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Welcome to The 4K Ultra HD Bazaarvo monthly appointment to find out all about the latest 4K releases and the visual and audio experience they offer. Born of his author's passion for physical media and his desire to share with you the pleasures of cinema at home in his most accomplished form, each issue is the opportunity for the celest wolf to test and evaluate the audio/video performances of many discs released in France and internationally, guiding you through the subtleties of the HDR, the nuances of the WCG and the immersion of 3D soundtracks.
Whether you're a seasoned cinephile looking for the best editions of the market or an amateur wishing to maximize its home-cinema installation, follow the recommendations of our expert and prepare to be amazed by a quality image and sound you thought so far reserved for cinemas. Good reading and enjoy every issue to come! #WeLovePhysicalMedia 📀✨
Before entering into the details of technical tests and analyses, it is impossible not to pause. The current day almost imposes a detour, a wink, a respectful greeting to a travelling companion who quietly celebrates a symbolic course. Twenty years ago he accompanied our sessions, our discoveries, our rediscoveries, as he traverses the modes and changes of the digital landscape without ever losing his role or his meaning.
In January, the Blu‐ray celebrates its 20th birthday, and it still runs with the same quiet assurance as the day it broke into our living rooms. No required updates, no subscriptions, no sudden disappearance of the catalogue: only a disc that is slipped into a reader, and the almost comforting certainty that the work is there, whole, faithful, ready to be reviewed, transmitted, shared.
In a world where images are consumed and then erased at the speed of one click, this little bluish glow recalls the value of an object that lasts. An object that does not depend on a remote server or a capricious catalog, but on our simple desire to preserve, collect, cherish. Blu-ray is not just a medium: it is a material memory, a gesture of continuity, a way of saying that certain works deserve to be kept close to oneself.
Twenty years later, he continued to defend this idea with almost obstinate elegance. And at every rotation, it still proves that a physical medium can pass through time without losing its meaning. Happy birthday!
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.
Video broadcaster (QD-OLED 4K) : Sony Bravia XR-65A95L
Universal reader : Oppo UDP-203 Audiocom Reference
Multimedia player : R_volution PlayerPro 8K Signature Edition
Pregnant (7.1.4): Sennheiser AMBEO Soundbar Plus, SB-4000
Image Modes : Professional (SDR or HDR) | Dolby Dark Vision | IMAX Enhanced
Listening modes : Dolby Atmos | Dolby Surround | DTS:X | DTS Neural:X
Contents
Dracula (2025)
Source France | Publisher : M6 Video | Release date : 02 December 2025
Video format
2160p24 | Ratio 2.39
CSD | BT2 BT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2
HEVC encoding | DI 4K
Soundtrack
English Dolby Atmos
Dolby Atmos
Subtitles
French
Artistic : 6 | Video : 8 | Audio : 9
WORK – If he bites romance with appetite, his passionate fever too often turns to stylistic haemorrhage. The gothic and cinemaphilic influences touch, but without succeeding in instilling a real pulse to the whole. Between bewitching visual shrapnel and narrative wanderings, the work waved like a vampire spread between two opposite impulses. Attractive as it is, the film leaves behind it the disturbing scent of a night kiss that we still hesitate to keep track of.
IMAGE – The UHD copy offers a clean and slightly more detailed image than the Blu‐ray, even though the CGIs (castle and gargoyles) are more likely to betray digital shooting. The tenderly shimmering palette and soft light games benefit from a controlled CSD, where silky blacks and worked shadows weave a velvety night coat. A visual softness assumed, far from aggressive contrasts, which benefits from a careful encoding ensuring a presentation with discreet elegance.
SON – The VO Atmos deploys a wide and precise sound scene, where the dynamics of fighting and festivities mix with generous spatialization. The height channels are punctually spectacular (dust volute), Danny Elfman's tenebro-lyric score is perfectly tuned, and the bass provide a solid base without pouring into the bid. The VF Atmos takes on the qualities of its conœur, but the dubbing remains somewhat detached from the atmospheres.
The Angel of Revenge
Source United Kingdom | Publisher : Arrow Films | Release date : 27 October 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English LPCM 1.0
Subtitles
English
Artistic : 8 | Video : 8 | Audio : 7
WORK – Like a nocturnal uppercut, this rape and revenge where no evil is spared immediately imposes the ascetic drought that irrigates Ferrara's cinema. The staging, nervous but contained, marries the fractured psyche of his heroine, while the spectral Zoë Lund turns existential revenge. Between punk fury and sick elegance, this requiem armed with long-lasting burn advances like a misguided prayer. More than a shock, a sermon at .45 Magnum.
IMAGE – This 4K master, resulting from an integral scan of the 35 mm negative, delivers a much cleaner and stable image, with a fine grain that respects the nervousness of James Lemmo's photograph. The contrast remains moderate but increases in readability in the night scenes, while the DV brings a discreet but real vitality to the reds, carnations and urban lighting. The deafened palette regains its subtlety, and the rare slags of film do not affect the accuracy of textures.
SON – Frugale (of modest origins) but impeccably held, this LPCM mono soundtrack with a rough atmosphere gives priority to dialogues, clear in any circumstances. Without breath or distortion, she is part of the raw aesthetics of the work, such as the anxious score (the synths) and peasy (the saxophone) by Joe Delia, well superimposed despite its parsimonious use. Despite some shyness (fire), the effects, voluntarily minimalistic, ensure the essential.
Primitive War
Source United States | Publisher : Samuel Goldwyn Films | Release date : 25 November 2025
Video format
2160p24 | Ratio 2.00
CSD | BT2 BT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
Subtitles
English
French
Artistic : 7 | Video : 7.5 | Audio : 8
WORK – In this primal delirium that turns the jungle into a Jurassic battlefield, every step threatens to awaken a reptilian nightmare. The staging, tense and inventive, transcends a familial budget while venturing where Jurassic World Never lay foot. Dinosaurs, really predatory, feed an effective mixture of warlike tension and pulp pleasure. Despite a few long breaths, a shock of genres that bites hard and does not drop.
IMAGE – Tailored to survive in the dark, this UHD SDR transfer generally dark, night jungle requires, yet keeps a surprisingly solid legibility even in the most buried corners. The absence of HDR makes itself felt, but the contrasts are better controlled than in HD, with more stable blacks... even though the assault of T. rex is still grayed. The details are refined (uniform, leather, feathers), the posterization recedes and the tints, mainly vegetal, remain natural.
SON – Runway 5.1 plays the aggressive map, with impacts well supported by a dry bass that gives the trunk to the shootings. The spatialization works, between dinosaurs that rush into the surrounds and helicopters that cross the sound field with a beautiful magnitude. The dialogues, a little in retreat at times, remain clear. There are, however, several sub-mixed or even absent effects that weaken the immersion on time. In Vietnam, the mix operates in commando.
Osiris
Source Germany | Publisher : Plaion Pictures | Release date : 20 November 2025
Video format
2160p24 | Ratio 2.39
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
German DTS-HD MA 5.1
Subtitles
German
Artistic : 5 | Video : 9 | Audio : 7.5
WORK – Despite some visual flashes well felt, this SF actuate under influence (Alien, Doom, Predator) aligns a cosmic ambition that its staging, too wise, often struggles to sustain. The story, stuck in a serious weighty one, followed the shootings without any interest. The SFX, correct but uneven, recall the limits of a budget that wants to target the stars without always reaching them. But in the orbit of the medium, however, survives a retro B-series echo.
IMAGE – Massively anchored in the shadows (a very weakly lit space cargo), this UHD Dolby Vision transfer leaves blue and oranges (the only chromatic keys that emerge) springing up much more saturated, almost « Solar » in the dark. The contrasts firmly hold the line, the definition just pricks, and the bright lights sculpt each relief, revealing what the darkness is trying to engulf. Proof is made that one can navigate in the dark without ever drifting.
SON – In this closed sound in DTS-HD MA 5.1, spatialization is made claustrophobic: the runners resonate, the shots are well oriented, and the alien threat surveys the places... but the overall impact is surprisingly unphysical. The dialogues remain clear and well detached, while the LFE channel, far from the demonstration of strength, is simply accompanying without shaking. More useful than inspired, the score supports tension without ever seeking to impose itself.
Bound
Source France | Publisher : The image workshop | Release date : 02 December 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English DTS-HD MA 5.1
French DTS-HD MA 2.0
Subtitles
French
Artistic : 8 | Video : 9 | Audio : 8
WORK – In this sensual and nervous polar where the Wachowskis (Matrix) twist the codes of the genre, the staging marries the rise in tension of a narrative that plays skillfully with appearances. He then advances in calculated false steps, slipping from the neo-black to the game of dupes with an almost insolent elegance. Gina Gershon and Jennifer Tilly devour their roles, leaving a scent of powder and velvet. More than one « Break », an escape where the closest ties are never the ones we believe.
IMAGE – Freshly restored in 4K under the supervision of its chef op At the height of its incendiary duo, this upgrade fully releases the venous charm of the photo.
SON – The VO, much wider and expressive than the VF (where Jenny's singular stamp is cruelly lacking), offers a more lively rendering despite a slight sporadic breath. Mixing 5.1, frontal but subtly wrapped by a discreet backstage (the cozy atmospheres of the apartments), perfectly serves the theatricality of the work. The basses, measured, reinforce the shots, while the score of Don Davis taps with finesse throughout the canals.
Pulses
Source France | Publisher : The Smoker Cat | Release date : 05 December 2025
Video format
2160p24 | Ratio 2.39
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English DTS-HD MA 2.0
French DTS-HD MA 2.0
Subtitles
French
Artistic : 8.5 | Video : 8.5 | Audio : 8
WORK – As a reread of Psychosis, this voyeurist thriller unfolds an elegant Hitchcockian shadow, which intertwines with a staging obsessed with double personality. From there, the exploration of identity disorder naturally slides towards a giallesque aesthetic, where each color seems to sharpen the mystery. Little by little, the ensemble composes a game of false-likers of almost fetishistic precision, advancing with the fluidity of an impulse... perfectly controlled.
IMAGE – This restoration, stable and without digital touch, reveals a sharp fineness: skin textures, textiles, urban surfaces or stealthy reflections gain sharpness without betraying the 35 mm grain. The management of hues, supported by the DV, maintains an elegant naturalism, with bright reds and solid blacks despite rare greyish drifts. The high luminances are more detailed, the shadows are better controlled and the overall dynamics reinforced.

