Saving Private Ryan Blu-ray

Reviewed by Martin Liebman

No film before has ever captured the destructive nature of war to this magnitude, and few have exemplified the rousing spirit of man to a degree that encapsulates the essence of the human condition through both the complexities of the soul and the base elements of his very existence via the prism of the crisis that is the firsthand experience of the most destructive of forces. Saving Private Ryan perfectly displays both, Director Steven Spielberg's 1998 epic World War II picture a heartbreaking portrayal of the horrors of war but also an uplifting saga of the dedication to duty; the value of life; the unwavering spirit of freedom; the brotherhood amongst men; the courage to overcome all; and perhaps most importantly, the willingness to make the greatest of sacrifices in the name of honor, principles, and friendship. Indeed, Saving Private Ryan proves itself to be, perhaps, history's most important film, not only for its graphically-realistic portrayal of combat but for the touching storyline and pertinent thematic elements that only reinforce the purpose behind the bloodshed and lend weight to the true price of freedom so that others could in the years, decades, and hopefully even centuries to follow enjoy in life what the men who fought purchased with their heroism, their unwavering commitment to their ideals, and for many, their deaths.
Following the devastatingly bloody but ultimately successful Allied invasion of Normandy on June 6, 1944, a select squad of U.S. soldiers -- led by Captain John Miller (Tom Hanks, Forrest Gump) -- are given a critical assignment directly from the Army's top brass: to locate and return safely Private James Francis Ryan, whose three brothers have all died within days of the invasion, two at Normandy, the third in combat around New Guinea. Ryan, a member of the 101st Airborne Division who dropped into France the night before the invasion, has become lost behind enemy lines, and the jumbled French countryside becomes a deadly haystack through which Miller and his men -- Sergeant Horvath (Tom Sizemore, Heat); Corporal Upham (Jeremy Davies, Rescue Dawn); Medic Wade (Giovanni Ribisi, Sky Captain and the World of Tomorrow); and Privates Reiben (Edward Burns, Echelon Conspiracy), Jackson (Barry Pepper, We Were Soldiers), Mellish (Adam Goldberg, D้jเ Vu), and Caparzo (Vin Diesel, Pitch Black) -- must navigate to locate Ryan and, along the way, ultimately come to better understand themselves, one another, their place in the war, and the value of saving Private Ryan and reuniting him with his devastated mother, all in the name of finding some silver lining in the hell on Earth that they endure at the hands of a determined and tough enemy.

Beginning with a discussion on Saving Private Ryan's technical attributes, Director Steven Spielberg has crafted the most potently-aggressive and visually-arresting wartime picture ever made. His purpose is not to devastate his viewers but to instead instill inside them a sense of the terrible struggles and absolute deadliness of combat while also immortalizing all those who gave their lives for freedom. His picture has engendered a new appreciation for "the greatest generation," a term used to describe those who fought in World War II but also one that should encompass all those who have worn, do wear, or will don the uniform and bravely face whatever dangers may come their way as they protect with their lives the advancement and perpetuation of freedom. Still, Spielberg's intense visuals only reinforce the underlying themes and purposes of the film, and the director employs what has become the de facto style for shooting wartime pictures, evidenced in later films like 2001's Black Hawk Down and 2008's The Hurt Locker. Spielberg visually accentuates the grittiness of war and gives the picture something of a handheld, personal, up-close look and feel; the movie is sometimes excessively grainy and sports a washed-out color palette that allows shades of green, gray, and brown to dominate the frame, and while splashes of color are readily evident throughout, Saving Private Ryan does indeed capture a more vintage era-specific feel throughout. Spielberg demonstrates an ability to perfectly entwine the superficialities of the film -- its primary plot and action sequences -- with a broad swath of emotional depth and thematic undercurrents, giving the film a classic wartime era feel while also injecting the movie with modern filmmaking techniques and special effects to give it a unique character that's only been mimicked and never quite equalled, much less surpassed, in the years since its release.

Although Saving Private Ryan proves a far deeper film beyond the horrifying wartime images it so disturbingly portrays, there's a reason why the picture -- particularly compared to its genre brethren -- is best remembered first as a tour-de-force of grittily-realistic combat while its more substantial dramatic and emotional themes often seem to go at least partially unrecognized amidst the chaos and directorial brilliance of its combat sequences. Certainly Hollywood had, with the Vietnam era of movies from the late 1970s through the mid 1980s, moved away from what was often a more reserved, heroic, and perhaps even "gentle" look at the horrors of war; while some films crossed over and proved thematically darker -- The Oscar-winning All Quiet on the Western Front from all the way back in 1930, for example -- the years during and that followed after World War II saw something of a glamorization of combat; it was never pretty, but never seemingly all that honest to the experience, either. For whatever reason(s) -- war fatigue, the physical and emotional pain incurred from the substantial loss of life and property around the world, the perceived importance of painting the war effort as clearly-cut and black-and-white as possible, and the effort to prove war as a necessary evil without showing just what a hellacious creature it is and can be -- Hollywood chose to play it safe, offering a string of films like The Longest Day and A Bridge Too Far that depicted "historical events" but never really demonstrated "war." With the era of Vietnam, studios and filmmakers began to find value in promoting more realistic pictures that entwined anti-war messages (hinting back to the era of Erich Maria Remarque and All Quiet on the Western Front) through the emotional, psychological, and physical turmoils of soldiers. Films such as The Deer Hunter and Apocalypse Now used the Vietnam War and the resultant negative effects on the psyche to look deep into the long-lasting implications on a man's very being both on and off the field of battle. Platoon and Full Metal Jacket also used Vietnam as a prism through which to explore the traumas of war, the former taking into question the identity of the true enemy during wartime, the latter offering something of a more complete experience that looked at the transformation of a man throughout his military career. Finally, Director John Irvin's grossly overlooked 1987 masterpiece Hamburger Hill follows in Platoon's footsteps by examining the fruitlessness of war, but the picture also proved one of, if not the most, graphically-intense pictures of its, or any, generation. Saving Private Ryan encapsulates the best of all worlds; it's visually realistic almost to a fault and captures the horrors of war like few others, but unlike the Vietnam pictures of yore, it doesn't necessarily speak out against war. Steven Spielberg's film doesn't glorify war in any way, but it recognizes what is sometimes its necessity while paying tribute to those that gave their lives for a purposeful and worthy cause.

