermediate. It’s the set dressing, the lighting, the framing, and indeed the movement of the camera that evokes the look of the cinematic era the film aspires to. When you get right down to it, though, Joker is an objectively gorgeous film with a wonderfully revealing home video presentation.

 

The sound mix, too, would have gotten an inaccurate assessment had I not gone back for a double dip. Hildur Guðnadóttir’s brilliant, minimalist cello score would have certainly been the focus of my discussion, as it dominates the sound mix, or at least one’s memory of it. But other than that, nothing really stuck to my ribs in terms of the overall delivery of audio, aside from a few distant ringing phones, ignored in the background, which struck me as being rendered with a wonderful illusion of space.

It wasn’t until the second time through that I even realized the soundtrack for the Kaleidescape release of the film is Dolby Atmos, but you shouldn’t take that oversight as an indication that the mix is subtle. Focusing more on the technical presentation than the performance at the heart of the film, it’s an ambitious and at times aggressive mix, one that uses its height channels to enhance the vertical elements of the filth-ridden cityscape of Gotham. (Not the stylized Gotham of the Burton or Nolan films, but a blatant homage to the New York City of ’70s cinema.) The fact that I barely noticed the height channels the first time through is as much a credit to the artistry of the mix as it is to Phoenix’ mesmerizing performance. As with the imagery, the sound simply works in service of the narrative, and never serves to distract from it.

 

If it seems as if the only aspect of the film itself I can focus on is the acting of its lead, there’s a reason for that. Joker isn’t a story-driven work. It’s as pure a character study as I’ve seen in ages. For those of us who love comic books and the movies based on them, it’s easy to go into a film like this—ostensibly an origin story about a character who has never had a consistent canonical backstory—with a ton of baggage. The thing is, though, Joker isn’t interested in your baggage. It isn’t interested in the 79-year history of the character as Batman’s archnemesis. Hell, it isn’t interested in Batman at all. Indeed, the overall mythology of Gotham City and its most famous residents is so tangential it could have been left out of the film altogether and it wouldn’t have had any major effect on the plot, what little of it there is.

 

Director/co-writer Phillips seems so completely uninterested in any of the normal trappings of comic-book films that to call this a comic-book film at all feels dishonest. To discuss it in relation to the four-color serialized stories on which it is (very) loosely based would be to miss the point entirely. To understand the film, we have to view it for what it is: An exploration of the internal and external forces—personally and societally—that combine to create not merely a villain, not merely a criminal, but an unabashed agent of chaos, one that is, in this film, more man than myth.

 

In exploring all of this, Phillips touches upon a lot of conflict familiar to modern audiences—wealth inequality and the rage of the working class aimed at the apathetic ruling class, the failures of bureaucracy, media bias, our weird attitudes toward mental illness, our complex and often contradictory attitudes toward nonconformity.

 

As I mentioned above, there isn’t a lot by way of plot here, and it’s often difficult to figure out what Phillips wants us to take away from the film on any of these topics. Indeed, in the supplemental material included with the Kaleidescape download (and due to be included on the UHD Blu-ray release in January), he claims that the film isn’t really about any of these things. I’m not sure I really buy that. I think it was easier to hide behind that dismissal than it was to admit that he doesn’t really have the answers. He simply wants us as an audience to do some of the heavy lifting and accept the unique part we play in creating such monsters, individually and collectively.

Joker

But it’s entirely possible you’ll come away from Joker with completely different impressions than I did about whatever underlying message there may be. I, for example, couldn’t help but read into the narrative some serious thematic exploration about agency and free will, both topics I think about quite a bit. But in a few brief discussions with others who’ve seen the film, I seem to be alone in that, at least within my friend circle.

 

I think a lot of that has to do with how abstract Joker is at times. I referred to it earlier as pure character study, and I stick by that. There are plenty of wonderful actors sharing the screen with Phoenix, namely Zazie Beetz, as well as Robert De Niro, whose character is largely a nod to The King of Comedy, a film that very much inspired elements of this one. But Arthur Fleck, aka “Joker,” is the film’s only real character.

