Source France | Publisher : Universal Pictures | Release date : 21 February 2024
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | 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 | Video : 9 | Audio : 9
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, the images (from the Patreon account of Matt Paprocki) serve as an illustration and cannot be considered representative of the edition tested.
Test equipment and condition (Config. HP: 5.1.4)
Video broadcaster : Sony Bravia XR-65A95L (Dolby Dark Vision)
Sources : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant : Sennheiser Ambeo Soundbar Max (Dolby Atmos | Dolby Surround), SVS SB-4000
WORK - Under the grip of evil
Since the death of his wife, Victor Fielding has been raising their daughter Angela alone. One day she and her friend Katherine disappeared into the woods before resurfaced 72 hours later. From then on, strange events ensue...
With the terrible stigmas of the commercial resurrection, this legacyque which erases everything and starts again 50 years later is no better than the other iterations that followed the Seminal masterpiece by Friedkin. Worse still, while the latter had the decency to go in other directions, this new opus awkwardly tries to walk in his footsteps without ever understanding his ambiguous message about belief (the troubled areas at the limits of faith and madness being hidden here).
So we end up with catho porn with the nauseating bigotry that never risks profane religion (that is that we should not hurt American puritanism above all). So to speak, even the big words and other blasphemies of the original are reduced to the skin of sorrow. Yes, we are!
And if David Gordon Green, with his trilogy Halloween, had succeeded in reinjecting a certain relevance to a genre (the slasher) which was in dire need of it, he vouched well this time (except for his technique and his direction of actors). The rise of the tension is non-existent, the second part precipitated to max and the final exorcism dissuaded. As for the inopportun Cameo, it dilutes the horrific significance of an already timid narrative. Too clean on her and abusively polite, this bleached franchise (the evil sum any Marvelian who has been eating for some years Hollywood) could be summarized as follows: No balls, no mess!
« The devil has only one desire, making us lose faith... To eradicate him, knowing that the devil never gives up. »
IMAGE - The Gate of Hell
This dive into the darkness (more and more glaring as the action progresses) resulting from a 4.5K capture, where the low lights prevail as soon as the two teenagers disappear, arrives in all its sleep through a UHD Dolby Vision transfer of all beauty (but in no way demonstrative) solidified by a compression at the threshold of excellence (a slight video noise on two or three planes). The average bitrate is 75.8 Mbps.
The definition is sharp (inside the church with its wall ornaments), an additional veil of sharpness officiating throughout and the increased finesse of detail reveal superb textures (the makeups are remarkable). In fact, close-ups are more sharp, textile fibers are more visible, the decorations are in depth... And this, in spite of the ambient darkness.
The colorimetric palette, with warm and bright colours when opening and then becoming more and more cold and opaque later, benefits from additional shades (cf. the autumn shades in the cemetery littered with leaves) while vitalizing the carnation (obviously, the one not possessed by the demon). Of a nature anything but sparkling, primarys are soberly strengthened by a welcome depth.
And benefitting from a better readability of subtly reinforced contrasts (more sustained blacks and a little more radiant whites), the underlighted scenes (the vast majority of the planes) reach a new relief with better designed shadows. Little dazzling with few exceptions (in hospital lighting, spark plugs), light sources do in discretion. MaxFALL was measured at 208 cd/m2 and MaxCLL at 922 nits.
- Avengers! Gathering!
Dominated by the clarity of its dialogues (prompts to proselytism) and enveloped by the precision of its noises (the violent earthquake in Haiti, the lively corridors of the school, the choir of the religious service, the gatherings at the church), the VO Dolby Atmos (24-bit, 3130 kbps) does not squander with the clever.
The dynamics are possessed (and not that in the presence of the demon), the effects around them are not lacking, the verticality draws attention to the need (the masonry of the hotel that cracks, the debris that flies from all sides following the collapse of the building, the violent storm, the resonance of the voices of the chorists, the satanic interventions during the exorcism), the bass jostling as soon as possible (as during the inaugural disaster where the ground groans), and the suggestive score of David Wingo and Amman Abbasi is faithfully transcribed.
More flat but courageous, the VF Dolby Digital Plus 7.1 (448 kbps) is not lacking in scope (at its level of course) and very correctly exploits the speakers at its disposal (despite a less advanced spatialization). Well integrated, dubbing does not detract (even if demonic voices are more horrible in VO).
CONCLUSION - Vade retro, Satana!
Completely off the subject and particularly frustrating, this opportunistic revival is only a long way of cross, neither provocative nor malaising. But keeping faith, the 4K Ultra HD comes to absolve from its sins (thanks to A/V performances animated by piety) to keep from him only the good technical bill that dwells. Hallelujah!
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