Indeed, Saving Private Ryan proves a singular achievement in filmmaking by capturing a broad array of emotional themes while also demonstrating an unflinching portrait of the terrors of combat. It manages to do what War films before it consistently failed to accomplish, weaving several themes and styles together -- the gritty realism of Hamburger Hill, the patriotism and demonstration of honor and courage of Hollywood's "golden era" of World War II films, and the understanding of the effects of war on man's inner being as was often the primary element in the string of incredibly-powerful and Oscar-winning Vietnam pictures from years ago -- into a one-of-a-kind masterpiece of cinema. The result is a picture that's often difficult to watch on any level. Even those viewers who have seen the picture countless times may find themselves openly weeping even as the film begins as the foreknowledge of what's to come on not only a visual and physical level but, more importantly, on an emotional one, takes shape. The picture's themes of courage, honor, and sacrifice engender in the viewer a sense of the heartbreaking reality that is the carnage of war and an appreciation for those who laid down their lives in the name of freedom, both then, now, and into the future. Director Steven Spielberg -- once known as something of a cuddly filmmaker who crafted family pictures like Always, E.T., and Close Encounters of the Third Kind or rough-and-tumble and flat-out-fun adventures like Raiders of the Lost Ark and Jurassic Park -- proves himself with Saving Private Ryan to be, arguably, the greatest filmmaker of all time, and certainly its most capably diverse. No other picture in history has proven as relevant as this; it transcends its R-rating for violence and language as a movie that should -- yea must -- be seen by all at a time of proper emotional and mental preparedness, even by those with an aversion to its graphic visual elements. Saving Private Ryan is chaotic, bloody, frightening, and oftentimes emotionally overpowering; the picture's scenes that show secretaries typing notifications of death and the delivery of three such letters to Ryan's mother prove the picture's most devastating even beyond the most gruesome of combat scenes. Saving Private Ryan never fails to engender an emotional response -- and a broad array of them at that -- with every viewing that proves a unique but no less powerfully moving experience.

Spielberg and Writer Robert Rodat (The Patriot) lend further weight to the violence and emotional undercurrents through a wonderfully compelling collection of characters, each coming to life with a seamless performance from each member of a perfect ensemble cast. Among them is the mysterious leader, the stout and dedicated Sergeant, the devout sniper, the confused infantryman, the frightened translator, the devoted medic, and the Jewish trooper, each of whom lend a unique perspective to both the war and the mission to rescue Private Ryan. Practically each character in the film is written so as to lend them tremendous depth; while the nearly three-hour runtime grants the space needed to adequately develop them to a point, the strength of the picture in this regard is its use of non-combat "downtime" to allow them to reflect on and philosophize about life, their bond, and the war, notably as they recover from a rainy and intense day within the confines of a darkened church in the town of Neuville. Indeed, for as brutal as the picture can be, it's often equally tender. A blood-stained letter home. Frank discussions of lives past. Reflections on friends lost. Regrets. Expectations. Hopes. Dreams. Jeremy Davies' character, Upham, is the film's best, the antithesis of most everyone else in the movie. He's far removed from combat not only on a physical plane but from an emotional and mental perspective as well. He's a translator and mapmaker, not a soldier; his skills fit the mission and fill a niche in the overall objective of the Allied plan to win the war, but as to a more crucial element to the film rather than the war effort depicted therein, Upham represents the viewer. His is the most emotionally-unbalanced character in the film, and his frightened countenance and self-doubt but also budding understanding of the bonds of brotherhood, the agony of war, and the triumphs of the spirit even in the face of the failures of the flesh all come together to build a character that could be anyone in the audience suddenly faced with the terrors of combat as it grates on the body and disturbs the balance of the soul. It's not Upham's ability to, through the course of the film, find his place in the war -- it's questionable as to whether he does or does not -- but it's rather the character's ultimate understanding of its importance, his witnessing firsthand of its dangers, and his coming to terms with a realization that "the right thing" in the face of destruction and despair does not always point in the same direction as a moral compass shaped by years of a more traditionally-educated life in what can be assumed to have been a relatively peaceful environment, paradise, even, compared to the terrors he witnesses along the journey to find Private Ryan. Less crucial to the dramatic elements of the picture but certainly helping in its pacing and structure is Spielberg's keen sense for comic relief through the Upham character; the director manages to earn an honest laugh in several places even amidst the bloodshed of combat through Upham's shy and fearful ways, whether his failure to understand the significance of "FUBAR" or, in one scene, cling to Caparzo as would a small child.

Certainly a War film at its most basic, Saving Private Ryan's deep characterizations nevertheless engender a deeper sensation that can become lost under the intensity of the combat and the staggering attention to detail found throughout, but further examination proves the movie to be of far greater significance than its bloody and bullet-riddled fa็ade might otherwise suggest. In the years following its release, Saving Private Ryan has become a de facto memorial not merely of World War II veterans of but of heroes before, after, now, and tomorrow who sacrificed their lives for the righteousness of liberty and peace. Abraham Lincoln's words quoted in the film -- "[the] costly...sacrifice upon the altar of freedom" -- encapsulate what not only the picture, but the purpose behind it and the significance of the heroes who perished in the war, is all about. Indeed, Saving Private Ryan seeks to honor those that have given all and, through their actions, demonstrated a bravery and courage rarely before or since matched. Saving Private Ryan is, at its most basic and most important, a human drama, a film that examines one of the most basic guiding principles of life and that for which so many fought and died: the importance of leading a good, wholesome, honest, and free life. The picture reinforces the notion that the sacrifices of these men cannot and should never be taken in vain; every day must be a reminder of their struggle to build a better world for those who would come after, who would rebuild, who would go on, who must remember. Abraham Lincoln again says it best in another address: "The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us -- that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion -- that we here highly resolve that these dead shall not have died in vain -- that this nation, under God, shall have a new birth of freedom."


Video


Saving Private Ryan's Blu-ray release is going to become the go-to disc for reference quality audio, but chances are those familiar with the film will find just as much -- if not more -- to love about Paramount's positively gorgeous and impeccably faithful 1080p transfer that retains the picture's original 1.85:1 aspect ratio, not to mention Director Steven Spielberg's and Cinematographer Janusz Kaminski's intended gritty, washed-out look. This high definition transfer brings with it vastly increased detailing, even underneath the rough-and-tumble and faded look the film employs; even during the bright, bloomy opening and closing scenes in Arlington National Cemetery, viewers will note the increased resolution on tree trunks and a character's light blue jacket that's almost always in the forefront of the sequences. The bulk of the picture's wartime segments, too, sport strongly-raealized detailing and texturing, even through the most minute of objects: small bumps or netting on helmets; stains and gunk on uniforms; scratches on weapons; and grains and clumps of dirt and sand scattered throughout the movie, notably during the Normandy invasion sequence that opens the film's World War II segments. More obvious throughout the film is the eye-catching detailing as seen on the rough building fa็ades that have been incessantly shot and bombed out, where bullet holes, chunks of concrete, and random debris strewn all over the rainy village of Neuville or the tactically-crucial town of Ramelle that represents the primary location seen in the picture's final act offer a wonderfully yet disturbingly realistic texture. Additionally, close-ups of characters reveal a stunning level of detail in facial pores and hairs, dirt and grime on skin, and even beads of sweat and blood, all of which seem almost constant companions throughout the film.