SON – The VO dual mono, clear and nervous, restores dialogues and score with an appreciable natural despite modest basses. Mix 5.1, more immersive, extends urban atmospheres, reverberations and thunderstorming without ever pouring into the artifice, while maintaining clear and well anchored voices. Donaggio's score enjoys a beautiful presence, balanced and without hardness. As for the dual mono VF, it remains correct, even if the dubbing is drier and the effects attenuated.
Blow Out
Source France | Publisher : The Smoker Cat | Release date : 10 December 2025
Video format
2160p24 | Ratio 2.39
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 2.0
French DTS-HD MA 2.0
Subtitles
French
Artistic : 9.5 | Video : 9 | Audio : 9
WORK – This paranoid thriller immediately captures the vibration of a plot that spreads as an echo impossible to choke. Weared by Travolta, it slides from a simple accident to a spiral where truth is stolen as it is believed to be seized. The staging, virtuoso, orchestrates this vertigo with a precision that limits to the obsession, until disjointing the audible and visible. In this shift, the look wavers, the ear stings, and everything ends up resonating like a cry... impossible to forget.
IMAGE – Drawn from a meticulously cleaned 16-bit 4K scan, magnified by a Dolby Vision calibration of great finesse, this restoration gives unprecedented rigour and depth to Vilmos Zsigmond's diffuse photography. The grain, fine and organic, breathes naturally while the contrasts, enlarged, reveal blacks with reinforced density and unsuspected details in the high luminances. Flamboyant, the colorimetric palette reveals more feverish nuances.