 

As well as pure character study, Joker is also pure cinema—a work of art that simply couldn’t have existed in any other form than as a motion picture. Imagery and audio sit in the passenger seat alongside character development, and story just sort of seems to be dragged along for the chaotic ride, hanging onto the rear bumper for dear life (and I assure you, I don’t mean that as a slight in any way).

 

That focus on fundamental human truths, combined with the undeniable ’70s and ’80s aesthetic, keeps Joker from feeling too zeitgeisty, despite the current subject matter it grapples with. There is one thing, though, that betrays the film as absolutely not a product of the bygone era it emulates. Many parallels have been drawn between Joker and Taxi Driver, and they’re not unfair. One crucial difference, though, is that Phoenix’ Joker could not, in any light, be viewed as a hero or anti-hero or anything other than a force of nature unleashed by circumstance and his own weaknesses. To write it off as a mere mashup of Taxi Driver and The King of Comedy, as I imagine some will do, would be intellectual laziness of the highest (and snottiest) order.

 

Phillips walks a very thin line here: He wants you to understand this character without sympathizing with him. He doesn’t want you to want to watch the world burn; he simply wants you to recognize and acknowledge why some people do. And as with the best interpretations of this character (or at least the character that goes by this name) in print and on screen, Phillips

wants you to admit that, as wrong as he may be, and as dangerous as he may be, there’s an alluring element of truth behind the Joker’s lies; and refusing to admit as much is why we struggle to honestly understand the seemingly senseless acts of violence that have become so commonplace they barely register in the 24-hour news cycle unless the body count is truly catastrophic. To tiptoe right up to that line without crossing over into the territory of glorification is perhaps this film’s neatest trick.

 

In the end, though, I can imagine some viewers taking uncomfortable issue with this approach, with the lack of moralizing, the lack of overt condemnation for this murderous clown.

 

Speaking for myself alone, I don’t think the film needs it. I think it’s implicit. I can’t imagine anyone cheering at the end of this cinematic tone poem. Then again, I didn’t see Joker in commercial cinemas, and I’m glad I didn’t. Because anything other than slack-jawed silence as its credits rolled would have confirmed my worst suspicions about humanity. 

 

Viewed at home, via my own AV system, with no rustling snack packaging, no whispering, no cellphones glaring from the periphery, no obtrusive snickering at

Joker

the two or three overt references to comics history that the film makes when it serves its purposes—in other words, taken on its own terms, and viewed without distraction—I can honestly say that this is one of the best films of 2019.

 

I can also say, without hesitation, that it’s one I’ll return to again and again, to meditate on its themes, its red herrings, and, most importantly, one of the most captivating, heartbreaking, frustrating, and fascinating character portrayals I’ve witnessed in ages. But it almost seems vulgar to discuss how beautifully shot it is, and how wonderfully this home video presentation preserves its sumptuous cinematography. 

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.

Forrest Gump

Forrest Gump

It’s time for another anniversary re-release review here at Cineluxe. Forrest Gump recently received a 25th-anniversary 4K HDR makeover, and is available on 4K Blu-ray disc as well as for download from the Kaleidescape Store, which is how I enjoyed it.

 

I remember watching Forrest in the theater at the time of its original release back in 1994 (and several times afterwards on both VHS and LaserDisc) and being blown away by its innovative use of CGI to create Forrest’s (Tom Hanks) incredible life. Industrial Light and Magic used CGI in a way unlike any other film at that time—from the feather that floats and dances around at both the beginning and end of the film, to Forrest shaking hands with a number of former presidents at the White House or standing behind Governor Wallace on the steps of Alabama University, to removing Lieutenant Dan’s (Gary Sinise) legs so convincingly that I actually thought Sinise was legless.

 

Today, we take CGI imagery for granted, with filmmakers able to create entire worlds (à la Disney’s recent “live action” Lion King remake), but in 1994, Forrest Gump was an effects tour de force that didn’t feel like you were watching a movie driven by effects. This was a case of the technology being used to help tell the story and immerse you in Forrest’s life, instead of being the story.

 

At its heart, Forrest Gump is really a pretty simple film—a life recapped in a series of flashback memories by Hanks while he’s sitting on a bench waiting for a bus. But it is heart—propelled by Hanks’ genuine and spot-on portrayal of Gump and by Robert Zemeckis’ deft directing—that makes the film still hold up after all these years.