Additionally, Saving Private Ryan's desaturated color palette is afforded increased resolution in this superb transfer. While the picture de-emphasizes color and lends to the image a tone that's consistently heavy in grays, browns, and greens that gives the movie something of a bleak look, the Blu-ray remains faithful to the intended appearance of the picture and only accentuates the visual scheme for which the movie's become known. Still, there are places where splashes of brighter color manages to come through; the green grass as seen during the squad's assault on a machine gun emplacement at an old radar station stands out as perhaps the most intense color in the film. Paramount's transfer also remains sharp and crisp throughout; backgrounds remain nicely detailed, and the picture's intentionally heavy grain structure -- beautifully retained throughout the movie -- creates a consistently awe-inspiring film-like texture, allowing for every nuance captured by the film elements to remain intact. There are a few random speckles seen throughout the picture, but they only add to the gritty, throwback look that Speilberg and Kaminski so successfully capture. Blacks are pristine, deep, enveloping, and never overwhelming, and flesh tones are spot-on accurate in every scene as they carry over the elements of the picture's overall intended visual tone. Paramount has recently demonstrated with their major releases -- Star Trek, Braveheart, Minority Report, and The Lovely Bones, for example -- that when they put in the effort, there might not be a better studio out there in terms of delivering the most faithful, gorgeous, and film-like Blu-ray transfers on the market, and Saving Private Ryan may very well be the best of the lot.



Audio


Saving Private Ryan's DTS-HD MA 5.1 lossless soundtrack is everything fans of the film and Blu-ray enthusiasts hoped it would be. Certainly the track's primary source of energy and astonishment stems from the combat scenes, but it's the more subtle effects that truly bring the film to life. For all of the up-front gunfire and close-in explosions, there are countless effects -- the rattling of a flag against the pole in one of the film's first scenes, a slight breeze, the crunching of typewriters churning out notifications of death -- that all excel in terms of enveloping the listener into the film outside its primary wartime segments. Also impressive -- as much as any other sonic element in the film -- is the sound of distant gunfire and explosions that seems an almost constant companion throughout the picture, notably inside the Neuville church or, later in the movie, the assault on the radar station machine gun nest where Spielberg focuses on Upham observing the combat from a safe distance. Still, the track will undoubtedly be recognized and long remembered for its extended bookend action segments, and neither falter in any area. Beginning with the hum of the landing crafts' engines and the water pounding against their hulls and into their interiors, the Omaha beach segment submerses the listener into the pending invasion and engenders an anticipation, a fear, an adrenaline rush quite unlike anything else. Once the German MG-42s open up, however, all bets are off; the soundstage practically becomes the sandy and blood-drenched beach as rounds zip around every speaker and clank off metal obstacles scattered along the waterline and sand, while explosions in every direction incessantly punish the listening area. The low end is tight and invigorating; it's powerful but not excessively so. It's honest and heavy, but not overbearing. Indeed, this may represent the most natural low end yet to grace Blu-ray.

If there's such a thing as a soundtrack being too intense and even somewhat frightening in its realism, this is it. In fact, it almost doesn't feel right handing out superlatives to something that recreates an event that was in real life so positively devastating as the Omaha Beach landing. Suffice it to say, though, from a purely detached perspective, this is an incredible sonic achievement that places the listener in the midst of the war. Is that a good thing? In this case, yes. This track comes alive quite unlike any other in name of creating the complete Saving Private Ryan experience -- and reinforcing the picture's many themes beyond the gritty visuals of war -- and this track accomplishes all that's required of it. The movie -- and the history it represents -- deserves nothing less. If there's a misstep in the track, there appears to be a slight lip synch issue before the battle of Ramelle, found around the 2:06 mark in the film as a character shares a story about one of his brothers' girlfriends and their encounter in a barn. The effect was blatantly obvious when viewing the film with a combination of a Panasonic DMP-BDT300 Blu-ray player and Denon AVR-3808 audio receiver connected via HDMI (with the audio stream sent through a separate HDMI cable from the video stream), but seemed to be less of an issue when the Denon was paired with a PlayStation 3, also connected via HDMI. Otherwise, dialogue is accurate and crisp, never garbled or lost save for when it's supposed to be underneath the chaos of the wartime segments. Ultimately, despite what may or may not be a lip synch issue, Paramount's DTS-HD MA 5.1 lossless soundtrack for Saving Private Ryan is a rousing success and is easily in line to be a top contender for Blu-ray soundtrack of the year.



Supplements


All of Saving Private Ryan's special features are found on disc two, spread out between two categories: Saving Private Ryan and Shooting War. The latter (480p, 1:28:05), narrated by Tom Hanks, is a fascinating documentary that chronicles World War II through the lens of the film camera, the first war to be so extensively be captured on film. The piece begins with the U.S.' unpreparedness for Pearl Harbor and the unpreparedness of cameramen to shoot the coming multi-front war. The documentary looks first at Director John Ford's Oscar-winning short films on Pearl Harbor and the battle of Midway and follows to look at the history of the war through both black-and-white and color combat footage and still photographs on land, sea, and air, and the role of combat cameramen in the war effort, all the way through to the end of the war in the Pacific theater in 1945. The piece examines combat photography in both the Pacific and European fronts, and like Saving Private Ryan, it features several disturbing and graphic scenes.

The Saving Private Ryan tab opens up a long list of additional extras. An Introduction (480p, 2:35) features Director Steven Spielberg sharing scenes from the World War II films he shot as a child, his fascination with the era, and the picture's place in film history for the veterans who fought in the war. Looking Into the Past (480p, 4:40) again features Spielberg, this time discussing his research for the film, the events on which the film is based, and his approach in making the film an authentic recreation of war. Miller and His Platoon (480p, 8:23) examines the collaboration between Spielberg and Hanks and continues on to look at the additional characters and the attributes they display in the film. Boot Camp (480p, 7:37) examines the contributions of Military Advisor/Actor Dale Dye and the difficulties of the cast's physical and military training in preparation for the film. Next is Making 'Saving Private Ryan' (480p, 22:05), a solid examination of the process that was the construction of the film, featuring Director Steven Spielberg speaking on his style, the film's place in his career, and how the shooting experience differed from other pictures he's made; an examination of the shooting locations used in the film and the authenticity of the sets, props, and wardrobes; the work of Cinematographer Janusz Kaminski and the look of the film; and the importance of creating an authentic World War II chronicle.

Re-Creating Omaha Beach (480p, 17:58) begins with a brief historical overview of the Omaha Beach invasion and moves on to look at the authenticity of the sequence, shooting in Ireland, the use of Irish troops in support roles in the film, the collection of weapons issued to the actors, shooting the landing scenes, the realism of the shoot and the chaos of the set as an authentic military engagement recreation, the stunts of the sequence, the importance of safety and capturing the finest of details for the sequence, and more. Music and Sound (480p, 15:59) features Composer John Williams speaking on the role of music in the film and how it fits within the realm of the Spielberg/Williams collaborations, while Sound Designer Gary Rydstrom speaks on how the absence of music enhanced the realism of the battle scenes, his research to create the most realistic period sound possible, the process of editing the sounds together, and the construction of the sound design for the film's epic climactic battle in Ramelle. Into the Breach: 'Saving Private Ryan' (480p, 25:01) is a quality behind-the-scenes piece that features cast, crew, World War II veterans, and Historian Stephen Ambrose speaking on the real-life events surrounding the Normandy invasion; stories of brothers killed in combat; the story and themes of Saving Private Ryan; the picture's realism; Steven Spielberg's early films, inspirations, and fascination with the World War II era; the actors' physical and military training for the roles; the picture's legacy; and more. Some of the material in this supplement repeats parts of other extras found elsewhere on the disc. Parting Thoughts (480p, 3:43) features Tom Hanks and Steven Spielberg sharing a few final thoughts on the picture's themes and importance. Rounding out this collection of extra content is the Saving Private Ryan theatrical trailer (1080p, 2:16) and the film's Re-Release trailer (1080p, 2:05).