SON – A result of the original Dolby Stereo blend, the VO DTS-HD MA 2.0 restores with remarkable accuracy the essential sound architecture of the work. Clear dialogues, sharp directional spatialization, nervous atmospheres and carefully positioned effects: it fully exploits its four-channel matrix, ensuring a clear reading of the sound geography dear to Brian De Palma. Less open and with a slight breath, the VF remains dominated by the dubbing of Gérard Depardieu.
E.T. the alien
Source France | Publisher : Universal Pictures | Release date : 07 January 2026
Video format
2160p24 | Ratio 1.85
HDR10 | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS:X
English DTS 2.0
French DTS-HD HR 7.1
French DTS 2.0
Subtitles
English
French
Artistic : 9 | Video : 8 | Audio : 8.5
WORK – Disbarred from the 2002 alterations, the 1982 version regains all the sweetness of his tale on otherness and separation. Of course, some SFXs accuse their age, but their retro charm is now a patina that magnifies memory. In this framework, Spielberg signs one of his most intimate works, carried by bright children and a creature that has become an icon. And the emotion, always alive, still looks like an obvious, touching small and large.
IMAGE – Prolonging the 4K restoration work carried out in 2017, this master UHD imposes itself as a more homogeneous and organic variation, despite fluctuating details suggesting a slight use of the DNR. The definition progresses without excess, the grain regains a more natural texture and the HDR, darker but much more nuanced (light softness), integrates much better the defects of optical effects, once too visible. Palette with more marked chromatic heat.

SON – The VO DTS:X sublimes this mix born in Dolby Stereo: forest rustling, stealth movements, domestic agitation or Halloween cavalcade, everything goes on in a 3D scene as measured as it is coherent. The music of John Williams takes advantage of an unprecedented scale, supported by a clean grave. Apart from the effects of refined directionality, the gain against the previous track 7.1 remains tenuous. At the height of his conœur and presented with the voices of our childhood, VF excels.
Trapped - Caught Stealing
Source France | Publisher : Sony Pictures | Release date 31 December 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English Dolby Atmos
English DTS-HD MA 5.1
English DTS-HD MA 5.1
Subtitles
English
French
Artistic : 7.5 | Video : 10 | Audio : 10
WORK – When everything goes wrong and even the idea of a breakaway runs away, Aronofsky finds a palpable pleasure to resurrect the plural and anxious New York of the 90s. It then adopts the polar codes « Scorsesian » (with After Hours At the corner of the street) while injecting his own obsessions (mutilated bodies, derailed lives, violence as the only way out) to shape a story as cruel as grinning. Tendu, mesmerously funny and well shot, this urban trip leaves us ringing on the sidewalk.
IMAGE – With its assumed granularity that reinforces Matthew Libatic's vintage photography, this UHD DV transfer to inflexible encoding captures a city full of life, where the camera on the shoulder finds an almost suffocating three-dimensionality. The hostile colorimetric palette (toxic neon, peasy tints) asserts more, the textures spring with a sharp touch, the shadow is more oppressive and the light sources, sharp, keep an exemplary hold.
SON – The energy-saturated VO Atmos envelops, shakes and never lets go: dry impacts, deep lows, sharp spatialization and explosive dynamics, discharge them into the heart of New York chaos. The voices remain clear despite the agitation, while the height channels inject a verticality that supports dramaturgy without attracting attention. For its part, the VF ensures a solid distribution and a convincing scale. Carefully integrated dubbing.
Roudram Ranam Rudhiram (RRR)
Source Japan | Publisher : Twin Co Ltd | Release date : 1 October 2024
Video format
2160p24 | Ratio 1.90
HDR10 | BT.2020
HEVC encoding | DI 4K
Soundtrack
Telougou Dolby Atmos
Japanese DTS-HD MA 5.1
Subtitles
Japanese
Artistic : 10 | Video : 9.5 | Audio : 10
WORK – Habity of a rare audacity, where each scene seems to want to redefine the epic word, this Indian blockbuster mixing incandescent heroism and raw emotion propels us into a whirlwind of fury and fraternity with increasing scope. The action and the emotional breath intertwine like two twin forces, while the staging unfolds an almost insolent virtuosity and the narrative moves to the rhythm of the two protagonists. A legend in fusion, fire and water united.
IMAGE – As large as its heroes, this 4K HDR10 transfer opens the frame to the scale of the myth by opting for version 1.90 IMAX. The precision of the disconcerted pique, the warm colors are gaining in force, the overall brightness is clearly enhanced and the contrasts are imposed with authority. Whites calibrated to 600 cd/m2 and light peaks culminating at 1550 nits, one of the true visual braces of the support holds there. Only a few saccades disturb fluidity.
SON – Galvanized by its syncretic music, thought as a narrative motor with immediately recognizable sound identity, the mix Atmos exploits with spectacular ease the height channels, intended to support the visual fulgurations of the work. The effects/ambiences invest the sound field with almost choreographic rigour, the back channels being constantly active and generously nourished. Even if unleashed, the dynamics preserve the clarity of dialogues.
The operatic insurrection that awakened Indian cinema: RRR

