Kaleidescape Movie Store Tag

Spider-Man: Far From Home

Spider-Man: Far from Home

Like James Bonds—and maybe even Batmans—people undoubtedly have a favorite Spider-Man between Tobey Maguire, Andrew Garfield, and Tom Holland, the latest webslinger to wear the red and blue. For me, I think it has less to do with the man behind the mask—although, I’ll admit to being partial to Holland’s portrayal—and more to do with the storyline and relationships that makes the latest Spider-Man films the best of the bunch.

 

This third franchise reboot can trace its roots back to Captain America: Civil War, where Tony Stark (Robert Downey Jr.) took young Spidey under his Iron wing, gave him a better suit, and helped him in his fight against Cap and the Avengers. That mentor relationship continued in Spider-Man: Homecoming, Holland’s first turn carrying a film as Peter Parker and Spidey 

and one that, thankfully, didn’t make us relive the entire “bit by a spider, hunted down my uncle’s killer” origin. Of course, Spidey’s relationship with Tony Stark played a role in both Avengers: Infinity War and Avengers: Endgame, and Spider-Man: Far from Home picks up and continues that storyline.

 

There will be some major story spoilers if you’ve yet to see Endgame, as much of Far from Home’s first act revolves around the ramifications of both Infinity and Endgame. So I would strongly suggest watching both of those films first—plus, they’re just a ton of fun to watch.

 

Home picks up about 8 months after the events of Endgame, and the world has come to call this time “The Blip.” We get a nice bit of exposition in an opening newscast from Peter’s high school, where we find how the kids are dealing with the ramifications of the Blip, where some have missed five years of their lives, while others who were previously much younger are now older. (If you’ve seen Endgame, you understand.) Peter is still personally reeling from Stark’s death, and he sees signs of Tony/Iron Man literally everywhere.

 

During a class trip to Europe, Peter is called on by Nick Fury (Samuel L. Jackson) to help a new superhero, Quentin Beck/Mysterio (Jake Gyllenhaal), who comes from another earth in the Multiverse, battle giant Elementals bent on destroying the planet. Peter is reluctant to help, wanting to just have a chance to relax and be a kid and profess his love for MJ (Zendaya), but Fury rearranges the trip’s itinerary to continue putting Peter in a position to help.

 

Of course, not all is as it seems, and Peter is forced to make some tough decisions while trying to win the girl, save his friends, and keep his identity secret.

 

As I mentioned at the beginning, it’s the continued relationships developed over the years of the MCU that make these latest Spidey films so much more enjoyable and feel so much richer. In Home, we get Happy (Jon Favreau) trying to step in as a Stark mentor replacement, while also romancing Aunt May (Marisa Tomei), who looks terrific here. Fury is trying to restructure after losing so many Avengers, and trying to get Spider-Man to step up to fill a bigger role.

 

The relationship between Peter and man-in-the-chair Ned (Jacob Batalon) continues here, but complicated by a new romantic interest, along with douchey Flash Thompson (Tony Revolori) who admires Spider-Man but loathes Parker. The humor is deftly handled, and there are several references to other Marvel characters. (Pay close attention to the movie options Peter browses for his in-flight film!)

Definitely stick around for both the mid-credits scene—which potentially alters Peter’s life forever—and the post-credits scene, which has a nice callback to another recent Marvel film. And, while it in no way impacts the film, there is sadly no Stan Lee cameo here.

 

Far from Home looks fantastic. Filmed in a combination of 2.8 and 3.4K resolution, this transfer is taken from a 2K digital intermediate, but it is never wanting for pop or detail. This is a marquee title, and it absolutely looks it. Both closeup and long shots have great detail and texture, and razor-sharp edge detail with incredible depth and dimension—things like the metallic texture of Spidey’s Iron Spider suit or the fine detail in Ned’s hat.

 

The film travels through three major European cities, which all have their own look. While in Venice, many of the scenes are outdoors during the day, and the city looks so beautiful you could be watching a travelogue. At night, interiors are lit by the soft glow of lamps, revealing warm and natural colors. In contrast, much of the scenes in Prague are at night, and we get the bright lights and color of fireworks at a carnival.

Home definitely benefits from the high dynamic range and wide color gamut of UltraHD, and both are used well throughout to push images to their best. From the vivid red of Spidey’s suit, to Mysterio’s green blasts, to the broiling red-orange of the Fire Elemental, images pop off the screen when they should. Also, HDR just lends an overall better sense of depth to the image. Black levels are also deep and clean throughout, with clear differences between shades of black, such as Happy’s black suit, Peter’s black shirt and pants, and Fury’s black leather trench coat and turtleneck. The film’s Images are all reference-quality and offer no room for criticism.

 

Sonically, the Dolby Atmos track is also an absolute treat, with near constant and aggressive use of the surround and height speakers. There is a scene in a hotel in Venice where you hear workers hammering overhead even with no visible construction happening on screen, which is a great audio moment letting you know exactly what’s going on even without seeing it.

 

The battles also offer a complete hemispherical experience, with things crashing and being destroyed all around, or water splashing and raining down from the ceiling. Another scene where Spidey is inside the Illusion has voices swirling

Spider-Man: Far from Home

constantly overhead, moving from speaker to speaker all around and above you, creating a sonic illusion I don’t think I’ve heard in any other film.

 

Available now for download in 4K HDR from the Kaleidescape Store a full two weeks before the physical disc is released, Spider-Man: Far from Home is a fun and engaging movie that looks and sounds fantastic, making for a great home cinema selection.

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.

Yesterday

Yesterday

Of all the possible director/writer combinations that the world of cinema could possible throw together, the pairing of Danny Boyle (Trainspotting, Slumdog Millionaire, Sunshine) and Richard Curtis (About Time, Love Actually, Blackadder) wouldn’t have occurred to me if you’d left me alone in a room for a couple of years with nothing but access to IMDb. So, it’s no real surprise that Yesterday—a new fantasy/romantic comedy with a preposterously adorable premise—feels so unlike anything either man has created to date.

 

Boyle, for all of his kinetic style, generally seems to make films that lack tenderness, whereas Curtis has the magical ability to throw a bunch of clichés in a bag, shake them up, and always pull out something sweet and unforgettable. But his films are rarely noteworthy in terms of aesthetic panache.

 

Despite not being the best work of either Boyle or Curtis (those would be Trainspotting and About Time in my book), Yesterday does manage to bring out the best of each man’s strengths. Boyle’s visual palette for the film, while certainly energetic at times, is admirably reserved at others. That balance takes a little of the saccharine out of Curtis’ story and

characters. (Saccharine that I enjoy, mind you; I’ll watch Love Actually any minute of any day. But let’s be honest: That movie is dessert, not a healthy meal.)