Final words


It wasn't just bullets and bombs that cleared the way for freedom, but also, and just as crucial to the war effort, the selflessness, courage, honor, and bravery of the men who fought. That selflessness, courage, honor, and bravery was for those in generations later who would view their actions with an understanding of the scale on which these men sacrificed all in the name of liberty and the hope that their descendants would be influenced to lead better lives, to do right by others, to stay true to themselves, and to demonstrate personal valor in all areas of life, in their hearts and souls, words and actions, principles and values. For all the books and memorials and movies, Saving Private Ryan is perhaps the most obvious but also most important tool through which one may see their courage, sacrifice, and purpose to the greater good not only as it applied to the world in 1942, but in the years following the film's release and, if there is any justice in the world, in the decades -- yea centuries and millennia -- to follow. Indeed, Saving Private Ryan is absolutely one of, if not the most, important pictures ever made. It's also quite possibly the best. Compared to those of its genre, perhaps only Glory -- a film that shares with Saving Private Ryan themes on the importance of freedom, respect, courage, and personal sacrifice for the greater good -- may be seen as its equal, and for as many other exceptional War pictures as there are, from All Quiet on the Western Front to Platoon, from Sergeant York to Das Boot, no other quite proves the equal of Saving Private Ryan, not only in terms of the importance of the raw grittiness or violence, but the far more crucial elements of humanity that truly convey what the film and its purpose is all about. Paramount's Sapphire Series Blu-ray release of Saving Private Ryan is the definitive edition of the film, and a necessary edition to every movie library. Boasting a sparkling 1080p transfer and a mesmerizing lossless soundtrack, the technical presentation is just as good as the movie. A strong-in-quality but somewhat underwhelming-in-quantity collection of extras rounds out what may very well be the must-own Blu-ray of 2010. Saving Private Ryan earns my highest recommendation.

from - blu-ray.com

Out of Africa Blu-ray

Out of Africa burst on the film scene in the mid-1980's to almost universal acclaim, culled from the writings of both the Danish journalist (in the literal meaning of the term, one who writes a journal) Karen Blixen (who wrote under the pseudonym Isak Denisen), as well as the authoritative biography of Blixen by Judith Thurman. As Pollack discusses in the incredibly informative and fascinating commentary (ported over from the previous Collector's Edition DVD), an adaptation of Blixen's works had been kicking around Hollywood for years, but no one had been able to come up with the correct approach for such a necessarily reflective piece, one Blixen herself told as a memory. Adding Thurman's more objective voice to the mix allowed the filmmakers perspective and way to get at the character from more than just an interior monologue. As it stands, Out of Africa is still a film filled to the brim with soliloquy almost from the first frame, as Streep, in her "accent on full" mode, leaps into Denisen/Blixen's world with aplomb, giving us an initial peek into her sojourns in Africa while alerting us to the fact she's back in Denmark.
Sydney Pollack had one of the longest, most venerated careers in the annals of Hollywood. In fact, Sydney Pollack had three of the longest, most venerated careers in the annals of Hollywood, for this multifaceted talent carved rather respectable bodies of work not only as one of the most acclaimed directors of the second half of the 20th century, but also as producer and actor. It's fun if you're a denizen of TV Land to see Pollack pop up as a bit actor in several late 1950's and early 1960's television episodes, often with either a trademark earnest quality, or interestingly enough with an alternative smarmy, almost edgy feel. He's a background player in episodes of everything from The Twilight Zone (in the charming "The Trouble with Templeton," about an actor trying to regain his lost glory) to Playhouse 90's adaptation of Hemingway's "For Whom the Bell Tolls." Somewhere along the line in the early 1960's, Pollack began directing scores of episodic television, until by the mid-1960's he was starting to make his mark in features with such pieces as The Slender Thread and his first Oscar nominated best director outing, the marvelous They Shoot Horses, Don't They?. In the 1970's, Pollack struck up a rather successful collaboration with Robert Redford, helming several blockbuster Redford films like The Way We Were and Three Days of the Condor, as well as some less successful, but no less interesting attempts like Jeremiah Johnson and The Electric Horseman. Just as some people may have rolled their eyes when I mentioned The Way We Were as a Redford commodity (come on—it's a Babs flick, and we all know it), they may be similarly disinclined to think of Pollack's epic 1985 opus Out of Africa as anything other than a showcase for the redoubtable Meryl Streep, and I don't think I'd be up for much of an argument. Despite Pollack and Redford's long history of working together, the actor delivers an almost alarmingly laconic performance in Out of Africa, perhaps only too aware that Streep was going to chew the scenery to such an extent, relatively speaking at least, that it was pointless to do anything other than sit back and watch.

Blixen was caught in a marriage of convenience with Baron Bror (AKA Hans) von Blixen-Finecke (Klaus Maria Brandauer) when she arrived in Africa to supposedly set up a cattle and dairy operation with her husband. She soon meets the dashing Englishman Denys Finch Hatton (Redford, not exactly the model of a modern Major General, or any other iconic British sort), with whom, in the best Hollywood romantic tradition, she begins having an affair. Out of Africa really could have been just another m้nage-a-trois, albeit with elephants and the occasional zebra, had it not been for Streep's commanding performance and some very wise directorial decisions on the part of Pollack. First of all, Pollack shepherded the project along an maintained an emphasis on the African side of the story, including Bror's malfeasance and moral turpitude for much of the first part of the film, while the burgeoning Blixen-Finch Hatton romance simmers in the background. Had Pollack not taken this course, this easily could have been a retread of one of the many Warner Brothers romantic melodramas of the 1930's and 1940's featuring Bette Davis making goo-goo eyes at, say, Charles Boyer, especially considering the film's lurid dalliance with syphilis. Instead the story is anchored in the very real failings of people which just happen to be taking place in an exotic locale.

Secondly, once the romantic angle finally flowers, Pollack just as wisely lets Redford be Redford. While this may seem counter-intuitive, in the same way that Kevin Reynolds let Kevin Costner be himself in their flawed Robin Hood, here Redford's very laissez-faire style actually works for the good of the character, lack of English accent and mannerisms be damned. As Blixen slowly begins to realize that Finch Hatton will never commit, Redford's ultra-relaxed approach makes perfect sense, as the too wound up Blixen, under the careful watch of Streep, wants action, so to speak. The dialectic between the fierce, uptight performance of Streep and the almost surfer-dude ethos of Redford is alarming at first glance, but ultimately becomes one of the saving graces of Out of Africa.