There are works that are not content to be seen: they rise, roar, and cross a country like a wave of shock. RRR belongs to this category of films which seem to emerge from another plane, as if the cinema suddenly became the receptacle of ancient energies, of underground forces which India has been carrying in it for centuries. When it appeared, something arose: not a simple popular craze, but a deep vibration, a call from myths, traditional songs, legends that sleep in collective memory.
S. S. Rajamouli orchestrates this tumult as a priest of a forgotten temple, convoking the fury of the elements, the loyalty of heroes, the dance of the gods. RRR is not only a spectacle: it is an invocation. One way to recall that cinema can still be a place of passage, a threshold where the real cracks to let the sacred enter. In its exalted colors, in its disproportionate gestures, in its bodies that defy gravity, one perceives less a desire to entertain than a desire to awaken something d'enfoui... a belief, a fervor, an archaic power.
As he rewrites the history of Indian cinema in late letters, RRR reminds a numb industry that excess can be a form of truth, that excess can be a form of grace. In its wake, the great popular film becomes rite, fiction awakens heroic smelting folklore, and the screen begins to vibrate at the deep rhythm of a country, like a ceremonial drum that resonates in the night. RRR is not only a global phenomenon: it is a sign. The one of a cinema that, by reconnecting with its primordial forces, finds the magic that gave birth to it. Now let us go down together to the heart of this renewal.
A blockbuster as a national electroshock
RRR does not revive Indian cinema: it unleashes it. While some of Hindi's cinema was dormant in its automatisms (oiled drama, calibrated romance, facade patriotism), S. S. Rajamouli arose with a stylistic bulldozer. It absorbs all that India has mastered to perfection (melodrama, choreography, myth, national fervor) and pushes each element to the point of burning. It is not just a super-production: it is a manifesto, a demonstration of power that redefines the Indian show in the era of global platforms and franchises.
Aesthetic Demeasurement for the General Public
First, renewal is due to this rare ability to reconcile visual radicality and massive appeal. Rajamouli refuses discreet realism: he assumes total stylization. Each plane becomes a poster, each slows a hammer stroke in the retina. The introduction scene of Alluri Sitarama Raju plunged into the crowd, the release of animals, the duo Naatu Naatu: everything comes from a logic of icons, living paintings. Where many Indian productions monkeyed Hollywood, RRR claims his local DNA: dramaturgy of sacrifice, emotional mismeasurement, taste of the symbol open.
The triumph of the "pan-Indian film"
Telegou film by nature, national and global phenomenon by ambition, RRR transcends the boundaries between Bollywood (Hindi) and Southern cinemas. It is a renewal because it moves the center of gravity: the beating heart of the show is no longer only in Mumbai, it is also in Hyderabad, in Chennai, in all those poles that have long been looked up. RRR Endorse this shift: popular Indian cinema no longer boils down to Hindi cinema, reinvents itself in a polycentric ecosystem, and Rajamouli becomes its strategist.
An arm of iron assumed with Hollywood
In front of the American majors, RRR Don't play the card of modesty. He does not seek to "catch" Anglo-Saxon standards: he proposes another grammar of the spectacular. Where Marvel and consorts lock in cool sarcasm, desaturated pallets and predictable structures, RRR responds by the excessive frontal: saturated colors, invasive music, machete-cut emotions. He is not afraid of being sincere until kitsch, exalted to the absurd, and that is precisely what distinguishes him in a global landscape often smoothed. His scenes of action, readability and inventiveness that many American blockbusters sacrificed to epileptic editing, recall that the spectacular can tell something. The sequence of assault with animals is not just a digital flood: it is a political gesture (the nature against the oppressor), a myth in motion, a technical demonstration. RRR shows his muscles by recalling that the action can be choreographed as a ballet and felt as a tragedy.
A global phenomenon and symbolic reversal
The international success of the film, from its massive diffusion on platforms to Naatu Naatu's Oscar, has transformed it into a global phenomenon. Where Indian cinema often "exported" in a smoothing way, RRR reverse: he spreads his madness, his duration XXL, his melodrama without brake. And it is precisely this excessive integrity that he deserves to be taken seriously. The filmmaker found himself invited in discussions, masterclasses, questioned as a peer, not as an exotic. James Cameron praised the emotional power of the film, while Martin Scorsese, Quentin Tarantino and Christophe Gans were among the admirers mentioned. A cinemaphile legitimacy that goes beyond mere popular success.
A prototype for the future of Indian cinema
RRR proves that an Indian film can assume a radical cultural identity without diluting, dialogue with the Hollywood model without emulating it, federating a global public without abandoning its codes. He said to the producers: « You don't need to become American to be global. Become even more yourself. »And to the spectators: « You thought you knew the blockbuster? This is what happens when you drop the safeguards. ». Yes, an entire cinematography suddenly remembered that it could be gigantic, excessive, undisciplined... and thus absolutely modern. A roadmap for the future: when the cinema dares to excess, it regains its grandeur.
Jackie Brown
Source France | Publisher : Studiocanal | Release date : 17 December 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English DTS-HD MA 5.1
Subtitles
French
Artistic : 8.5 | Video : 10 | Audio : 9
WORK – Executed with disconcerting calm, this part of chess orchestrated by a mature QT releases a timeless class. The staging, smoother than the groove of the BO, weaves a story where nothing is left to chance. Each character reveals himself with a felted malice, offering the perfect writing to Pam Grier's quiet magnetism. This narrative elegance, never tap-in-the-eye, gives the impression of seeing a breakage in subtlety, carried out with unarming assurance.
IMAGE – Weared by a new 4K master from the 35mm negative, the disc delivers an image of criminal precision, where each texture regains a tactile presence. From finely preserved grain to micro-reflections on jewellery, the level of detail explodes. Calibration Dolby Vision injects a bright chromatic richness (the deep blue of Jackie's uniform, the club's reds), while strengthening black and high lights with exemplary naturality. Encoding without blush.

SON – The soundtrack remains true to the original 5.1 mix, and it's an assumed choice: not atmos, but a perfectly controlled, large and nervous DTS-HD MA track. The frontal scene imposes with confidence, while the surrounds bring a very organic immersion. Deep bass, superbly separated instruments, dialogues as sharpened as a blow prepared by Ordell: everything breathes rigour and musicality. Without the diction and stamps of the actors, the VF loses the essential.
Nightmare Alley - Vision in Darkness and Light
Source United States | Publisher : Criterion | Release date : 28 October 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
Subtitles
English
Artistic : 9 | Video : 10 | Audio : 9
WORK – Supported by a prestigious casting orchestrated by the « third eye » by Guillermo del Toro, this elegant tribute to the black film unfolds in a baroque setting where the artistic direction dazzles. And from the ascent to the inevitable fall, the American dream turns into a nightmare as illusions dissipate. More than just a simple style exercise, a psychological thriller that probes human monstrosity through the poisonous psychoanalysis of a soul darkened by time.
IMAGE – Sublimated by a hypnotic N&B, this UHD transfer reveals an image of striking purity, where deep shadows and sharp lights sculpt each decor as an expressionist engraving. The blacks remain dense, the textures of the circus as well as the clubs display with exemplary stability, and the photograph finally reveals all its « Romantic malice ». A reference presentation, more ambitious and enchanting than the color version.
SON – Even without Atmos The DTS-HD MA 5.1 track is perfectly suited to the obsessive darkness of the film. It plunges us immediately into a dense and disturbing sound universe, where every detail, from the tumult of the circus to the most intimate murmurs, is restored with a remarkable thoroughness. The rear is full of atmospheres, the LFE channel vibrates with organic power, the dialogues remain irreproachable, and the orchestral score wraps up.
Where the eye meets the shadow : Nightmare Alley - Vision in Darkness and Light

