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.
Et bénéficiant d’une meilleure lisibilité de par des contrastes subtilement renforcés (des noirs plus soutenus et des blancs un peu plus rayonnants), les scènes sous-éclairées (soit la grosse majorité des plans) accèdent à un relief inédit aux ombres mieux dessinées. Peu éblouissantes à de rares exceptions près (l’éclairage de l’hôpital, des prises faisant des étincelles), les sources lumineuses font dans la discrétion. Le MaxFALL a été mesuré à 208 cd/m² et le MaxCLL à 922 nits.
SON - Avengers ! Rassemblement !
Dominée par la clarté de ses dialogues (prompts au prosélytisme) et enveloppée par la précision de ses bruitages (le violent tremblement de terre à Haïti, les couloirs animés de l’école, la chorale du service religieux, les rassemblements à l’église), la VO Dolby Atmos (24-bit, 3130 kbps) ne fricote pas avec le malin.
La dynamique est possédée (et pas qu’en présence du démon), les effets surround ne manquent pas, la verticalité attire l’attention au besoin (la maçonnerie de l’hôtel qui se fissure, les débris qui volent de toutes parts suite à l’effondrement du bâtiment, le violent orage, la résonnance des voix des choristes, les interventions sataniques durant l’exorcisme), les basses bousculent dès que possible (comme lors de la catastrophe inaugurale où le sol gronde), et la partition suggestive de David Wingo and Amman Abbasi est fidèlement retranscrite.
Plus plate mais courageuse, la VF Dolby Digital Plus 7.1 (448 kbps) ne manque pas d’ampleur (à son niveau bien évidemment) et exploite très correctement les enceintes mises à sa disposition (malgré une spatialisation moins poussée). Bien intégré, le doublage ne démérite pas (même si les voix démoniaques sont plus horribles en VO).
CONCLUSION - Vade retro, Satana !
Complètement hors sujet et particulièrement frustrant, ce revival opportuniste n’est qu’un long chemin de croix ni provocant ni malaisant. Mais gardant la foi, le 4K Ultra HD vient à l’absoudre de ses péchés (grâce à des prestations A/V animées par la piété) pour ne garder de lui que la bonne facture technique qui l’habite. Alléluia !
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