Pollack also had the wisdom to assemble a top notch crew, many of whom, along with Pollack himself, walked home with Oscars as a result of their stellar work. Cinematographer David Watkin captured the "Dark Continent" in an up close an intimate style which augmented the personal story being told, instead of turning the film into a travelogue of sorts. Though I am on record stating I personally feel Bruce Broughton should have taken home the Academy Award for his Silverado score, there's no denying that John Barry's Oscar winning music provides a big, romantic and lushly orchestrated feel to much of the film, and remains one of the most fondly remembered underscores from the era.

Out of Africa managed to tread a fine line between being a traditional "chick flick," heavy on romance and exoticism, while providing at least a taste of action and adventure which appealed to a fair number of males. What the film ultimately achieved, however, was something a bit more remarkable if perhaps unexpected. It put a well respected, if by then largely forgotten, Danish writer permanently on the map of classic literature. (Two years after Out of Africa, Dinesen's writing would inspire another Oscar winner, Babette's Feast). For an art form like film which sometimes goes out of its way to eschew any literary ambitions, that is an achievement to make Pollack, Streep and Redford justly proud.

Caveat: This Blu had a very hard time loading on either of my PS3's, both of which are up to date on firmware. There was a noticeable grinding noise on both players, not only when the film loaded, but throughout the first few chapters and again at the last chapter. The grinding also was very noticeable if I used the Pop Up Menu to access various features.

I'm about to commit heresy, if not outright blasphemy, so I am prepared for the brickbats. I never saw Out of Africa in the theaters, but I have owned it on both VHS and DVD, and I have found each home video incarnation to be remarkably ugly from an image standpoint, something that has nothing to do with Watkin's exceptional cinematography. Unfortunately, that trend continues with a lackluster Blu-ray presentation, delivered via an AVC codec in 1080p and an aspect ratio of 1.85:1. First, the good news: contrast is noticeably better than the SD-DVD, though that is offset somewhat by a rather peculiar color shift toward the red side, especially in the skin tones. But the many night scenes offer a new wealth of detail due to wonderfully rich black levels and good, solid contrast. The bad news is sadly more dramatic. First of all, some of the disappointment is simply due to the superior resolution of the Blu-ray, which offers a sometimes unwanted peek into the filmmaker's craft. For instance, I had never before realized that the two shots of Streep and Brandauer early in the film were obviously made before either a green screen or rear projection, something that is all too apparent in this incarnation. But even more troubling is an omnipresent softness, coupled with a lot of grain, that just gives a sort of dirty feel to a lot of the film. There are also the ugly halos of edge enhancement, which you can spot as early as in the scene with the biplane, where the support struts clearly show the effect. The source elements themselves also show occasional specks and other damage.

Things aren't uniformly depressing. There is certainly an uptick in clarity and depth of field is quite dramatic at times. Close-ups certainly fare better in the detail department, as might be expected, but overall there is a noticeable improvement, albeit slight, over the SD-DVD. I just don't think it's enough of an improvement for anyone to get too excited about.

from blu-ray.com

The Last Emperor Blu-ray Review

Back when I was a university student studying a course in the Far East we learned the term 'Heaven's Mandate'. It was said that when one dynasty overthrew another, the mandate from powers above to rule China had been lost and a new mandate was given to the winners. It was a self fulfilling idea because if the Mings went out and the Manchus went in it was because the Manchus now had the Mandate. The Last Emperor is the story of Young emperor Pu Yi who was the last Manchu Emperor, crowned at the age of 3 in 1908 and removed in 1911 during the revolution. Pu Yi spent half the rest of his life trying to gain that back and the other half trying to roll with the punches for making some very bad choices in trying for the former. By that time if you want to extend the idea, the mandate now fell to Mao Tse-tung and the Chinese Communists. Still very few people had as colorful, as tumultuous, and as epic a life as Pu Yi as portrayed by Chinese actor John Lone. Whatever else Pu Yi was, he was a survivor and maybe if he hasn't got Heaven's mandate any more, he's at least got a heavenly place. From 1911 until he was kicked out, the young Emperor was still permitted to run a kind of fairyland kingdom in the Forbidden City area of Peking which was the exclusive domain of the Chinese Emperors for centuries. During that time he had an English tutor in Peter O'Toole, the one major occidental player in The Last Emperor. The relationship here is similar to the one shown in Seven Years In Tibet between Brad Pitt as Heinrich Harrer and the young Dalai Lama. Here though the emphasis is on the pupil not the tutor. The Last Emperor is an epic international achievement, not possible during the years of Mao Tse-tung's rule. As a film it received great international respect winning nine Oscars including Best Picture and Best Director for Bernardo Bertolucci. That's quite a mandate in and of itself. Though the film is more than two and half hours long I guarantee your interest will not flag. And it really is worth it to see at the very end the elderly Emperor's meeting with the new Red Guards of Mao's Cultural Revolution and that bit of symbolism with the cricket. Absolutely priceless, just as the film is.
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Bernardo Bertolucci's "The Last Emperor" (1987) arrives on Blu-ray courtesy of British distributors Optimum Home Entertainment. The disc contains the Theatrical Version of the film (164 min) as well as the longer TV Version (218 min). The supplemental features on the disc include an audio commentary with Bernardo Bertolucci, producer Jeremy Thomas, screen-writer Mark Peploe, and composer-actor Ryuichi Sakamato; an in-depth documentary about the making of the film; "Postcard from China", with optional commentary by Bernardo Bertolucci; and the film's original theatrical trailer. Without optional English subtitles for the main feature. Region-B "locked".
At the age of 3, Pu Yi (John Lone, War) is taken away from his mother, sent to the Forbidden City and crowned Emperor of China. He is not allowed to interact with the outside world. As time goes by, Pu Yi becomes more and more frustrated with the cannons he is expected to respect. Outside of the Forbidden City the world is quickly changing. The Japanese Army invades China and Manchuria; then Mao's forces take over. In the beginning, Pu Yi is spared from the political turmoil, but he is eventually sucked into it. A British mentor (Peter O'Toole, Lawrence of Arabia) arrives to the Forbidden City and inspires the Emperor to begin searching for a new identity. Pu Yi also marries a beautiful girl (Joan Chen, Golden Gate). Pu Yi abdicates in 1912. Later on he returns to Manchuria, hoping to be an Emperor again, but is tricked by the Japanese invaders and consequently, after WW2 comes to an end, captured by the Red Army. The last Emperor is then transferred to a Chinese prison where the communists begin to question his history with the Japanese. The Last Emperor is Bernardo Bertolucci's most highly-decorated picture. Visually, it is a stunning tour de force, which few of its contemporaries, if any, could rival. It is also Bertolucci's - a passionate Marxist - most elegant yet uncompromising critique of absolute power. Despite of the fact that The Last Emperor chronicles an incredibly dramatic story, referencing to a number of key political events from the beginning of the century, its tone is notably intimate. In fact, Pu Yi's struggle to adapt to the world he has been kept away from, and consequently change it according to his vision, seems uncannily subdued. Not surprisingly, The Last Emperor is filled with a number of protracted close-ups where Pu Yi's face is examined - pain, joy, disappointment and elation are captured by Bertolucci without resorting to high-powered lines. Still, even though Bertolucci spends an enormous amount of time on Pu Yi and his maturation as a leader, his persona remains a perplexing enigma. There are controversial decisions the Emperor produces while juggling with the colonial interests of the Japanese, and later on Mao's communists, that are difficult to fully comprehend. Logically, Bertolucci's quiet but thorough examination of Pu Yi's history enhances even more the divisive elements in his legacy.The Last Emperor has been shown to audiences around the world in two different versions – a shorter version (165 min), also referred to as the Theatrical Cut, and a longer version (218 min), which was reconstructed for Italian TV. I've seen both and frankly have a difficult time deciding which is the more compelling one. The theatrical cut maintains a steady tempo, which given the story's episodic structure is probably the preferred way to see this film. I would also say that it links a lot of the political events I mentioned earlier without dramatically widening the gap between Pu Yi's political and personal lives. On the other hand, the TV version adds substantially more, particularly in regard to Pu Yi's childhood years. However, here Bertolucci also elaborates on a lot of the political intrigues from the second half of The Last Emperor. As a result, the intimate tone of the story I mentioned earlier is substantially weakened. Nevertheless, The Last Emperor remains a poignant account of a historic figure whose rise and fall at a time of great political turmoil are unquestionably fascinating to behold. Furthermore, the film effectively dispels a number of myths about absolute power that, somewhat ironically, are still alive and well in the Emperor's homeland. Presented in an aspect ratio of 2.02:1, encoded with MPEG-4 AVC and granted a 1080p transfer, Bernardo Bertolucci's The Last Emperor arrives on Blu-ray courtesy of British distributors Optimum Home Entertainment.There is nothing on the cover of this Blu-ray release indicating that it contains the same, supervised and approved by cinematographer Vittorio Storaro, high-definition transfer, which Criterion used for their Blu-ray release awhile ago. As far as I am concerned, however, this high-definition transfer is practically identical to Criterion's.As I noted in our review for the Criterion Blu-ray release of The Last Emperor, despite the controversy surrounding Mr. Storaro's decision to have the film re-framed in 2.02:1, I think that the presentation is very strong. Fine object detail is pleasing, clarity very good and contrast levels convincing. The color-scheme, however, is what impresses the most. Yellows, blues, greens, reds, browns and blacks look fabulous. Furthermore, as it was the case with the Criterion release, here I was also able to spot some mild color softness during specific scenes. A good examples are the scene where the Emperor is seen playing tennis and the scene where he is greeted by the Japanese officials in Manchuria. Some mild edge-enhancement is also noticeable. Macroblocking, however, is never a serious issue of concern. Selected noise corrections have been applied, but the film's grain structure is intact. Finally, there are no serious stability issues to report in this review. To sum it all up, if you reside in a Region-B territory and could not take advantage of Criterion's Region-A "locked" release of The Last Emperor, I strongly recommend that you consider adding this Blu-ray disc to your library. (Note: This is a Region-B "locked" Blu-ray disc. Therefore, you must have a native Region-B or Region-Free PS3 or SA in order to access its content).