There are films that really reveal themselves only when they are rid of their fireworks, as if the darkness itself were to reveal the truth. Nightmare Alley belongs to this rare category. Long-time prisoner of its colored, seductive version, but in slight contrast with the moral darkness of the story, the film by Guillermo del Toro (Hellboy, The Labyrinth of Pan, Crimson Peak, Pinocchio) finally finds its true face in the version « Vision in Darkness and Light ». More than just an alternative montage, this extended N&B cut acts as a resurrection: it exhumes a classic that seemed to have always existed, taped in the margins of cinema history, waiting to be rediscovered. It is from this revelation that evidence is required: this version is not a variation, but the definitive accomplishment of the work.
A monochrome revival
It is only by draping in black and white that Nightmare Alley fully reveals its nature. Thought from the beginning in this aesthetic, « Vision in Darkness and Light » offers the film a spectral patina, as exhumed from a forgotten past. Where the coloured version seduced by its visual richness and its complicity with Stan's illusions, this extended N&B cut evokes a lost work, miraculously restored, such as an adaptation of William Lindsay Gresham's novel that had slept in the archives of a studio since the 1940s.
A freed staging
The photograph by Dan Laustsen (The Wolf Pact, John Wick: Chapter 4), already hailed as one of the most refined of 2021, finds here its ideal setting. The N&B accentuates moral contrasts, faces sculpted by light, decorations gnawed by doubt. Guillermo del Toro, by adjusting the rhythm and the sound mixing, releases his film from contemporary conventions and the constraints of the first adaptation. It adds nearly ten minutes of new material, revealing previously attenuated shade zones: the connection between Stan and Zeena becomes more explicit, the dreamlike sequences with Stan's father plunge into a nightmare alley, and the introduction suggests a heavier criminal past.
A more esoteric structure
Four tarot maps now punctuate the story, dividing the film into chapters as many omens. This narrative gesture, discreet but powerful, strengthens the anchoring of the film in an aesthetic of fatality. It is no longer just a psychological thriller, but a methodical descent into the arcanes of the human soul.
A reincarnated soundtrack
The music of Nathan Johnson (Looper, With knives drawn), composed in an emergency, takes on a new dimension here. Unbelievably minimalist at the beginning, she spreads into a luxuriant orchestration that embraces the theatricality of the story. Some variations in mixing and alternative musical choices, including a striking scene with a different song, further enrich this version, without ever betraying its integrity.
A work detached from time
With this luxurious presentation, Criterion does not propose a simple alternative, but devotes a definitive version. Nightmare Alley becomes a modern black classic, free from modes, carried by auto-trumpy and damnation themes that resonate with supernatural power. Guillermo del Toro and Kim Morgan do not rewrite the film: they reveal it. And in this vision between darkness and light, neither Stan nor the spectator can hope to escape.
The Ninja Turtles (1990)
Source United Kingdom | Publisher : Arrow Films | Release date : 15 December 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English Dolby Atmos
English LPCM 2.0 (theatrical mix)
English LPCM 2.0 ("warrior" mix)
Subtitles
English
Artistic : 7 | Video : 8 | Audio : 8
WORK – A pop adaptation model, able to mix comics spirit, urban energy and artisanal charm without ever losing his soul cowabunga. The film is still surprising by its blend of New York blackness and juvenile fun, worn by surprisingly expressive animatronic costumes. Between plucky humour and generously choreographed battles, the ensemble reveals a rare sincerity. Three decades later, this B series preserves its taste of pizza intact.
IMAGE – Made from a 16-bit 4K scan of the original negative (and an interpositive for the 3rd reel), this restoration sublimates a material that is considered difficult: dense but natural grain, revived and black details of a rare depth. Once you pass a soft generic, the image becomes sharper and lets the textures, from the shell to the dark streets of New York, fully breathe. The Dolby Vision brings a real boost, enriching the colors and neon with an unprecedented vigour.

SON – The new Dolby Atmos track breathes real vitality into the urban jungle: city atmospheres, sewer echoes and directional effects unfold in space with a renewed breadth and precision. Surrounds and heights bring a welcome aeration, although the whole remains limited by the original stereo. The bass support the hip-hop soundtrack and impacts, while the dialogues remain stable. Purists will appreciate the presence of the two mix 2.0 times.
The Ninja Turtles 2: The Heroes are back
Source United Kingdom | Publisher : Arrow Films | Release date : 15 December 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English LPCM 2.0
Subtitles
English
Artistic : 7 | Video : 8 | Audio : 8
WORK – A mutant whirlwind that flows like a generous pizza four cheeses, carried by an almost insolent good mood. The film aligns Cartoon bastons and cowabunga punchlines with a generosity that comes close to the absurd, but this is precisely where all his madness lies. Between two peasy alleys and a mean more caricatural than a metro graffiti, he runs with the sincere energy of a guilty pleasure as noisy as a skateboard launched at full speed.
IMAGE – Despite an ever massive grain that sometimes seems to swallow the background, it is a real leap forward. Drawn from a 35 mm intermediary scanned in 16-bit 4K, this restoration gains in cleanliness, stability and readability, with much more frank textures. The real blow of nunchaku nevertheless comes from colorimetry: brilliant, saturated, rich, much more coherent than on the Blu‐ray. As for the DV, it shows an increased luminous dynamic and finally consistent blacks.

SON – A simple but well-maintained approach: the stereo track leads to a wider and better balanced scene, while the 5.1, a little thinner in the mediums, adds a welcome atmosphere in the sewers or the nightclub. The bass remain modest, but as soon as the Ninja Rap, the LFE channel wakes up with training. Clear dialogues, stable mixing, good child energy: a rendition without fioritures, but perfectly in the tone of this shell adventure.
Ninja Turtles 3
Source United Kingdom | Publisher : Arrow Films | Release date : 15 December 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English LPCM 2.0
Subtitles
English
Artistic : 5.5 | Video : 8.5 | Audio : 7.5
WORK – If he tries a bold time trip, this third opus sometimes loses his narrative "pizza" on his way. Yet, despite a scenario in katana teeth and a staging that struggles to find its breath, the energy of turtles regularly revives interest. One remains faced with an imperfect but sympathetic entertainment, carried by a cowabunga spirit still alive, where humor and well choreographed action scenes maintain a certain pleasure, even if the sauce does not always take.
IMAGE – Refined grain, more straight and sharp textures that exposes each rubber fold of the costumes: this UHD restoration, taken from a 16-bit 4K scanning of a 35 mm interpositive, delights with its high vivacity. The DV dynamise carmine red, lush green and bright yellow, while the exteriors gain in relief. The blacks remain solid despite some crushed areas, and the light sources (flames, flashes, sceptre) benefit from an additional radiance.

