kal
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Joined: 06 Mar 2006
Posts: 18114
Location: Ottawa, Canada
TV/Projector: JVC DLA-NZ7
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| Posted: Wed Jan 09, 2013 10:18 pm Post subject: Total Recall (2012) [Blu-ray] |
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Another reference disc!
Total Recall (Two Discs: Blu-ray + UltraViolet Digital Copy) [Blu-ray]
(Hover over link for price, click to purchase and support our forum at no extra cost to you)
| Quote: | In Len Wiseman's recall (I know, corny) of Paul Verhoeven's violent cult favorite, audiences can gaze and be mesmerized by the beautiful design of a futuristic nightmare of the wealthy haves and the impoverished have-nots. Full of thrills-a-minute action and spectacular CG wizardry, 'Total Recall' is decent popcorn entertainment feigning some smarts, but it's ultimately another mindless display of explosions that only scratches the surface of intriguing ideas. The Blu-ray, on the other hand, arrives with outstanding demo-worthy video and potentially reference-quality audio, if not hindered by one serious issue. The wealth of supplements, a majority of which are exclusive to Blu-ray, save the day and make this strong package for the price. But until we have more information on the audio problem, I would suggest renting first before deciding on a purchase.
The Video: Sizing Up the Picture
Shot with a combination of 35mm and HD cameras, 'Total Recall' debuts on Blu-ray with a fantastic, reference-quality 1080p/AVC MPEG-4 encode that will leave you wanting more. Granted, the presentation is bursting with lens-flares, which can be a bit of a distraction, and oozing in teal & orange, but overall, it looks squeaky-clean and quite dashing. From the smallest lines in the bizarre architecture of the Colony to the tiniest imperfection on the magnetic highway in the UFB skyline, definition and clarity is razor-sharp and distinct. Facial complexions, especially in close-ups, are revealing with lifelike textures, pores and trivial blemishes.
The 2.40:1 frame also displays spot-on contrast with brilliant, immaculate whites flooding the entire screen. Visibility into the far distance is astonishing, as we can see the very tip-tops of buildings in the background as clearly and plainly as the objects in the foreground. Black levels are inky rich and penetrating, providing the image with a beautiful cinematic quality and an excellent three-dimensional appeal. The cinematography comes with a deliberately toned-down palette, generating a very gloomy, dystopic feel throughout. Yet, primaries bleed through with vibrancy and energy in key parts of the film.
All in all, this high-def transfer is superb.
The Audio: Rating the Sound
To start with, I must point out that I experienced annoying issues with the audio dropping out several times while watching the movie. It happened twice within the first fifteen minutes using my Oppo player. When switching to the PS3, the movie played fine for a while, but at around the middle of the highway chase in UFB, the audio suddenly dropped once more and this time caused an even more irritating lip sync issue.
After fixing it, the audio dropped again at the start of Chapter 9. Frustrated and nearly infuriated, I replayed several of the scenes and it dropped in the same spots, which would indicate the problem is with the disc. Then I switched the player's settings from bitstream to PCM and suddenly the problem was fixed, which is somewhat confusing but still has me thinking the issue lies with the disc. But in spite of finding a solution to the problem, having to go through such a process of figuring a way to correct it is incredibly maddening, and because many will also have to suffer a similar experience, this Blu-ray falls short of five-star perfection.
If not for such an irritating issue, however, (and for those lucky enough not to experience it) this Dolby TrueHD soundtrack is otherwise stupendous and remarkable. The front soundstage is continuously alive with the chatter of busy crowds, brimming with the hoopla of city life and thriving with the endless commotion of street traffic. Imagining is broad and expansive, delivering off-screen effects with clean fidelity and convincing directionality. Dynamic range is sharply-detailed and room-penetrating with superb separation and distinction between the middle and higher ranges. Meanwhile, dialogue reproduction comes in cleanly and well-prioritized, never overwhelmed by the loudest segments.
A very pleasant surprise is a commanding and potently palpable low-end, rich with depth and a power the fills the room. The mid and upper bass is robust and highly responsive, providing each bullet, punch and explosion with a serious wallop that rattles walls. A great scene for this is at the beginning when Quaid/Hauser is forced to shoot his way out of the Rekall offices. Then we also have lots of intense ultra-low frequencies effects used at various points of the story and an awesome assortment of sweeps which seem associated with the bass-heavy music of Harry Gregson-Williams, starting with the opening credit sequence and then throughout the rest of the movie.
To top it all off, the rears are continuously active with either city noise or the intentionally-noticeable stillness of a room. Action scenes come with bullets and debris flying everywhere, random objects scattering about the room and any number of the futuristic vehicles hovering overhead or speedily whizzing by either side of the listener. There's a fluidity and smoothness in the way things move from one channel to the next that's terrifically impressive and satisfyingly immersive. Gregson-Williams's score also bleeds into the background, generating a brilliant soundfield that endlessly engaging and making this an awesome lossless mix . . . If not for one annoyingly major distraction bringing it down a notch. |
Kal
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