some analysis and photo - blu-ray.com

Percy Jackson & The Olympians: The Lightning Thief

Modern and mythical worlds collide in this thunderous fantasy-adventure starring Pierce Brosnan, Kevin McKidd and Uma Thurman as you've never seen them before! Percy Jackson is no ordinary teenager...he's just learned he's the son of Poseidon and is accused of stealing Zeus' lightning bolt - the most powerful weapon ever created! With storm clouds brewing, Percy embarks on an incredible cross-country journey to prove his innocence, recover the bolt and prevent a war amongst the gods that could destroy our world! It's the 21st century, but the gods of Mount Olympus and assorted monsters have walked out of the pages of high school student Percy Jackson's Greek mythology texts and into his life. And they're not happy: Zeus' lightning bolt has been stolen, and Percy is the prime suspect. Even more troubling is the sudden disappearance of Percy's mother. As Percy finds himself caught between angry and battling gods, he and his friends embark on a cross-country adventure to catch the true lightning thief, save Percy's mom, and unravel a mystery more powerful than the gods themselves

10 Extended and Deleted Scenes
The Museum – Grover Photographs Aphrodite
BD Exclusive: The Infirmary – Percy Meets Annabeth
BD Exclusive: Aphrodite’s Daughters – Grover Jumps Into Spa
BD Exclusive: Int. Bus – Percy Looks At The Map
BD Exclusive: Auntie Em’s – Medusa Chases Percy
Int. Pickup Truck – Grover Talks About Zeus’ daughter
Lotus Land Casino – Grover Dances
BD Exclusive: Lotus Land Casino – Percy Meets 50’s Guy
Lotus Land Casino – Percy, Annabeth and Grover Fight The Guards
Hades’ Mansion – Hades Talks To Percy
BD Exclusive: Secrets of the Gods
Discover Your Powers Quiz
The Book Comes To Life
BD Exclusive: Inside Camp Half-Blood
BD Exclusive: On Set With Brandon T. Jackson
BD Exclusive: Meet The Demigods

-If you enjoyed the book at all, more than likely you'll hate the movie. One of the worst adaptations of a book, if not the worst, I've ever seen. With that being said, even if I hadn't read the book I wouldn't have liked this movie. The acting is not good and the effects are sub G.I. Joe. I definitely think anyone should rent this before buying.

Alice in Wonderland Blu-ray

VideoVideo codec: Video resolution: 1080pAspect ratio: 1.78:1Original aspect ratio: 1.85:1Audio
English: DTS-HD Master Audio 5.1French: Dolby Digital 5.1Spanish: Dolby Digital 5.1
English: DTS-HD Master Audio 5.1French: Dolby Digital 5.1Spanish: Dolby Digital 5.1 (less) Subtitles
French, Spanish
French, Spanish (less) DiscsBlu-ray DiscThree-disc set (1 BD, 2 DVDs)Digital copy (on disc)DVD copyBD-Live
After a lukewarm reception to its latest 3D movie, Disney has revealed specs of the upcoming Alice in Wonderland Blu-ray, and it will not have a 3D presentation.
Disney's remake of the classic animated film from over 50 years ago will be coming out on Blu-ray later this year. As the first major 3D release from the studio since the explosion of home 3D entertainment, it is interesting to see that there is no planned 3D content on the disc. The 3D Blu-ray Disc that everyone is talking about is, of course, Avatar. People are flocking to the stores for that movie, but the initial BD release does not contain 3D functionality. That will come with a later release. Unlike Avatar, however, Disney has announced no plans to create a different Blu-ray version of Alice in Wonderland with 3D. Although the film has done quite well at the box office, Alice was greeted with mediocre reviews and even worse comments about the 3D effects, which were added after the movie was shot and not part of the original production plan. The Alice Blu-ray that was announced is not a bare-bones release either. It is a three-disc combo pack with tons of extra goodies, so a later 3D release seems unlikely, at least at this point. It brings up questions about the viability of 3D in the home market. Consumers are sitting out there with a brand new 3D TV and no 3D content to watch. If other studios become as discerning as Disney, it could stifle consumer adoption