 

Yesterday also happens to be one of the simplest stories either Boyle or Curtis has committed to film, despite it’s convoluted-sounding premise. It goes a little something like this: Singer/songwriter Jack Malik (played by Himesh Patel) is on the verge of giving up on his musical career, 

despite the protestations of his manager and longtime friend Ellie Appleton (played by an almost unrecognizable Lily James, who distances herself from her famous Downton Abbey character not through accent or wardrobe, but in the very way she carries herself—her facial expressions, her body language, her laugh, even her smile).

 

Then fate intervenes. A 12-second blackout mysteriously envelops the entire world. When the power comes back on, Jack is lying on the side of the road, having been struck by a bus. He awakes in the hospital to discover that he alone remembers the Beatles. And, oddly enough, Coca-Cola. And, not so oddly given the initial premise, the band Oasis. As such, he sets out to recreate the Beatles catalog, taking credit for writing these forgotten songs, and becomes an international superstar.

 

I could go on, but as I said, aside from one half-hearted attempt at a plot twist that’s really more of a red herring, Yesterday is ultimately a simple tale. A fairy tale, almost. At its heart, it’s really the story of a girl who loves a boy but wants him to make the first move, and a boy who loves a girl, but thinks himself unworthy of her until he’s the biggest star in the world, at which point she can’t imagine him being with a simple middle-class girl.

 

Franky, if it weren’t such a straightforward narrative, Yesterday would probably collapse under its own weight. But by ignoring the historical significance of the Beatles’ catalog or the organic evolution thereof, and simply focusing on the inherent brilliance of this body of work one song a time, it works as a sweet and infectious modern fable that whizzes right by, despite its nearly two-hour length.

 

My only real beef with the film is that Kate McKinnon, whom I normally love as an actor and comedian, is woefully miscast in the minor role of Jack’s new agent. I can’t help but imagine that if Curtis were still directing his own screenplays, this part would have been played by regular collaborator Bill Nighy, as it seems to have been written for him. For what it’s worth, though, Ed Sheeran is perfect in the role of Ed Sheeran. The rest of the cast also excels—especially Patel, who has to perform the greatest hits of the Beatles in a way that’s not slavish, yet still faithful to the originals in spirit and also believable as modern popular music.

A few minutes into the film, I jotted down in the notebook I keep beside my seat: “Sound mix is too aggressive.” I quickly changed my mind, though. It’s true, the DTS-HD Master Audio 5.1 track included with the 4K/HDR Kaleidescape download of the film leans on the surround speakers and subwoofers way more than is generally my preference for feel-good comedies. But it works for Yesterday, especially in the way it uses samples, remixes, and remakes of Beatles hooks as a replacement for a more traditional score. Concert sequences, of which there are plenty, also benefit from the big, bold, dynamic sound design.

 

I also have to eat an early note I made about the 4K/HDR presentation. My first impression was that the film would work just as well in HD. Some quick comparisons between the 4K and 1080p versions did reveal, though, that the former is sharper, more nuanced in its contrasts, and is just generally less distracting and more engaging overall, even if its black levels are a little uneven.

 

That’s nitpicking, though. My one substantial grump about this early digital release is that it lacks the alternate ending and deleted scenes exclusive to the upcoming UHD Blu-ray release, as well as a couple of featurettes. The disc also promises to include a Dolby Atmos sound mix, which the download lacks. It remains to be

Yesterday

seen whether any of those bonuses and niceties are worth the wait. I can say this for certain, though: Yesterday isn’t a renter. It’s one to own, no doubt, even despite the fact that it’s not exactly high art. This is going to be my go-to watch on sick days or just when I need a pick-me-up for quite some time.

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.

John Wick 3: Parabellum

John Wick 3

The John Wick series manages to do something I’m not sure any other film trilogy/franchise has been able to pull off—each film has scored a higher Rotten Tomatoes score than the previous one, with John Wick 3: Parabellum garnering a trilogy-high of 90%.

 

Think of that for a moment—not Star Wars, Toy Story, The Godfather, Alien, Indiana Jones, Lord of the Rings, The Hobbit, The Matrix, or Hunger Games can boast continued improvement across their initial three films. (Though, Toy Story did score a tough-to-beat 100/100/98, and Rings managed a similarly impressive 91/95/93.)

 

What that means is that if you’re a fan of the Wick franchise, the story just keeps getting better, and this latest installment is more of what you love, with amped-up story, stunts, exotic locales, and, of course, tons of Wick-fu.

 

In many ways, John Wick is the perfect character for Keanu Reeves. Wick is a man of few words, and Reeves often comes across best (and least reminiscent of Ted Theodore Logan) when he isn’t delivering lots of dialogue. Reeves is also quite accomplished in mixed martial arts, with Wick’s fighting style and combat moves tailored to Reeves’ actual strengths. And Reeves is an avid motorcycle collector and rider, making him comfortable zooming around New York streets in Wick’s black suit. And damn, John Wick is just so cool.

 

If you are new to the John Wick franchise, definitely start with the first film as it will give you the much-needed background as to why John Wick is the man he is, a top-shelf retired assassin, and why crossing the Baba Yaga is such a terrible thing to fear. Also, it’s just a fun film, introducing you to a great underworld where assassins live and work amongst us, trading gold coins for a variety of services and favors.

 

The pattern of the series keeps building in intensity as we have Wick reluctantly forced “back to work,” on the run and doing what he does best. The first film begins with John retired and living a solitary life. However, after the son of a Russian crime boss murders a puppy Wick was given by his dying wife, Wick seeks revenge, killing all that stand between him and the puppy killer.

 

In the second film, John is once again forced to return to work after an Italian crime lord, Santino, calls in a old marker, a blood oath that can be exchanged for any favor or request, and which cannot be ignored by the rules of the underground. John fulfills the terms of the marker, but then Santino puts a $7 million contract on him, forcing Wick to kill him to once again gain his freedom.

 

If you’re up to speed on Wick 1 and 2 then this exchange at the very end of John Wick 2 is really all you need to know about Parabellum:

 

John Wick: “Tell them. Tell them all. Whoever comes, whoever it is, I’ll kill them. I’ll kill them all.”

Winston: “Of course you will.”

 

Parabellum begins immediately following the events of John Wick 2, with Wick being excommunicado for “working” on the grounds of the Continental and on the run in New York with a $14 million global bounty on his head from the members of the High Table. Cut off from all “privileges” of the Continental and any other underworld resources, Continental manager Winston (Ian McShane) has given John a one-hour head start before his contract is open and every killer in New York starts coming to cash in.