SON – Mix 5.1, too generous in the use of bass, artificially inflates hooves, impacts and music, to the point of breaking the general balance. Spatialization is correct but uneven, with few really directional effects. On the other hand, the stereo track, wiser and much better maintained, delivers exemplary clarity without any distortion: dialogues are clear, and noises clean. Purists will find it without hesitation the most coherent and pleasant presentation of the lot.
Close frame on: editorial content of the Ninja Turtles - The Trilogy

Like a smoking pizza delivered in the midst of a battle against the Clan des Foot, this limited edition 4K Ultra HD stands out as a hearty feast. The new interviews, commissioned especially for the occasion, are full of tasty anecdotes... including the epic return on the animatronics of the 1st film, told with the sincerity of a master of the Jim Henson's Creature Shop. Audio comments, international variants (where nunchakus still seem to make the UK tremble) and video archives make up a true dojo of nostalgia. Between the maps to collect, the pizzeria menu booklet and the analyses of specialists tracing the evolution of the trilogy, Arrow assembled a set as rich as a workout at Splinter. Until the end of the shell, a Cowabunga exit!
Murder in Alcatraz
Source France | Publisher : Studiocanal | Release date : 19 November 2025
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English DTS-HD MA 5.1
Subtitles
English
French
Artistic : 7.5 | Video : 8.5 | Audio : 8
WORK – Between judicial tension and moral confinement, this effective trial film revisits the Henri Young case very freely to draw a vibrant plea against prison inhumanity. Dramatization is sometimes supported, aesthetics readily emphatic, but this assumed intensity instils a real emotional power, sincere enough to take hold. Then there is Kevin Bacon, magnetic even in mutism, who irrigates the story of a pain to live.
IMAGE – This 4K restoration impresses with its clinical cleanliness and respect for the 35 mm material, offering a solid pique (the sharpness of costumes and decors) and a controlled organic grain. The DV ensures exemplary contrasts, from the legible darkness of the cells to the luminous shrapnel of the court, while a nuanced colorimetry alternates cold prison and bronze reflections. Despite rare coding weaknesses, the ensemble rigorously restores the closed atmosphere of the film.
SON – While it clearly favours dialogues, restored with serious precision and perfect stability, this 5.1 soundtrack also relies on Christopher Young's ample and elegant score, whose dynamics and orchestral richness benefit from the rear scene... unlike the prison atmospheres and the reverberations of the court, firmly anchored at the front. For lovers of VF, here carefully doubled, it is a convincing alternative.
Altered (2025)
Source United States | Publisher : Well Go USA | Release date : 20 January 2026
Video format
2160p24 | Ratio 2.39
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English Dolby Atmos
English DTS-HD MA 5.1
Subtitles
English
French
Artistic : 6 | Video : 9.5 | Audio : 9.5
WORK – Led by a Tom Felton with the presence more tormented than expected, this series B of modest but honest SF produces an "enhanced" narrative that seduces as much as it frustrous. The universe intrigues, the stakes stand up, but the good ideas are hovered over and the staging, from the beginning of the game cracked by its budget limits, is weakened by too many facilities. However, between discreet social commentary and assumed pulp energy, the film finds its rhythm and identity.
IMAGE – Never "altered" in its clarity, this UHD transfer offers surgical precision: faces, materials and costumes explode in detail, sometimes to the point of betraying some tricks. The WCG significantly enriches the palette, from the blue and green hues of the first terrorist attack to the clinical whites of the high-tech sequences. Some scenes display pure digital sharpness (the museum), others a false silver emulsion (the workshop), for an interesting visual contrast.
SON – The Atmos mix unfolds a broad and structured sound scene: clear dialogues, fine atmospheres (urban agitation in the district of specials, rustling in the restaurant) and action traversed by massive bass. Both verticality and depth are fully exploited, while the score circulates smoothly on the lateral and rear channels. The passages marked by detonations show a solid dynamic. For a "reconfigured" world, official immersion.
Dementia 13
Source France | Publisher : Pathé | Release date : 19 November 2025
Video format
2160p24 | Ratio 1.66
CSD | BT2 BT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2 NT2
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English DTS-HD MA 2.0
Subtitles
French
Artistic : 5 | Video : 8 | Audio : 7.5
WORK – A gothic thriller who skilfully plays with the shadows, while letting his plot drift like a drowned secret. This moist atmosphere, reinforced by visual stealths, installs a tension that however fluctuates with the false appearances. The narrative then struggles to cut net, despite its symbolic axes. Remains a troubled, almost hypnotic charm that keeps the attention... even when the mansion lets filter more mist than chills.
IMAGE – Supported by a living and homogenous silver grain, this 4K SDR restoration of the Director Of course, plans suffer from an excessive softness inherited from shooting, but the use of negative 35 mm restore faces, textile fibres and decors with a very convincing sharpness, while dust is scarce. The N&B, rather contrasting, effectively sculpts silhouettes and night atmospheres. The absence of HDR limits grey amplitude.
SON – A sober and very frontal VO DTS-HD MA 5.1: little atmosphere, almost absent LFE, timid music and spatialization limited to a few isolated bursts. Nothing artificial though, since the mix remains coherent, balanced, and slightly opens the space without betraying the modest origin of the film. Dialogues remain clear and perfectly audible. Track 2.0, which is more compact but surprisingly strong, distributes voices, scores and effects well. An almost more natural alternative.
The Silence of Lambs
Source France | Publisher : ESC Films | Release date : 21 January 2026
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
English DTS-HD MA 2.0
English DTS-HD MA 5.1
Subtitles
French
Artistic : 10 | Video : 10 | Audio : 9
WORK – Professional and icy, The Silence of Lambs Dissect both the crime and the male look that locks Clarice Starling. The polar plays brilliantly the map of the feminist counterfield, showing a heroine advancing in a world saturated with "male gauze" and symbolic predation. Between clinical tension and psychological games worthy of a « good appetite »The work reveals above all the struggle of a woman to regain control of the story... and of her own eyes. The reference!
IMAGE – The 4K restoration, which comes from the 35 mm negative and is validated by the Ops chef Tak Fujimoto, offers a transfigured image: dense but stable grain, spectacular pitch (a substantial leap forward), decors and faces of almost clinical accuracy. DV strengthens contrasts (deepness of blacks), nocturnal legibility and chromatic brilliance (incisive reds, more frank blues), without changing the austere palette*. A sensory rediscovery, worthy of a one-on-one with Dr. Lecter.
* Unlike the US edition, which suffered, in its first twenty minutes, from a poorly applied HDR (between fluctuating hues and abnormally marked desaturation), our FR copy corrects this wandering and restores, from the opening, the colorimetric consistency of the photograph... the image therefore stops fighting against itself. Enjoy the entrance without fearing a sting.