According to a recent article in the Daily Mail, the new Alice in Wonderland (2010) will be coming to DVD and BluRay approximately 3 months after it's release in theaters.Apparently, some theaters in the UK are up in arms and refusing to show it."But despite all this nurturing of Burton's vision, his movie is under threat of being smothered at birth. Quite extraordinarily, the UK's three largest cinema chains - Odeon, Vue and Cineworld - are threatening not to show it. They account for 65 per cent of the UK's cinemas, and 90 per cent of the 3-D screens, so the threat is a serious one. Given that the premiere is next Thursday and the movie opens on March 5, it's a disaster. The cause of the angst is that Disney wants to release the film on DVD and Blu-ray only three months after it opens at the cinema, rather than the standard 17 weeks. It wants to get the DVD into the shops before the midsummer doldrums, and to capitalise on the marketing of the movie while it is still fresh in people's minds. But the cinemas are afraid that people will just wait to buy the film on DVD rather than spend money on going to the pictures. They aren't alone: four big cinema chains in Holland are boycotting the film and the Italians are rebelling, too."

from- blu-ray.com

Monsters vs. Aliens 3D Blu-ray Review

It's fitting that DreamWorks' Monsters vs. Aliens is the first 3D Blu-ray out of the gate; its March 2009 theatrical release ushered in a new era of sorts, the movie the first ever feature to be generated in stereoscopic 3D from the start rather than filmed or, as the case may be in the digital realm, rendered in a traditional 2D landscape and only after the fact tweaked for 3D viewing. It's with much excitement that this disc is finally here, and while the 1080p 3D HD presentation is excellent, the overall package does suffer from a few shortcomings that are likely to only help in swaying many away from 3D for the time being, chief among them the simple lack of availability of this -- or any -- title on the market for a reasonable price. Negatives aside but certainly to be discussed further down in the review, Monsters vs. Aliens delivers an intense and altogether fun 3D viewing experience; considering that this is the first disc on the market and was enjoyed on a first-generation 3D-enabled television set (more info on Panasonic's wonderful 50" 3D HDTV plasma display here), the future looks very bright for 3D Blu-ray considering how good this video presentation proves to be, and on the very first try at that. This review will deviate from the norm, focusing on the total 3D experience rather than providing an analysis of the movie itself, which may still be found -- and still applies -- under the review of the original 2D Blu-ray release of Monsters vs. Aliens. As the availability of titles widens, and releases are granted a 3D transfer from the get-go, future 3D reviews will follow the more traditional Blu-ray.com review format, but the importance of the title and the novelty of the technology, in this case, supersedes an analysis of the film, particularly given that it's already been covered and is about the only major component that has gone unchanged between the 2D and 3D releases. It's also important to note that the Monsters vs. Aliens 3D Blu-ray reviewed herein was watched on the above-referenced Panasonic TC-P50VT20 3D TV, and not any of Samsung's currently-available LED 3D HDTV televisions with which this disc is bundled as an "exclusive," yet still available for purchase with two pair of 3D glasses that operate only in conjunction with Samsung's 3D sets. Unfortunately, a direct comparison as to how the title fares on each manufacture's displays -- in the same environment -- is not possible at this time, but the purpose of this review is to provide an overview of what home 3D viewing is capable of, regardless of the display. DreamWorks' 3D Blu-ray release of Monsters vs. Aliens may be viewed in either 2D or 3D modes; Panasonic's DMP-BDT300 3D Blu-ray player allows for users to choose whether to immediately play all inserted 3D discs in 3D, or to select either version via a pop-up screen before playback begins. Both versions on this disc offer identical audio and supplemental features through a uniform menu screen (which is also displayed in 3D when the 3D version is selected). The disc was also inserted into a PlayStation 3 system running the latest firmware (v. 3.21) to see if it would play the 2D version; the system simply failed to read the disc. The 3D experience begins with the menu screen; it's a nifty addition to see the menu options seemingly floating in front of the television screen, but the fun really starts once the movie begins. Monsters vs. Aliens opens with an establishing shot of a planet that's orbited by a rocky ring formation that seems to float and protrude from the set, followed by a static shot of a planet that seems to literally be hovering in the middle of the screen, offset by a static star-clustered backdrop that seems far distant from the planet, the combination delivering an exceptional sense of depth. That's the strong point of 3D encapsulated, right at the beginning of the movie; it's a seemingly minor visual, but the format's ability to give it such a sense of space -- even something as simple as an immobile round object set against an unchanging background -- makes for an all-new way to experience the environments within movies. It also opens a brand new field of technical appreciation for the work and artistry that goes into making these 3D movies look so fantastic, right down to the most ordinary of shots that offer breathtaking visuals even through the most routine of elements. Fortunately, Monsters vs. Aliens provides quite a bit more than just dimensional static imagery. There are plenty of highlights -- 94 minutes worth, to be exact -- but the movie's opening minutes prove enough to provide some solid examples of what both the movie and the 3D format have to offer. Snowflakes as seen in the first on-Earth shot appear to swirl not only on the screen but through it; even these tiny objects seem to occupy a real space that allows for a very natural-looking shot, no matter the size of the flakes or the density of the snowfall. Following that is one of the few obvious "gimmick" scenes in the movie, a paddleball that seems to shoot straight out of the screen. The effect is impressive to say the least; this was one area where older "anaglyph" 3D movies worked fairly well, and it translates superbly to full HD 3D, too, though it is understandably overshadowed by the far stronger sense of depth and generally clean lines that are a result of the relative absence of "ghosting." A shot inside a wedding chapel in chapter three that looks down the isle towards the altar and subsequently back towards Susan as she walks forward proves, perhaps, the best in the movie; it positively places the viewer in the church, and never before for home viewing has a location appeared so real (even though it's animated) as it does here. These shots give new meaning to "being there," and they engender a desire to watch something similar that's been filmed in the real world to see how it would stack up to what is arguably the best series of shots in the movie. Even the film's title cards, which appear prior to the wedding scene, impress; they seem to simply hover in front of the screen, and they're sharp as a tack, too. Though there's never really any doubt as to how good the sense of depth is throughout the movie, it's worth hitting the "status" button on the Panasonic remote to really see just how good the 3D HD material looks. Pressing that button twice on Panasonic's 3D Blu-ray player's remote brings up a graphic across the top of the screen the provides information on the chapter number, time played, and time remaining. It's a flat graphic (provided that the player's "pop-out" level is set to "0;" if it is set to any of the ranges between "1" and "4," the player's graphical interfaces, including the status bar, will appear in 3D during 3D playback) and one that's not influenced by the 3D material; though it obscures anything it sits on top of, the material that's still visible below it only appears accentuated in the way it seems to settle off the front of the screen and move back deep within its bowels, with the graphic a marker of sorts that delineates where 2D imagery begins and ends under "normal" viewing conditions. For as good as Monsters vs. Aliens looks, there are some minor issues with both the encode and the physical act of viewing the material, though such problems are few and far between. Though more suited for discussion in the "video" portion of the review, it's worth noting now that, yes, there are some infrequent instances of clearly-visible "ghosting," but such is definitely the exception to the rule, at least on Panasonic's 3D TV. Additionally, Panasonic's glasses are far bulkier than Samsung's, and while eye strain proved a non-issue during the 94-minute film, the weight of the glasses -- most of which settles onto the nose -- can become an annoyance and, sometimes, a frustration. Overall, however, the quality of the 3D viewing experience is heretofore unparalleled in the home; it's practically seamless, in fact, compared to the old and grossly inconsistent anaglyph 3D presentations, even those on Blu-ray (see, for instance, The Polar Express, Journey to the Center of the Earth, and My Bloody Valentine). Better colors, sharper images, and significantly less ghosting more than make up for the hassle of having to wear the heavy glasses, and for anyone with the means to do so, whether in the home or in-store, it's worth comparing this new 3D technology and anaglyph 3D back-to-back -- preferably with the same material such as the short film B.O.B.'s Big Break which appears in full 1080p 3D on this disc and in anaglyph 3D on the old 2D Blu-ray disc -- simply to marvel at the drastic increase in every single area of the viewing experience. Simply put, Monsters vs. Aliens' 3D Blu-ray presentation looks just as good as its 2D Blu-ray counterpart in terms of color, detail, sharpness, and all the other major factors that contribute to a more "traditional" top-quality Blu-ray release, with the added bonus of a practically seamless high This Monsters vs. Aliens 3D release will be remembered as the first full-length, 3D HD Blu-ray movie out there, but it's unfortunately not available for sale to the general public, at least not at a reasonable price. DreamWorks has delivered a capable, good-looking, nearly impeccable 3D experience out of the gate, but the goodness stops with the visual presentation. Hampered by the absence of a lossless soundtrack and coming up well short of the original release in terms of extra content, the disc itself is, frankly, something of a disappointment outside of the 3D presentation, which in all honesty, is the major selling point here. Hopefully the off-the-shelf retail version -- whenever that may become available -- will offer a more robust Blu-ray presentation. Currently, the only way for 3D early adopters that purchased Panasonic's 3D HDTV and 3D Blu-ray player to own Monsters vs. Aliens is to purchase Samsung's $350 bundle that also includes two pair of 3D glasses that only work with their branded gear. Is Monsters vs. Aliens worth almost as much as the 3D Blu-ray player? Maybe for the super-wealthy, but for the average consumer, the answer is "no." Would it be worth $20 or even, maybe, a premium of about $30 as-is, with no lossless soundtrack and few extras? Probably, even for those that already own the 2D Blu-ray. On that note, there simply needs to be more 3D content made available now to push the format. It makes no sense for the gear to be out there -- and it's been over a month already -- with no movies available for off-the-shelf sale at a reasonable price. At the beginning of the format's life, it's one thing to have a title or two as manufacturer or retailer exclusives provided there is something else out there to watch, but the absence of more -- yea any -- titles is a major hindrance to the promotion and adoption of the technology. There is currently nothing but rumor and speculation as to when more 3D Blu-ray titles will be available for sale in the U.S., and most official overseas announcements are still coming in the form of bundled packageswith electronics manufacturers. The rumored titles -- Coraline , Ice Age: Dawn of the Dinosaurs, and Cloudy With a Chance of Meatballs -- are all animated movies and with relatively short runtimes geared towards children, and how the studios handle the audio and special features on these titles, available at retail or not, will prove just as interesting as any pending firm release dates and price structures. It will also be interesting to see how longer movies -- Avatar and its 166-minute theatrical version runtime comes to mind -- not only look and sound in 3D, but how the studios will implement special features; they'll likely have to be included on a separate disc, if at all. Nevertheless, Monsters vs. Aliens -- warts and all -- proves a winner where it counts the most as the very first Blu-ray 3D title on the market; once the studios begin releasing titles on a regular basis and manufacturer exclusives become a thing of the past, there's no doubt as to the viability of 3D Blu-ray; it's off to a solid start -- minus the lack of titles -- and can only improve in the coming months.

