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- Mortal Engines, in vapeu...
4K Ultra HD – Edition DE – Universal Pictures – 128 min – 18 April 2019
Video format
• Intermediate Master: 4K
• Standard HDR: Dolby Vision
• Ratio: 2.39
Soundtrack
• English Dolby Atmos
• English Dolby Digital Plus 7.1 (only on the edition EN)
Subtitles
• English
• English (only on the edition EN)
It is brought to the attention of our dear readers as well as the viewing equipment specified and used by each tester of the MaG team, the rendering may differ from one installation to another, whether or not it is calibrated, as well as personal preferences and expectations may influence the rating. Moreover, the images in the article are not representative of the edition tested.
WORK – In the fumes of the future
Hundreds of years after an apocalyptic event destroyed the Earth, humanity adapted to survive by finding a new way of life. Thus, gigantic mobile cities wander on Earth taking power ruthlessly over other smaller mobile cities. Tom Natsworthy – from the lower level of London's large mobile city – fights for his own survival after his bad encounter with the dangerous fugitive Hester Shaw. Two characters that everything opposes, which were not meant to cross, will then form an extraordinary alliance, intended to upset the future.
If it remains too manichean and accumulates the clichés of the young adult fiction, this adaptation of the best-seller Fatal mechanics by Philip Reeve still imposes himself as an ambitious SF blockbuster.
The dystopical universe is as original (the gigantic steam machines) as it is amazing, the stakes are captivating (even if agreed), the aesthetics are sophisticated, the bravery (pharaonic) scenes are quaint, the rhythm is particularly strong and the special effects are wonderful.
A breathtaking spectacle with epic generosity!
IMAGE – On earth as in heaven
Simply splendid, the images of this UHD Dolby Vision transfer (tournage 8K and DI 4K) do not cease to magnify the superb artistic direction of the work.
Visually very impressive, they display an even more astonishing definition than in HD (the contribution is obvious on the decors), prodigious details, otherwise more precise than on the example Blu-ray (the textures benefit from an increased finesse), granularity to absent subscribers, Fabulous colors much wider and nuanced (Hester Shaw's red scarf, Shrike's green eyes), much more sumptuous contrasts (the dark scenes enjoy much denser blacks and white clouds are brighter) and considerably more luminous light sources (the sun, flames, interior lighting, the sights of the cockpits and machines of the great mobile city of London).
In a word as in a hundred, a reference!
SOUND – Fury on the road
Ultra-engaging and endowed with a monster dynamic, the Dolby Atmos track delivers a dreadfully immersive acoustic spectacle and unheard of richness.
The spatialisation occupies space as rarely (the sounds travel regularly at 360°), the effects like the atmospheres (the incessant metallic noise of the predatory city and Scuttlebug) are broadcast with precision and magnitude on all the enclosures, the surrounding canals are extremely busy, the aerial sphere is as inventive as it is intelligently exploited (London which « devour » the small mining town of Salzhakendes, the passage in the « sawmill », wind, flying gear, flashes caused by activation of MEDUSA, etc.), Junkie XL's score (Tom Holkenborg) pulses properly, low frequencies shake badly (constant buzzing of engines, explosions, gunshots, crashes, quantum energy of the super weapon and j-en pass), and dialogues are perfectly intelligible.
Tested on the French edition (it's important to have friends close to home), the VF shoots beautifully despite weakened power and a less abundant sound scene.
CONCLUSION – In perpetual motion
To explore this unpredictable and dangerous world without risking engine dirt and/or dry breakdown, equip yourself with the present 4K Ultra HD!
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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[...] its colours (when there are), Peter McCaffrey's and Simon Raby's rather neutral photography (Mortal Engines) are really getting brighter (computer monitors, room lighting [...]