SON – The VO 5.1, with a frontal rendering consistent with the original mix, delivers clear dialogues, uses accurately distributed atmospheres (the rain, the press hub, the echo of the well) and relies on the threatening intensity of the music composed by Howard Shore. LFE discreet but relevant. Track 2.0, more fleshy than that of the disc KL*, is served without fioriture. The VF 5.1, with a slightly stronger voice, maintains general balance. Three flavours for fine gourmets.
* It should be noted that this was a downmix of track 5.1 and not the original stereo, for a less faithful return, in particular in terms of dynamic (compressed), signature (altered), spatialisation (artificial) and equilibrium (hasardeux). The 2.0 soundtrack of our French edition offers a real restoration of the original elements.
Close dialing on: the editorial content of the Silence of lambs

This edition collector 4K Ultra HD features a real editorial feast: steelbook, satiety supplements and goodies (operational photos, reproduction of the press booklet and poster), as many ingredients that prove that this time the table is impeccably put. Excavated British analysis, audio comments, exhumed cut scenes, making-ofs d'époque (one signed by Laurent Bouzereaux), interviews with Jonathan Demme and Jodie Foster, PiP inserts of the old DVD editions and documentaries rivers (including a module on differences with the novel), the records overflow with bonuses. As rich as a dinner at Hannibal Lecter, this set designed for those who like to dissect the work up to the os, devours the competition (Kino Lorber and Arrow Films). Succulent!
Red planet
Source United Kingdom | Publisher : Arrow Films | Release date : 17 November 2025
Video format
2160p24 | Ratio 2.39
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1
Subtitles
English
Artistic : 6.5 | Video : 9 | Audio : 9.5
WORK – This Series B SF low-altitude narrative orbit: little magnetic intrigue, almost weightless rhythm and oxygen-free dialogues. However, the staging unfolds "true" Martian panoramas, the SFX still hold the pressure, and certain sequences (the fire floating in mind) remind that the film can ignite its space. Powered by a cast in full media combustion, the film marks its way as a modest but pleasant survival.
IMAGE – Made from a 16-bit 4K scan of the 35 mm negative, this UHD presentation revitalizes Peter Suschitzky's beautiful photography: refined textures, close-ups otherwise more chiseled, Martian landscapes of great depth and superbly detailed costumes. The Dolby Vision gives the palette a new vibrance (from the greens of the video stream to the bright reds) while strengthening black ink and technological glows. Despite the rather soft VFX, the grain is perfectly controlled.