 

With ruthless attackers closing in from all sides, John is forced to call in some old favors to find safe passage out of the city and locate the one man above the High Table who can call off the contract, allowing John to return to his life. This leads John to Casablanca, Morocco where old “friend” Sofia (Halle Berry) reluctantly agrees to help him.

 

JW3 takes the Latin adage from its title—Si vis pacem, para bellum (“If you want peace, prepare for war”)—to heart, and the 2 hour and 11 minute run time is almost non-stop action, with even the few quiet bits filled with tension and some bit of storytelling that moves the film forward or fills in some bit of John’s past.

 

The fight scenes are lightning quick, brutal, and choreographed to perfection, often involving multiple people, usually with a variety of weapons, with Wick using anything and everything at his disposal to dispatch those coming after him. This includes knives, an axe, a book, a belt, a horse, a dog, a motorcycle, and guns. Lots of guns. (To be fair, he did say he’d kill them all . . .)

 

While shot on ARRIRAW at 3.2K resolution and taken from a 2K digital intermediate, I never felt the image wanted for detail or resolution. Images were consistently sharp and detailed throughout, whether it is the weave in fabric, the texture in walls and surfaces, or the lines and pores in actors’ faces, JW3 looks great throughout.

 

Even better than the resolution is what HDR does for this movie. With much of the film either in dark exteriors or interiors, or at the far opposite end of the spectrum in the brightly lit desert or harsh fluorescent lighting, HDR makes images in Wick pop. Blacks—of which there are many and, in many shades and degrees throughout—look consistently clean, noise-free and true black. For example, John’s signature black ensemble—including jacket, shirt, tie, belt, and shoes—is distinctly visible even in

dark rooms. The film’s early night scenes over New York look especially terrific, with the black night sky punctuated by the bright city lights reminding me a bit of an Apple 4K screensaver.

 

Colors are also pushed, such as the bright yellow of taxis in the city, or the deep red of brake- and taillights, or the cool blue of interiors. During a night fight in Casablanca, there are multiple torches burning brightly against a black night sky and dark interiors, something that could definitely cause banding, but the image remained stable and solid. Another interior of a large ballet theater had sumptuous red and ornate gold designs, reminding me of a Theo Kalomirakis design brought to life on a grand scale.

 

Sonically, the Atmos mix is also first rate, with the sound designers taking every opportunity to fill the room with sound, whether it is the massive report of gunshots, a pouring rainstorm, the squeal of tires and engines, or ambient street and outdoor sounds.

 

New York here seems to be under a perpetual deluge, and the room is drenched in audio as rain splashes down all around you. The dynamics of gunshots also

John Wick 3

add serious realism, with you feeling several concussive bass waves blast you in the chest, and wood and stone splinter and shatter debris around you from near misses.

 

Music has also been an integral part to the feeling of the Wick series, and that continues here. One great example is, as John is preparing for one of the big gun battles at the end in the Continental, Vivaldi’s “Winter” plays loudly through the speaker channels, adding an interesting score as he prepares to go on the hunt.

 

The film’s conclusion couldn’t scream, “There will be a fourth movie!” any louder if it had been printed in neon letters in the closing credits, and Wick fans will be happy to know that following Parabellum’s success, John Wick: Chapter 4 has already been announced with a May 2021 release date.

 

John Wick 3: Parabellum is available now for early download prior to its disc release on September 10.

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.

Aladdin (2019)

Aladdin (2019)

Has any studio mastered the art of the re-release better than Disney? Between their “vault,” where films would disappear from circulation for years, to Diamond Collection disc re-releases with new bonus features, to newly re-mastered 4K Ultra HD titles, Disney knows how to wring the most dollars from its catalog of titles. One of its most successful re-release strategies in recent years is remaking hit animated films into live-action titles. Recent examples include Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), and the wildly successful The Lion King (2019).

 

While admittedly a huge Disney fan, I was skeptical about Aladdin, and skipped the theatrical release. I was a big fan of Robin Williams’ role as the genie from the 1992 original animated version, and I thought that anyone trying to fill his manic-comic shoes would just sully the role. Also, I’m equally not a Will Smith fan (though I am optimistic about his upcoming Gemini Man . . .), so it just seemed to be piling on. But when the movie dropped this week at the Kaleidescape Store—a full two weeks before the disc release—it seemed like the perfect opportunity to rub the lamp.

 

While not germane to this review, one thought I had as I purchased this movie was, “Will this be the final Disney movie I actually buy?” With Disney’s new streaming service imminently approaching, and with the studio’s entire catalog supposedly being available in the highest resolution possible (4K, HDR, Dolby Vision, Dolby Atmos) for a mere $6.99 a month, is the company going to be cutting off its faithful disc buyers in the process? For little more than the price of Aladdin, I could get six months of Disney’s entire catalog. Food for thought . . .

 

If you’re familiar with the 1992 movie, then you know all the plot points of this re-telling. “Street rat” Aladdin (Mena Massoud) wanders the streets and alleys of Agrabah, living by stealing what he and his monkey, Abu, need to survive. One day he stumbles across Princess Jasmine (Naomi Scott), who is bored with her life in the castle and wanders the streets in disguise, and he becomes smitten. Aladdin is tricked into going into the Cave of Wonder to retrieve a magic lamp by the Sultan’s evil counselor, Jafar (Marwan Kenzari). Inside, he discovers a magic carpet and a lamp that causes the Genie (Will Smith) to appear, granting him three wishes. Aladdin uses his wishes to become a prince to win Jasmine’s heart, but he must contend with Jafar, who has his own nefarious plans for the lamp.

 

Two things made the original Aladdin so successful: The soundtrack and Williams’ performance as Genie. The film won two Academy Awards for Best Original Score and Best Original Song for “A Whole New World,” and all of the hits—including “One Jump Ahead,” “Friend Like Me,” and “Prince Ali”—are featured here.

 

While Williams’ performance was widely praised and loved, some at the time criticized it because his jokes were too current and thought not to be timeless. (How wrong they were!) As skeptical as I was about Smith, he manages to make the Genie his own, and he does a lot to carry the film and add much-needed fun and humor—the film feels far more like a drama until Genie arrives. Smith’s Genie is far more subtle than Williams’, and his performance works very well here. Of course, Smith’s Fresh Prince musical background also serves him quite well during the musical numbers.

 

Aladdin reminded me a lot of a musical, with many of the song lyrics delivered in a more dialogue manner to drive the story as opposed to just straight singing. Also, they did a nice job of making the characters more believable, especially the Sultan (Navid Negahban), who comes across as a bumbling idiot for most of the animated film. Disney has also proved itself quite adept at making digital animals, and both Abu and Rajah (Jasmine’s Bengal tiger) appear quite realistic. This live-action version is also 38 minutes longer than the animated one, giving the story a bit more room to develop.

