Source France | Publisher : Universal Pictures | Release date : 13 March 2024
Video format
2160p24 | Ratio 2.00
HDR10 | BT.2020
HEVC encoding | DI 4K
Soundtrack
English Dolby Atmos
English Dolby Digital Plus 7.1
Subtitles
English
French
Rated 3 of 5
Artistic : 4.5 | Video : 8.5 | Audio : 8.5
It is brought to the attention of our dear readers that, in addition to the specified and used viewing equipment, the rendering may differ from one installation to another, whether or not it is calibrated, as well as personal preferences and expectations may influence notation. In addition, images (extracted from a free image bank and our disc using PowerDVD 23 Ultra) serve as an illustration and cannot be considered representative of the tested edition.
Test equipment and condition (Config. HP: 5.1.4)
Video broadcaster : Sony Bravia XR-65A95L (Professional HDR)
Sources : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant : Sennheiser Ambeo Soundbar Max (Dolby Atmos | Dolby Surround), SVS SB-4000
WORK - Killing mascots
Mike, a troubled young man, is still haunted by the disappearance of his brother ten years ago. In order not to lose the custody of his sister Abby, he accepts a night guard position in a disused restaurant, the Freddy Fazbears Pizzeria…
Even though the disturbing atmosphere reminds the dark universe of cult video game that it has the heavy task of adapting, this horrific suspense produced by society Blumhouse only touches on its fantastic potential (the clinches of the eye to the frankness are not enough) and hard to capture the anguish that made it the essence.
Too conventional in its narration (in addition to misleading in scriptural facilities) and its effects (a handful of jump scares and that's all), it also takes itself terribly seriously while it does not develop its characters (reduced to archetypes) or its stakes (the trauma being only a salutary pretext to advance the plot).
Remains impressive mechanical antagonists (a superb animatronics created by experts of the Jim Hensons Creature Shop) and one Matthew Lillard who reconnects with the genre which has become famous (Scream)... But again, very few in both cases. Definitely, opening the doors of this pizzeria to the general public was really not a good idea.
« Kids loved this place in the '80s. It closed years ago, but the owners are still attached to it. »
IMAGE - The pizzeria of horror
This UHD HDR10 transfer to the febrile HEVC compression in places (a very fluctuating flow despite an average bitrate of 60 Mbps) does however seriously restore the retro glauque photograph (how Stranger Things) of Lyn Moncrief.
The definition does not fluctuate despite the ambient sombritude (everything is perfectly clear), a slight improvement in the restitution of fine details is noticeable (faces, the craze of places, textile fibres, the texture of robotic creatures) and the frame increases in width thanks to a slight dezoom. Note that the ARRI Prime DNA optics used during the shooting give the ensemble a small shower of softness that is particularly well suited to the survival look sought after horror.
Taking place at 90% night and/or in the dark, the contrasts had to be managed... And this is the case since darkness is admirably rendered by an optimized management of blacks coming to balance the shadows; That strange neon pierce that and there.
Despite a MaxCLL measured at 669 nits (a figure distorted by the blinding appearance of logos at program opening), the MaxFALL capped at 60 cd/m2 with bright peaks barely approaching 110 nit. It is dark, very (very) dark even, and in the game of the seven errors it is difficult to see a difference in luminous intensity with the SDR calibration.
All the opposite, in short, of the WCG technology, generously exploited here, with its bright colors at will and richly saturated. For from drawings to illuminations (violet, red and yellow) through the shades of mascots, they help to fill their sights.
Who's afraid of the big yellow rabbit?
Essentially dialed but no less devoid of careful spatialization (the surround channels abound with more or less disturbing effects), the VO Dolby Atmos (16-bit, 3299 kbps) delivers a sympathetic dynamic during the jump scares, basses that delight when the horror comes and a striking verticality (with electrostatic interference and in the last straight line) even if not present. Group score The Newton Brothers, he plays his score with sounds actively contributing to the atmosphere. But like the work she accompanies, this soundtrack could have done a lot more.
Less precise at the back and unloaded from part of the power of one's friend, the VF Dolby Digital Plus 7.1 (768 kbps) is more slightly equipped but still enjoys some clarity. The dubbing is well integrated into the original mixing.
CONCLUSION - A child menu please
Refusing to deliver horror in camera yet ordered, this Five Nights at Freddy live action should satisfy only young teenagers. And that's too bad since the 4K Ultra HD table is well set and the A/V card appetizing!
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