from - blu-ray.com

Avatar Already Top-selling Blu-ray Ever

VideoVideo codec: MPEG-4 AVCVideo resolution: 1080pAspect ratio: 1.78:1Audio
English: DTS-HD Master Audio 5.1English: Dolby Digital 5.1English: Dolby Digital 2.0Spanish: Dolby Digital 5.1... (English: DTS-HD Master Audio 5.1English: Dolby Digital 5.1English: Dolby Digital 2.0Spanish: Dolby Digital 5.1French: Dolby Digital 5.1Portuguese: Dolby Digital 5.1 (lesSubtitles
English SDH, Spanish, Portuguese
English SDH, Spanish, Portuguese (less)Discs50GB Blu-ray DiscTwo-disc set (1 BD, 1 DVD)DVD copy

20th Century Fox Home Entertainment has announced that the Blu-ray edition of James Cameron's Avatar had sold 2.7 million units by Sunday afternoon, thus surpassing in four days the lifetime sales of the previous top-selling Blu-ray, The Dark Knight, which took over a year to sell 2.5 million units. Overall, Avatar has sold 6.7 million copies on packaged media. The title has similarly smashed sales records in France, Germany and Japan, where around 60% of sales were for the Blu-ray. Keith Feldman, general manager and exec VP of international for Twentieth Century Fox Home Entertainment, said: "The overwhelming day one sales in key international markets — such as France and Germany — confirm the strength and vibrancy of the market, as well as the overseas appetite for high-definition product in the home." According to the studio, Avatar has sold more copies in a single day in grocery and drug stores than The Dark Knight did in those outlets over its entire lifetime. The title is driving the sale of Blu-ray players at Best Buy.

As for those that say it sold just for the eye candy and special effects...speak for yourself. I happen to love Avatars story much more than the Dark Knights. That movie got a boost because of Heath Ledgers death. Its a good super hero movie its not that stellar imo though and has no more substance than Avatar. I watched TDK twice and was getting bored the second time. I have watched Avatar 3 times and not bored at all, cant wait for the 3D blu.

-No wonder though. I didn't like the movie, but even I want this on Blu-Ray to experience just how good it looks and sounds. I watched it in a local 2D theater with a rather crappy screen and sound, so I get better experiences in my own home. It's pretty amazing though how fast it has sold, but that was to be expected. You don't gross 2.8 Billion Dollars or so in theaters and then sell underwhelmingly on DVD & BD. Gotta give credit to Cameron though...he first makes the biggest grossing movie of all time based upon a doomed ship nothing could sink, and sure enough, Titanic still didn't sink until the day when he returned to the theaters 12 years later and sinks it. There's something to be said about a guy who can make the two biggest grossing movies of all time like he did with Titanic and Avatar. Impressive enough on it's own, but when you look at how he first made history with Titanic, and nothing in 12 years could beat it, and then he comes back and with one movie, completely obliterates the box-office.. Can't help but be impressed even if I actually didn't like Titanic or Avatar. (My favorites are easily Terminator 2 and Aliens)

-This is very cool. but Blu-ray is also more popular now and has a larger install base then when The Dark Knight came out, so this is not really a fair comparison. Not to mention, The Dark Knight is loved for substance and story telling. Avatar is loved for eye candy and special effects, nothing more.

from -blu-ray.com