 

Filmed in ARRIRAW at 2.8 and 3.4K, I felt like Aladdin rarely bristled with as much detail as I’ve seen from other modern blockbusters. Not to say that the video doesn’t look good or feature detail, with sharp-edged images. It’s more like I often wasn’t seeing that ultra-pixel micro-level detail that some full-4K Digital Intermediates can resolve. Even with that nit, there 

are many closeups where you can examine the threads and ornate stitching in the costumes, or the texture in walls and rocks.

 

The HDR image does a lot to help the night and dark scenes, such as the city lights when flying over Agrabah on the magic carpet or the dark interior of the Cave of Wonders. Black levels are deep and clean throughout, with no noise. Golds and jewels shimmer and sparkle with colors that leap off the screen, as do fireworks and the many brightly colored costumes, specifically Genie’s rich, deep purple. This is a very colorful film featuring Bollywood-esque costume design, and the images are definitely bright and punchy, but never at the expense of skin tones. (Well, except the Genie, who is cerulean for much of the film.)

 

The Dolby Atmos audio mix feels mostly restrained, with the vast majority of audio presented from the front of the room. Some ambient sounds and the music are mixed up into the front height channels to add spaciousness, but most of the film is heavily focused to the screen. There are some scenes where the overhead speakers are called in to good effect, such as the Genie flying around the room, zipping front and back and swirling about in the Cave of Wonders, or Iago, the bright red macaw (not voiced here by Gilbert Godfrey, which just seems wrong), flying around, and some nice echoes that bounce off the walls in the Cave. The  

Aladdin (2019)

whole “Never Had a Friend Like Me” sequence is a great example of the film’s more dynamic audio moments. But for most of the film, the sound mixers definitely err on the side of subtlety, as opposed to looking for opportunities to get aggressive and push the sonic boundaries. Bass is mostly reserved throughout, but the sub channel is called into play nicely when the action calls for it. Fortunately, for a movie where singing and talking are key, dialogue is always clear and intelligible.

 

I enjoyed Aladdin much more than I thought I would, and it is a film I can see returning to. Also, with a Common Sense Media rating of 8+, Aladdin is a movie you can absolutely enjoy with family members of all ages.

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.

Men in Black: International

Men in Black: International

Released this past summer, Men in Black: International (MiB:I, going forward) is the fourth film in the MiB franchise, but actually serves more as a reboot/spinoff as opposed to an actual film in the series. The movie was released on digital in 4K HDR with a Dolby Atmos soundtrack from Kaleidescape on August 20, well ahead of its disc release on September 3.

 

Instead of Will Smith and Tommy Lee Jones reprising their roles from the original trilogy, MiB:I offers essentially an entirely new cast in the form of Chris Hemsworth (Agent H), Tessa Thompson (Agent M), and Liam Neeson (Agent High T). The only real continuity in actors is Emma Thompson reprising her role of Agent O from MiB: 3 and Tim Blaney returning to voice Frank the Pug in one brief scene. (There is a “blink and miss it” painting shown in a boardroom that appears to feature Smith and Jones in battle, the only actual nod to their characters.)

 

Now, this is not to say that spinoffs can’t be successful and work on their own. 20th Century Fox did a great job with Wolverine’s character from the X-Men series, the new Creed films have done a fantastic job of lighting new fire and continuing the Rocky saga, and Disney/Lucasfilm will be giving us new tales from the Star Wars universe long into the foreseeable future. But one of the things that makes a spinoff work is when the new film offers a solid connection to the rest of the series, and this is where MiB:I fails. And, unfortunately, it just isn’t a strong enough film to be able to stand on its own.

 

Still present are the memory-wiping neuralyzers, the ubiquitous black suits and ties, Rayban sunglasses, and Hamilton Ventura watches, advanced alien weaponry, modified vehicles, and a plethora of various alien creatures wandering around intent on reeking planetary havoc. But what seems to be missing is the actual fun found in the first films, with many scenes feeling like retreads.

 

Largely this is because the first three films gave us great chemistry and humor by juxtaposing the young and brash Smith against the old and grumpy Jones, while here the relationship between Hemsworth and Tessa Thompson just doesn’t work on the same level. While the interaction and repartee between these two is the highpoint of the film—which is actually the fourth time these actors have shared screen time (previously in Thor: Ragnorak and both Avengers: Infinity War and Endgame)—they just aren’t given enough to work with to carry it solely on their own. Even Hemsworth, who has shown great comic ability in his role as Thor, feels a bit forced here.

 

According to Wikipedia, the film had a “troubled production,” with clashes between the director and producer, resulting in multiple rewrites and edits, and it comes across a bit meandering and uninspired, and frankly left me feeling a bit like I’d been neuralyzed afterwards, unable to really recall any of specific points the following day.

 

What isn’t missing is a quality audio and video production, something for which Sony has come to be known for in its home releases. While filmed in a combination of ARRIRAW 3.4 and 6.5K, this is taken from a 2K Digital Intermediate, not uncommon for heavily effects-laden films. Even still, the video quality is terrific throughout, with tons of detail. Images are

always sharp and clear, both in closeups and wide shots. Blacks—of which there are a lot—are always deep, clean, and noise-free. Images like black ties against black jackets with black pocket squares are clearly visible.

 

HDR is also used to good effect throughout, pumping the bright lights, while keeping the dark night sky and the agents’ uniforms in deep black. The opening shot of the Eiffel Tower is a great example, with the Tower brightly illuminated against the black Paris night. The MiB offices are also brightly lit in white, with many colorful screens, and the HDR presentation really makes them pop. The Alien Twins, who bristle with energy, also benefit from HDR’s added brightness and color space, especially during their first fight with H and M.

 

Equally impressive is the Dolby Atmos soundmix, which is incredibly dynamic and immersive. The sound designers take every opportunity to expand the audio around the room and overhead, and this is a film that offers the kind of wow-factor home theater owners crave. There is also a ton of bass energy when appropriate, with explosions generating loads of ultra-low frequency that you’ll feel in your chest. Dialogue is also well recorded, clean, and clearly understandable even at reference-volume playback.

Men in Black: International

And while the big action scenes definitely benefit from the expanded and aggressive audio mix, quieter scenes also have a lot of ambient effects to capture the onscreen atmosphere. There were several instances where I turned around to investigate a sound behind me, thinking it was our cat or my daughter, when it was some audio effect.

 

With a Rotten Tomatoes rating of just 22%, MiB:I likely isn’t going to be the best film you see this year, though my 12-year-old really enjoyed it. However, what it lacks in story, it more than makes up for in effects and bombast, and looks and sounds fantastic while doing it.