SON – A mix DTS‐HD MA 5.1 that delivers a sound experience whose boldness and spatialization stand out. The dialogues are clear, the frontal scene energetic, the very active surrounds (Martian wind, not AAMEE, ice storms), the score of Graeme Revell aerated and the deep bass. Not atmos on the program, which may leave some colonists on their hunger, but activation of a 3D DSP is strongly advised to maximize immersion (sound beacons, thunder).
From Sennheiser AMBEO to Yamaha True X Surround 90A: a new sound chapter
After several years to rely on the Sennheiser AMBEO (Max then More) as a reference system for my audio evaluations, I decided to turn a page. Not because of fatigue, but because the market is changing, and it seems to me essential to follow this dynamic in order to remain relevant. From the next issue, my tests will be carried out on the Yamaha True X Surround 90A, a high-end set that embodies a new generation of turnkey home cinema solutions: more modular, more immersive, closer to the room experience.
This change is not insignificant. It marks a transition to a complete system in 5.1.2, articulated around an ambitious soundbar (19 well distributed speakers), a generous box (a 17 cm loudspeaker directed forward and a ground-facing bass-reflex vent, based on exclusive technology) Symetrical Air Port to remove unwanted turbulences from the air flow by reducing the noise of vents by 20 dB compared to conventional models) and from wireless rear satellites (twice 2 broadband speakers). An architecture that exceeds, in immersion, what a bar on its own can produce, even as efficient as the AMBEO.
Handle & design: robustness and consistency
When I unpacked, I felt that Yamaha had not sought to do so in half measure. The soundbar is massive, assumed, almost sculptural. The box, on the other hand, imposes respect by its volume and its finish. Rear enclosures (WS-X 3A), more compact, complete the assembly without visually weighing the part.
The assembly breathes seriousness: robust materials, impeccable adjustments, and an aesthetic consistency that gives the impression of a system conceived as a whole, not as an addition of elements.
Sound signature: size, accuracy and character
What struck me first is the stability of the rendering, even at high volume. The soundbar unfolds a wide, airy scene with remarkable readability of the various sound planes. The dialogues are clear, well articulated, without this artificial accent that is sometimes found on systems seeking to compensate for a lack of clarity.
The caisson was surprised by its balance. It descends low, very low even, but never become invasive. It brings material, impact, but still remains under control. On action scenes, it gives a spectacular foundation; On music, he knows how to be discreet.
Rear satellites play an essential role in the overall coherence. Their contribution is not only decorative: they add real depth, a sense of space that literally transforms the perception of scenes.
Beyond this tonal coherence, the True X Surround 90A It is also distinguished by the way it organizes space. The scene is not content to be large: it is structured, articulated, with effects that move in the environment in a fluid and credible way. The transitions between the front, the sides and the rear do not break, and each element finds its place without ever appearing forced.
This mastery of spatialization gives the soundtracks an additional relief, reinforcing immersion without falling into the demonstration. It feels like Yamaha worked not only on the accuracy of speakers, but also on how each sound information fits into space to serve narrative.
3D immersion: a credible vertical projection
Where the True X 90A It is in the restitution of vertical effects, which is based on 12 speakers. The height channels are projected with amazing precision for a system without ceiling enclosures. The sound trajectories are credible, the "superior" sounds well materialized, and the whole creates an immersive bubble that rivals some more complex installations.
This is not a simple simulation: you feel a real mastery of space processing.
Music: a rare versatility
I didn't expect the system to be so convincing in musical listening. The soundbar delivers a clean, detailed restitution, with a beautiful dynamic. Stamps remain natural, the scene opens wide, the separation of instruments is clear and no hardness disturbs the top of the spectrum.
We are far from the cliché of the soundbar only cut for cinema.
Listening modes, decoding and functions: a complete audio toolbox
Beyond its raw power, the True X Surround 90A is distinguished by the richness of its listening modes and audio treatments. Yamaha has not contented itself with stacking options: each mode has real utility, and the set forms a coherent palette that allows to adapt the rendering to any content.
The SURROWD:AI mode (used in the high-end AV amplifiers of the series) VENTAGE) is probably the most impressive. He analyses in real time the nature of the signal (dialogues, music, effects, atmosphere) and automatically adjusts spatialization to optimize immersion. It is an intelligent mode, often bluffing, which gives the impression that the system "understands" what it diffuses.
The MUSIC 3D mode plays a slightly different role: it serves as a "gate of entry" to the built-in upmixers. It allows you to activate the treatment chosen by the user from DTS Virtual:X, Dolby Surround or Auro-Matic (theupmixer Auro‐3D), in order to turn a classic stereo or multichannel signal into a more enveloping experience. On some musical content or concerts, the Auro-Matic's increase in scale and verticality can be very convincing.
For a more sober listening, the STEREO mode recenters the image, ideal for music. The STRAIGHT mode is the purest: it disables any processing to return the signal as it is encoded, making it the natural choice for tracks already well mixed. Finally, the ALL mode broadcasts the same sound on all speakers, useful to standardize the broadcast throughout the room, especially when listening to the atmosphere.
On the decoding side, the True X 90A supports the three major standards of the moment: Dolby Atmos, DTS:X and Auro‐3D (a world premiere on a soundbar). Rare compatibility, which guarantees optimal restitution regardless of the format chosen by streaming platforms or Blu‐ray / 4K Ultra HD.
Two functions complement the set: Clear Voice, which enhances the clarity of dialogues without making them artificial, and Extension of Basses, which adds a seat supplement to the bottom of the spectrum when the content requests it. Simple, but effective tools that quickly adjust the rendering according to the hour, type of program or atmosphere desired.
Connectic & remote control: simplicity and efficiency
The True X Surround 90A does not seek to multiply ports, but to propose the essential with a clear implementation. The connector concentrates around an eARC HDMI input, able to transport Dolby Atmos, DTS:X and Auro‐3D streams without compression, as well as an additional HDMI input for direct sources. There is also an optical input, useful for older TVs, as well as a USB port dedicated to updates. Wi-Fi, Bluetooth and integration MusicCast complete the set, making it possible to exploit the system both in home cinema and in daily musical use. The gamers will note a limit: no HDMI 8K or 4K 120 Hz.
The compact and well thought-out remote control takes over most of the controls without getting lost in complexity. Keys are clearly identified: selection of listening modes, activation of Clear Voice and/or Extension of Basses, volume management of surrounds, switching between sources, access to the menu... everything is accessible in seconds. The grip is immediate, and ergonomics avoid unnecessary manipulation. It feels like Yamaha tried to make the experience fluid, whether it was watching a movie or simply listening to music. Only flat: lack of backlight, a detail that counts when light drops.
Ergonomics: total control and comfort of use
Ecosystem MusicCast remains one of the most enjoyable to use. Installation is fast, element synchronization is stable, and streaming options are numerous (Amazon Music, Deezer, Qobuz, Spotify, Tidal, etc.). AirPlay 2 perfect the whole, guaranteeing fluid integration with the ecosystem Apple.
On the soundbar, Yamaha reprints the monochrome display of its AV amps: clear, readable, and always informative. Volume, connections, modes... everything is there. To go further, head for the OSD on the TV.
The settings are surprisingly complete for a sound bar: precise adjustment of the caisson level, individual calibration of the three frontal tracks (following a recent update) and surrounds, as well as several parameters dedicated to musical listening. Yamaha even allows to refine the orientation of the elevation speakers, with an adjustable angle from 30° to 90°. Vertically, they project directly towards the ceiling; at lower angles, they re-focus more energy towards the listening area. The default setting, located at 72°, offers a good compromise, and the ability to adapt this projection to the configuration of the part is a real asset to optimize immersion.
I particularly appreciated the possibility of modulating the configuration according to usage: bar alone for fast listening, complete set for a cinema session, and speaker WS-X 3A take away everywhere as an autonomous Bluetooth. In short, a level of flexibility is uncommon.
My recommendations for listening: the sound boost assured
🎬 Films
SURROUND:AI (Dolby Atmos, DTS:X, Auro-3D)
3D MUSIC Auro-Matic (DTS-HD, Dolby TrueHD, DTS, Dolby Digital)
🎵 Music
STEREO (source 2.0)
STRAIGHT (multichannel source)
🔊 Audio settings
Clear Voice On (3D MUSIC Auro-Matic)
Extension of Basses On
Volume of Arrears +2
Volume of Graves Ceisson -2
Personal Verdict: maturity according to Yamaha
The Yamaha True X Surround 90A is not only a powerful system: it is a coherent set, designed to offer authentic immersion without the constraints of a traditional home-cinema. It combines magnitude, precision, modularity and realism, with a maturity that has convinced it to adopt it as a new test basis. A choice taken, and an evolution which, I hope, will further enrich my analysis in future issues.

The Top / Flop of the Month
Dracula (2025) | An Atmos mix that comes out of his coffin... and sucks every corner of the room
Blow Out | Like an open microphone that screams the truth, the DV captures everything... even the unspeakable
Nightmare Alley (DC) | Under the capital of illusions, the N&B plays the mentalists
The Silence of Lambs | A 4K restaurant that skins the image... to present the living flesh
Primitive War | Like roar-distracted dinoses, some effects become herbivorous
Extraterrestrial T.E. | When the DNR lights its finger, the details run by bike to the Moon
Jackie Brown | In VF, it deflates... and the tarantine stuff lacks flavor
Dementia 13 |
Editorial waste
Trapped – Caught Stealing | At this level A/V, even a petty-week thief would drop his messy plan.

Tops of support:
- The best 4K Blu-ray in support v.1, v.2
- The best 4K Blu-ray to test 3D sound v.1, v.2
- The best 4K Blu-ray 2020, 2021, 2022, 2023, 2024, 2025
Support flops:
Useful links:
Nyctalope like Riddick and with a very good hearing, I am ready to jump on physical editions and SVOD platforms. But if the quality isn't on the rendezvous, stop at the bite! #WeLovePhysicalMedia
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