 

There are actors who so inhabit roles that it’s impossible to imagine anyone else playing them—Robert Downey Jr. as Iron Man, Jennifer Lawrence as Katniss Everdeen, Harrison Ford as Han Solo and Indiana Jones. And Hanks’ portrayal of Gump certainly deserves to be on that list. From the first time he says, “My name is Forrest, Forrest Gump,” Hanks is Forrest, and there is no separating the two.

 

Hanks never uses Gump’s being “different” and his 75 IQ (borderline impaired) for laughs or for pity. Instead, he portrays him as curious, honest, and pure, always looking for the best in those around him. Ultimately Gump is driven by the desire to please people, but especially his loving and protecting mama (Sally Field); his best good friend, Bubba (Mykelti Williamson); his best gal, Jenny (Robin Wright); and his Vietnam officer-in-charge cum First Mate, Lt. Dan.

 

Due to Hanks’ portrayal, we never feel sorry for Forrest or even think about his IQ after it’s initially mentioned, but rather we root for him as he lives a bigger-than-life life where he just happens to be in all the right places at all the right times and displays his ability to run like the wind blows.

 

For the film’s 25th anniversary, Paramount created a true 4K scan of the original 35mm print and gave the audio a Dolby Atmos makeover. If I had to summarize the image quality of the new 4K HDR transfer in a word, it would be “uneven.” The images are mostly clean and sharp, and there are scenes where they look tack sharp with tons of detail; but other scenes are almost out of focus and lack real definition.

 

As with many film-to-4K transfers, closeups often show the real improvements in image quality, revealing the texture in curtains, drapes, bed linens, clothing, and actors’ faces. In an early scene where Forrest is being fitted with his leg braces—to help his back “being as crooked as a politician”—the tiny dots inside the plaid pattern of his shirt are clearly resolved.

 

It’s longer shots or things in the background that often don’t have the same sharpness and detail. Leaves on trees, fields of grass, and stalks of corn tend to look softer and less defined. The opening shots of the sky reveal a fair bit of noise and grain, 

which isn’t uncommon, since that particular shade of blue tends to wreak havoc with film capture. Also, a couple of scenes have some brief aliasing in fine edges. The archival footage is also very soft and definitely shows its age, especially when contrasted with the sharpness of the rest of the film.

 

HDR is used sparingly throughout, not really pushing dynamic-range boundaries. There are scenes where whites are fairly brilliant, such as the shoelaces in Forrest’s Nikes or the T-shirts worn in the Army barracks. The napalm strike in Vietnam benefits from the additional dynamics. Blacks are also deep and noise-free. Colors are rich and vibrant, such as the bright Crimson red jacket worn by Alabama’s football coach, Bear Bryant. The greens in Vietnam are also lush, with clear distinctions between the different shades of green in the uniforms, helmets, camouflage, canteens, weaponry, etc.; and the golden-orange sunset on the bayou looks beautiful.

 

Gump is known for its fantastic soundtrack, featuring nearly 50 songs that capture the sound and feel of the period. Thus, I had high hopes for the Dolby Atmos mix, but it’s even more restrained than the film’s use of HDR. The height speakers are used very sparingly throughout, coming into play to add some atmosphere like rumbling thunder, bird chirps, or some reverb to add space to the Washington

Forrest Gump

speech scene. A helicopter flyover in Vietnam is also mixed nicely into the height speakers.

 

Most of the soundtrack is mixed across the front three speakers, which gives the music nice separation, and keeps dialogue clear and understandable. The big Vietnam firefight has some bullets that whiz into the surround speakers and the hurricane scene pushes wind and the groaning ship out to the surrounds, but the mix is sonically tame by today’s standards.

 

Forrest Gump is an undeniable classic, ranking No. 76 on the AFI’s Top 100 list, and receiving 13 Academy Award nominations and taking home six statues for Best Picture, Directing, Actor in a Leading Role, Writing, Film Editing, and Visual Effects. In 2011, it was selected by the Library of Congress for preservation in the National Film Registry as being “culturally, historically, or aesthetically significant.” While this isn’t a perfect transfer, it retains all the heart and feel, and belongs in any film collection.

 

And that’s all I have to say about that.

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.