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.

Air Force One

Air Force One

Here we are with another classic Sony Pictures Home Entertainment film getting the 20-year-plus 4K HDR makeover—and I’ll admit, I’m a big fan of Air Force One.

 

Sony gave the film a full 4K HDR restoration from the original 35mm print, along with retooling the soundtrack for a dynamic new Dolby Atmos mix. While it was released on 4K Blu-ray disc last November, the new 4K HDR version recently arrived at the Kaleidescape Store. Because I already owned the film on Blu-ray, I was able to upgrade to the 4K HDR version for only $11.99, making it an easy decision.

 

It’s hard to think of another actor who would have been more perfectly suited to play President James Marshall than Harrison Ford, and the film largely succeeds because of his likability and believability, essentially being the type of commander-in-chief everyone could get behind.

 

When the film came out in 1997, we were already well familiar with Ford in the role of leading-man action star from such films as the original Star Wars trilogy, the Indiana Jones trilogy, The Fugitive, and Blade Runner. More appropriately, Ford had also taken over the mantle of portraying Tom Clancy’s character Jack Ryan in Patriot Games and Clear and Present Danger. Clancy fans will know that as Ryan’s story arc progresses, he eventually moves up the ranks to become President of the United States, so in some ways you could consider AF1 a not-so-distant relative to the Clancy stories.

 

Besides his physicality, Ford was the right age to still be believable as someone capable of holding his own in a scuffle, and had the gravitas to pull off the role of commander-in-chief in the non-fight scenes. He was also backed by a strong supporting cast that includes William H. Macy, Dean Stockwell, Glenn Close, and Gary Oldman as ultra-loyalist Russian baddy, Ivan Korshunov.

 

The film opens with special forces parachuting into a compound to capture Kazakhstan dictator General Alexander Radek (Jürgen Prochnow) in a nighttime raid, and then cuts to a banquet in Moscow where President Marshall declares the US’s new “zero-tolerance” policy toward terrorism. He and his family (and the presidential entourage) then board Air Force One to return to the States, but during the flight, a group of terrorists loyal to Radek and led by Korshunov take over the plane, killing many of the Secret Service detail aboard. Instead of escaping the plane in a specially designed pod, President Marshall stays aboard trying to use his ex-military skills to save the hostages and retake the plane.

 

This all happens in roughly the first 20 minutes, leaving a lot of time to build drama and play out the cat-and-mouse hunt aboard the plane as well as the political turmoil back in Washington as the assembled cabinet tries to come to terms with the fact that the President is possibly dead along with having a hijacked AF1 full of high-value passengers quickly flying its way back toward enemy territory.

 

Video quality is greatly improved throughout, with sharp and defined edges. Closeups especially benefit from the restoration, clearly revealing more details, such as individual strands of hair. Overall the film has a nice layer of cleanness to the print,

Air Force One

The same shot from Air Force One, from the Blu-ray version (above)
and the 4K HDR version (below)

Air Force One

making this the best AF1 has looked by far.

 

There was definitely a regrading of the color for this release, which is especially noticeable in the opening scenes. In the Blu-ray version, the sky is a dusky blueish purple, with some shots looking near daytime bright—not a time when you’d do an airborne assault on a compound. In the new HDR version, the sky is much darker, with the action clearly taking place at night, making it more believable.

 

While they didn’t push the HDR grading too aggressively, it’s definitely used to nice effect to 

improve images overall, which results in the film having greater depth and pop than the Blu-ray version. Many scenes benefit from the added pop of brightness and expanded white level and shadow detail.

 

Notice the detail in the parachute canopy in the opening raid compared to how blown out the white levels are in the Blu-ray version, or the detail in the shadows under AF1 and around the MOCKBA sign as the Presidential party is boarding to leave Moscow. You also get far more impact from the displays and sensors in the plane’s communications room, the bright lights around Moscow at night, and the jet’s afterburners. And when a big KC-10 tanker explodes, the flames have bright, vivid red-orange colors.

 

But a 20-plus-year-old film will never look as sharp and clean as a modern digital image, and there is some occasional noise and excessive grain, especially in the dark night scenes like the opening parachute attack. Also, some of the visual effects look truly dated and are almost laughable by current standards—for example, as the staffers escape by parachute and the big tumbling crash at the end.

 

As nice as the new video transfer is, the new Dolby Atmos soundmix is the real gem here. They clearly took every opportunity to have fun with the mix, and the results are phenomenal. Years ago—in 1999, I believe—I attended a CEDIA Expo where many manufacturers were using the airplane takeover scene from AF1 as a demo. That meant I got to experience the same scene on many systems, giving me a real sense of how it sounded. Polk Audio and Cinepro built a system designed to deliver realistic, lifelike audio levels, with every speaker having a minimum of 1,000 watts of power sent to it. I can remember 

watching that demo, and even though I’d seen it multiple times already, hearing Korshunov rack the slide on his weapon sounded like he was right next to you, and when he fired the first shot, everyone in the room jumped. The dynamics were so insane, you felt like a gun had gone off right next to you.

 

This new Dolby Atmos mix got me back to that experience.

 

You can hear the difference right from the beginning as the title score swells over the opening credits with far more space and width to the presentation. The score is also gently mixed into the front height speakers to expand the soundstage. The opening commando raid also reveals that this is going to be a fun mix, with shouts, echoes, and gunshots filling the room along with fairly serious LFE engagement from your subwoofer.

 

The sound mixer also uses the speakers to put you into different acoustic environments, such as the President’s opening speech in the Moscow banquet hall, which has tons of ambience and reverb to accurately place you in that acoustic space, and the subtle ambient sounds aboard AF1.

 

Probably nothing benefits from the improved audio more than the F-15 fighter jets

Air Force One

scrambled to protect/escort AF1, which sound absolutely awesome whenever they’re on screen, with their engine sounds mixed at a high and realistic level. The jets go ripping through the room, tearing overhead and to the front of the room with incredibly powerful deep bass you feel in your chest from their afterburners.

 

Air Force One is just a fun popcorn movie that holds up incredibly well 20 years later, and it makes for a terrific evening in your home 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.

Demo Scenes: Avengers: Endgame

Demo Scenes: "Avengers: Endgame"
“Avengers Assemble”
(Chapter 16, 2:16:02–2:19:42)

 

Martin Mull (or maybe it was Frank Zappa?) once opined that talking about music is like dancing about architecture. Trying to convey the benefits of high dynamic range video can feel a little like that at times, given that most web browsers don’t support HDR by default, and still images just can’t do it justice. So, those of us who champion this video innovation in written form are often reduced to hyperbolic-sounding statements that still don’t effectively get the point across. It’s brighter! It’s darker! It’s billions of colors!

