Source France | Publisher : Sidonis Calysta | Release date : 15 January 2024
Video format
2160p24 – Ratio 2.35
Dolby Vision / BT.2020 – HEVC encoding
Master intermediate 4K
Soundtrack
English Dolby Atmos
English DTS-HD MA 5.1
English DTS-HD MA 2.0
French DTS-HD MA 2.0
Subtitles
French
Rated 4 out of 5
Artistic : 6.5 | Video : 9 | 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, the images (extracted from a free-of-rights image bank and the site caps-a-holic) 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 (Dolby Atmos | DTS Neural:X), SVS SB-4000
WORK - The woman from space
Shuttle Churchill explores a gigantic alien spaceship where its members discover three sarcophagi. Inside, the bodies of a woman and two men. The three creatures quickly prove to be authentic vampires. Indifferent to weapons, the female entity travels London, transforming its population into a horde of zombies...
Freely adapted from the novel Space Vampires by the British writer Colin Wilsonpsychedelic delusion that we owe to Tobe Hooper (Massacre with chainsaw and its sequel) interlace with an excellent technical outfit space opera, horrific tale and zombie flick not without a touch of eroticism.
So yes, the scenario is broken down and the blond rhythm (a big soft belly), but the memorable sequences flow (the spatial introduction, autopsy, riots), the old-fashioned SFX are still prodigious (cf. the animatronics) and the little fierce Mathilda May (none on almost all scenes where she plays) reveals an advantageous plastic.
Rehabilitation by Quentin Tarantino, as a good fan of cinema bis that he is, this crazy project (a little nanar but so generous) welcomed coldly by the critic and the audience at its release deserves you to look curious. In your turn, will you succumb to its fantastic charm escaped from the 80s?
« I'd say she's perfect. I've been in space for six months and she looks perfect to me. »
IMAGE - In the shadow of the Comet
While the 4K Ultra HD (film version) features a Dolby Vision UHD transfer from a 4K scan of the original 35 mm negative, the Blu-ray (long version) contains a 1080p master from a 4K restoration (softer and filtered but very good hold) performed from a 35 mm interpositive. In both cases, this material originates from Shh! Studios without difficulty replacing the tired master (proposed which is more in 1080i) of the Blu-ray published in 2014 at Sidonis Calysta.
The silver texture that is correctly resolved has been superbly preserved, the framing has taken a little height to reveal more information at the four corners of the wide frame, the copy has been thoroughly cleaned (white dots and other dirt are ancient history), the image that remains particularly well detailed benefits from increased finesse (hair, skin, bodily damage) and the compression suffers from no anomalies (an average bitrate measured at 94.9 Mb/s).
The colorimetric palette with hot calibration gains in fabric (reds and blues are deeper) and displays a more natural carnation, contrasts that capture more (very deep unblocked blacks and brilliant whites as desired) « naked » somewhat the shadows (actually better designed) and the light sources, ultra-pushed at times (peaks to 10,000 nits!!!), benefit from a completely different radiance (the magic of space vampires, urban lighting). It should be noted that the photograph of the Grand Chief Operator Alan Hume is particularly bright (an average luminance of 843 cd/m2).
SON - Oh, free the decals 🎶
Enjoying a spectacular multi-channel opening and striking power (dynamics and the LFE channel delight each other during explosions and shootings), this brand new Dolby Atmos track (reserved for VO) sometimes excessive in its acoustic rendering (some noises are artificially balanced in the surrounds) does no less ensure the show.
The spatialisation above all frontal often overflows at the rear (the final chaos in the burning streets of London) and a little in the heights (the movements of the rocket, the circulation of the « energy fluid »), the dialogues strongly exuded by the power station are clear (except for rare passages where a slight echo, certainly inherent to the source, is heard) and the atmospheric music signed Henri Mancini takes possession of all the speakers.
Delivered in stereo DTS-HD MA 2.0, the VF unfortunately does not make the weight with its wrap to the absent subscribers and its too many loss of atmospheres (such as out-of-field screams). The clarity is nevertheless of the part and the dubbing is careful. On the long version, the added passages automatically switch to VOST since still not doubled.
CONCLUSION - Is there a lack of energy?
Fetish video clubs, this strange genre film that makes you meet Under the Skin and 28 days later well before the hour invites us to a crazy journey including the present edition 4K Ultra HD, served in the form of a premium mediabook of about thirty pages (where Marc Toullec traces the production of the film) and accompanied by deserving bonuses (a making of the 20 minutes period and a recent interview of 15 minutes of his enchanting actress), renews the beauty of with truly seductive A/V performances. (Mathilda) May the Lifeforce be with you!
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