 

Want to see for yourself the difference that HDR can truly make? Fire up your Kaleidescape, download the 4K HDR version of Avengers: Endgame, and cue up the climactic moments of the big final battle when (spoiler alert, in case it wasn’t already obvious) the heroes who fell in Infinity War return from non-existence and are magically teleported by Doctor Strange onto

the battlefield alongside Captain America, Thor, and Iron Man. On Kaleidescape, it’s the scene named “Avengers Assemble,” for obvious reasons. If you’re watching via some other platform, you can skip to the timestamp listed above.

 

But don’t press that Play button just yet. Before you watch the scene in 4K HDR, check out the same sequence in the HD version first. It’s epic, to be sure, even in Blu-ray quality. The battlefield feels immense. The shadows that hang over the sundered pile of rubble where Avengers HQ once stood are deep and inky. The layer of grime and streaks of blood marring Cap’s face are tangible and perfectly textured. Once you’ve soaked in all of that and gotten a good reminder of what state-of-the-art home video looked like barely more than three years ago, switch over to the 4K HDR version and prepare to have your hair blown back.

 

Truth be told, there isn’t much of a difference in terms of resolution, given that Endgame was sourced from a 2K digital intermediate. And yet, the enhanced contrast HDR brings with it makes every shot feel crisper, more detailed, more dimensional, more lifelike. (I mean, as lifelike as a 

scene can look when it involves a bunch of grown folks running around in armored pajamas fighting a big purple space fascist.)

 

This isn’t just an academic study in video specs, though. What makes the HDR presentation of Endgame work so well—in this scene, particularly—is that it genuinely enhances the passion and poignancy of these moments. The portals Doctor Strange opens aren’t merely razzle-dazzle circles floating in the darkness, as they are in high-definition and standard dynamic range—they’re blinding rips in the spacetime continuum. The sun hanging over the horizon isn’t simply a yellow-white spot on your screen—it’s a stunning light source that pierces the darkness of the battlefield, and indeed of your room.

 

These brilliant spots of light dancing through the darkness actually have a physiological effect, dilating your pupils a bit and tickling your wince reflex—though not pushing it to the point of discomfort. And given that you’re genuinely, physically engaged with the imagery, you can’t help but be drawn more deeply into it. You’re not merely a passive observer of this shield-throwing, lightning-calling, web-spinning battle for the fate of the universe—you’re more invested in the action because all of those photons pouring off of your screen literally invoke an involuntary biological response, yanking you into the heightened reality of it all. At that point, you’re not just watching a movie; you’re having an experience. One that simply wouldn’t be possible without HDR.

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.

Avengers: Endgame

Avengers: Endgame

Avengers: Endgame comes to the screen with an incredible amount of baggage for any one film to carry. It has to serve as the emotional and narrative conclusion of 11 years’ and 21 films’ worth of Marvel Cinematic Universe (MCU) stories. It has to serve as the second half of a film released a year earlier. It also has to work as a self-contained narrative on its own terms—one that satisfies both hardcore fans who’ve seen all 21 of those previous Marvel movies numerous times, as well as more casual moviegoers who may have seen some of them only once, if at all.

 

The fact that Endgame manages to check all of those boxes without crumbling under its own weight is a bit of a minor cinematic miracle. The fact that it ends up being so much more than a mere obligatory box checker is a testament to the

talents of the film’s directors (Joe and Anthony Russo) and writers (Christopher Markus and Stephen McFeely).

 

To get into why, though, we need to dip our toes into spoiler territory, for both Endgame and 2018’s Infinity War, but I’ll try to keep things as vague as possible on both fronts, for the pair of you who’ve seen neither film. At the end of Infinity Warwe were left in a weird place for a big, blockbuster superhero franchise. The villain had won. Half the population of the universe—and half of Earth’s Mightiest Heroes—had been “blipped” out of existence at the snap of a finger. Mind you, we live in a world where films are announced years in advance, and it didn’t take a savvy viewer to put two and two together and realize that some of those dead heroes were only a film or two into a multi-film contract, which meant they would be coming back, somehow or another, by the end of this film.

 

Think about that weird conundrum for long, and it quickly becomes apparent that Endgame ran the serious risk of not only narratively undermining Infinity War by undoing its deaths, but also of emotionally undermining it so severely that the first part of this two-part story lost all impact for future viewings. I think the most dedicated Marvel fans 

amongst us all sort of went into Endgame knowing that this would be the price we had to pay in order to see the resolution of this storyline.

 

Except, that ends up not being the case at all. Instead of undermining Infinity War—narratively and emotionally—Endgame ends up enriching it, making it a more interesting and impactful story. If the thematic arc of Infinity War could be boiled down to coming to terms with defeat, Endgame at its core is a film about consequences. As with any good epic (in the Tolkien sense

Avengers: Endgame

of the word, not the Hollywood sense of the word), Endgame is a film about the high cost of victory. So, rather than robbing Infinity War of emotional and narrative weight, this film piles an extra heaping helping of solemnity on its forebear, and all the films that came before it.

 

Once its end credits roll, what we the viewers are left with is not only a satisfying yet bittersweet conclusion to the rambling and seemingly disconnected narrative that began with 2008’s Iron Man, but also one that makes us reflect on everything that has happened to the MCU’s characters along the way. Honestly, it even redeems some of the MCU’s weaker efforts, like 2013’s Thor: The Dark World, although perhaps only in retrospect. (And no, I’m not confident enough in this statement to actually suffer through that movie again to find out for sure.)

 

But as I said above, Endgame would be a wholly unsatisfying film if it were merely a massive nostalgia romp. I won’t recount the plot here, because if you’ve seen the movie you already know it, and if you haven’t, I would sound like I was having a stroke. But what makes the film work on its own terms is, in part, the economy of its storytelling. That may seem an ironic statement to make about a three-hour film, but the Russos, Markus, and McNeely have managed to craft an engrossing narrative that feels perfectly paced, because when the plot is simple and straightforward, they use that opportunity to ramp up the richness and diversity of the story’s themes; and by contrast, when the narrative gets more complex (as will happen when you’re playing around with comic-book quantum physics and the fabric of spacetime), they use simpler and more straightforward thematic underpinning to maintain a coherent through-line.

Avengers: Endgame

The film also uses the luxury of its relatively long running time to give the characters a lot of room to breathe. Upon second viewing, I was taken aback by how much of the film is devoted to people sitting around, simply talking to one another. It’s refreshing, to be sure, and It’s exactly what was required to give these beloved characters one last chance to grow, and express their growth, in shockingly adult ways. Coming out the other end of the film, I honestly wonder if most viewers realize that only about half an hour of screen time is really dedicated to stereotypical blockbuster comic-book action scenes.

 

Unsurprisingly, it is those scenes that shine the brightest in Kaleidescape’s 4K/HDR presentation of the film. And I mean that literally. This is truly some of the most effective use of HDR I’ve seen to date, especially in the big battle at the end, where stunning contrasts are used not merely for eye candy, but also to reinforce the emotions of the sequence. I watched this epic

throwdown back-to-back in Blu-ray quality and 4K with HDR, and while it certainly got my nerd heart pumping in mere 1080p HD, I was literally moved to tears by the climactic turning point of the battle as it plays out in high dynamic range.

 

But hey, if you’re just in it for the eye candy, Kaleidescape’s presentation works on that front, too, even if the vivid and detailed presentation does at times make some of the special effects ever-so-slightly too obvious. Audio enthusiasts who’ve grumbled at Disney for their sometimes-lackluster audio mixes will also be delighted by the richness of the film’s soundtrack and its effective use of bowel-loosening bass and the aggressiveness of the Dolby TrueHD Atmos track’s height channels. Truth be told, those effects were a little too distracting for my tastes, and I preferred the included DTS-HD Master Audio 7.1 mix, but it’s nice that both options are available.

 

There is one other audio track that absolutely cannot be ignored, although you’ll only find it on the Blu-ray-quality download (which is included with your 4K HDR purchase): The audio commentary by directors Anthony & Joe Russo and writers Christopher Markus & Stephen McFeely. If you listened to their commentary for Infinity War, you know what you’re in for here. If not, I’m jealous that you get to experience it for the first time. As with the previous film, their commentary is less 

Avengers: Endgame

a scene-by-scene breakdown of how the film was made, and more a masterclass in storytelling, character development, and filmmaking, making it essential listening even if you typically skip commentaries.

 

It’s just a shame that the rest of the extras don’t rise to the same level. Also included with the Blu-ray-quality download is about an hour’s worth of bonus documentaries that you can mostly ignore, except for the eight-minute tribute to Stan Lee that was included after the film in its soft theatrical re-release back in June. You’ll also want to check out the last of the six deleted scenes (which, by the way, doesn’t include the excised clip that was tacked onto the aforementioned theatrical re-release).

 

Hopefully, at some point Endgame will get a double-dip home video release whose bonus features dig a little deeper into the rich tapestry that is this film. Until then, though, this one is a must-own.

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 Few Good Men

A Few Good Men

Film studios look at technology advancements and big anniversaries as an opportunity to dip back into the vault and re-release a classic in a shined-up new package. In the past, this has resulted in some improvement as we’ve moved from a 480p DVD release to a new 1080p Blu-ray, sometimes with a new, cleaned-up and improved video transfer, or with a lossless audio track or some new set of bonus features.

 

But when older films get a 4K HDR makeover, we almost always get a brand new transfer, especially since it needs to be graded for HDR and the wider BT.2020 color gamut. We also see many studios opting to remix old, dated soundtracks in Dolby Atmos.

 

One studio that repeatedly impresses with its handling of catalog titles is Sony Pictures. Its home-video arm consistently takes a ton of care on restorations, breathing life into older films by cleaning away years of noise and damage and giving them a new 4K scan, resulting in movies that look better than what you could have experienced if you’d watched them on opening

night in a flagship theater years ago. Some recent Sony transfers that totally impressed were The Natural, The Karate Kid, The Fifth Element, and The Bridge on the River Kwai.

 

A recent recipient of the 25-Year Silver Anniversary treatment is the classic courtroom drama, A Few Good Men. The movie actually isn’t new to 4K Blu-ray disc, having seen a limited release in 2017 as a Best Buy exclusive, with a wide retail release in 2018. However, the new 4K HDR transfer just landed at the Kaleidescape Store and, with an impressively low “upgrade from Blu-ray to HDR” price of just $11.99, I snapped it up.

 

I can’t imagine much needs to be said about Men in way of a synopsis at this point, as it finds itself on regular rotation amongst the cable channels. But the film centers on a crime committed among a group of Marines serving at Guantanamo Bay, Cuba, with a team of Navy attorneys, tasked with defending the accused Marines, sent to investigate and then decide whether to accept a plea bargain or see it through in court. Was the crime ordered—and then covered-up—as a “Code Red” by a higher-ranking officer to punish a soldier stepping outside the chain of command, or was it committed to keep someone from reporting an alleged offense on base? The film builds in intensity towards the final, “You can’t handle the truth!” courtroom showdown between Tom Cruise as lead counsel Lt. Daniel Kaffee and Jack Nicholson, who received a much-deserved Academy Award nomination for Best Actor in Supporting Role for his ultra-memorable portrayal of Colonel Nathan Jessep.

The screenplay was written by Aaron Sorkin, adapted from his play of the same name. What makes the film so powerful is Sorkin’s snappy dialogue, and the screen just bristles with star power in every frame. I had forgotten just how many mega-stars grace the credits of Men. Besides Cruise and Nicholson, we have Demi Moore, Kevin Pollack, Kevin Bacon, Kiefer Sutherland, Noah Wyle, and a brief appearance by Cuba Gooding Jr.

 

This is an entirely story-driven film, with virtually no special effects at all, so the movie succeeds entirely on the basis of its story and acting, much of which holds up. (There are a couple of scenes where Moore seemed to be trying a bit too hard, in my opinion.)

 

As seems to be the common practice, the opening Columbia Pictures and Castle Rock title cards look terrible—perhaps these are left alone to show you just how bad the un-remastered material looks. But rest assured, once the film begins, images are clean and detailed, with lots of pop.

 

The opening morning (or evening?) scenes of the Cuban sky are tinted a bit heavy on the orange side, but otherwise colors are natural and accurate throughout the film. The first “wow” moment comes with the title-sequence shot of the American flag, with the red stripes having a vibrancy not found on the Blu-ray disc, and also having crisp, sharp lines. You can also see all of the fine markings in the bayonet attached to the rifle of the Silent Drill team, as well as the wood-grain detail in the rifle stocks.

A Few Good Men

The added resolution also lets you see the texture and detail in objects like the Naval uniform shoulder boards, where you can see the fine threading in the stripes as well as detail in the buttons. In one closeup conversation between Cruise and Nicholson, you can clearly see every individual eyebrow in the actors’ faces.

 

There aren’t a lot of night scenes in the film, but the few present—mostly exterior shots of DC at night—benefit from the added contrast and brightness of HDR. You also see a pronounced improvement over the Blu-ray in the outdoor scenes. 

During one scene at Guantanamo, the buildings and walls are far brighter, as are the dress-white uniforms, with gleaming white collars, and sunlight glinting off brass as they catch the bright sun. Flipping over to the same scene in the Blu-ray, the image is just dull by comparison.

 

Black levels are deep and clean throughout, with there being a clear difference between the ultra-deep, near-black navy blue of Moore’s Navy cap compared to the dark blue of Cruise’s Boston Red Sox cap.

 

You might not think a dialogue-driven film like Men would benefit from a Dolby Atmos audio makeover, but you’d be mistaken. The dialogue now seems to have more room to breathe across the front channels, with the sound mixer judiciously spacing ambient cues around the room, adding width to the presentation. Outdoor scenes benefit from subtle offscreen sounds that open the soundstage, or with voices occasionally calling from far off screen. In the courtroom, the tone of the dialogue takes on the different character of the more reverberant space. Most importantly, every spoken word is clear and easily understood. A dramatic thunderstorm late in the film also gives the audio mix a chance to push sounds up overhead and drive some info to the subwoofer.

A Few Good Men

With A Few Good Men, Sony has once again proved itself, creating a new 4K Digital Intermediate from the original 35mm film negative that produces fantastic images, giving fresh life to this dramatic, Rob Reiner-directed classic.

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.

Shazam!

Shazam

I’ll forgive you if you’re suffering from a bit of superhero-film fatigue. The past few years has seen theaters inundated with a steady slate of supers, both solo and in teams. Between the 20-plus films in the Marvel Cinematic Universe, X-Men, the various DC films, the anti-heroes Venom and Deadpool, and the myriad of spinoffs available for streaming on Netflix, barely a weekend seems to go by without some new hero flick appearing on the screen.

 

That’s one of the reasons why I took a pass on Shazam! during its theatrical release despite some decent buzz, a clear (and much needed) fresh approach by the DC team, and a shockingly high Rotten Tomatoes score of 91%, just slightly below the franchise-best 93% of Wonder Woman. But if you avoided Shazam! during its theatrical run, you might want to give it a second chance in your home theater as the film not only looks and sounds fantastic, it’s just fun to watch.

 

Starring 16-year-old Asher Angel (best known by ‘tween girls everywhere for his role of Jonah Beck on The Disney Channel’s Andi Mack) as Billy Batson, the boy who transforms into the adult Shazam!, and co-starring 15-year-old Jack Dylan Grazer (It) as his foster brother Freddy Freeman, the youth lifts the heaviness present in so many recent DC films and gives the filmmakers the opportunity to inject some lightheartedness and humor into the proceedings. Imagine that? A DC superhero who isn’t dark and heavy the entire time? Add Zachary Levi, who appears to be having a blast as Baton’s superhero alter ago, perfectly translating a teenager being thrust into a full-grown hero’s body. All of this produces a recipe for a film the entire family can enjoy. (Common Sense Media actually recommends it for ages 12+, as there are a couple of fairly intense PG-13 scenes that could definitely frighten younger viewers.)

 

At 2 hours 12 minutes, Shazam! isn’t short, but it uses its runtime efficiently to provide enough backstory to explain why Batson is so obsessed with finding his mother, how he’s chosen to become Shazam, how he discovers his superhero abilities, and why the film’s arch-villain is so bent on getting a second chance to be considered “worthy.”

 

I seem to recall reading some Shazam! comics growing up, but I remembered virtually nothing about the character or his abilities, so the story was new (i.e., interesting) to me. After bouncing around a variety of foster homes, Batson lands in a new house filled with other foster kids. After saving Freeman from bullies at school, he’s summoned to the Rock of Eternity by the ancient Wizard Shazam (Djimon Hounsou). The last of the council of wizards, Wizard Shazam is dying and is looking for a new champion who is “pure of heart” to bestow his magical powers to before he goes. This champion will have to fight the one who stole the Eye of Sin, a device that inhabits its owner and that holds the Seven Deadly Sins that can be unleashed on the world.

 

With the powers transferred, Batson transforms into a near invincible hero whenever he shouts “Shazam!” But he is given no instructions about what these powers are or how best to use them, and the film uses this discovery process to much comedic effect, with the chemistry between Grazer and Levi making for a great buddy comedy.

 

Shot in ARRIRAW at 3.4K resolution, the Digital Intermediate format is only listed as “master format,” but the picture quality leads me to believe it’s 3.4K upsampled to 4K, rather than downconverted to 2K. Closeups reveal incredible detail, such as the texture in Shazam’s suit, the fabric of Batson’s hat and jacket, or individual strands of the Wizard’s hair. Virtually every shot bristles with detail, especially the brightly lit outdoor scenes. Images also have incredible sharpness and edge detail without seeming exaggerated.

 

Even more impressive than the resolution is the film’s extensive use of HDR and the format’s wider color gamut, which is deployed judiciously to enhance images that benefit from the added brightness. The Rock of Eternity has deep, black 

shadows, yet the orb atop the Wizard’s staff and The Eye of Sin glow brilliantly and intensely, offering far more illumination on the Kaleidescape download than on the Blu-ray version. The lightning bolts that appear every time Shazam transforms, and the bolts of electricity he blasts, are also far more intense. Even the ever-present glowing lightning bolt on Shazam’s chest (a practical design rather than a CGI effect) has more intensity and pop with the benefit of HDR. Nighttime scenes in Philadelphia—including the film’s climatic battle at an outdoor carnival—have so much more depth and dimension, making the non-HDR Blu-ray version appear flat in comparison.

 

Sonically, Shazam!’s Dolby Atmos soundtrack matches the quality of the video, and is absolutely first-rate, with tons of immersion and full use of all channels throughout. The sound designers really understood what a powerful tool Atmos adds to the storytelling, and they don’t miss an opportunity to expand the mix into channels around the room, surrounding you in the action.

 

Early in the film, we have our first visit to the Rock of Eternity, with the sound of ice crystals forming and crackling overhead, and then the echoes and reverberations transforming your listening space into the cave. When the Seven Deadly Sin statues speak, their voices boom with deep, gravelly notes that seem to emanate from every corner of the room. Bass is deep and impactful when it 

Shazam

should be, but dialogue always remains clear and intelligible. If you’ve been looking for a new film to show off your surround system, Shazam! doesn’t disappoint.

 

The Blu-ray-quality download included with the 4K HDR purchase at the Kaleidescape Store has a number of extra features and more than 30 deleted scenes, letting you take a deeper dive into Shazam’s universe.

 

If you’re looking for a family-friendly break from the dark trend favored by most superhero films lately, Shazam! might be exactly what your home theater has been wanting.

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.