Source United States | Publisher : Sony Pictures | Release date : 17 October 2017
Video format
2160p24 | Ratio 2.40
and 1.85 (Spider-Man)
HDR10 | BT.2020
HEVC encoding | DI 4K
Soundtrack
English Dolby Atmos
English DTS-HD MA 5.1 (SM 3)
French (Quebec) DTS-HD MA 5.1 (TASM 2)
Dolby Digital 5.1 (SM 3)
English (Quebec) Dolby Digital 5.1
Subtitles
English
French
Rated 4.5 out of 5
Artistic : 8 | Video : 9.5 | Audio : 9.5
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. Moreover, the images in the article are not representative of the edition tested.
Test equipment and condition (Config. HP: 5.1.4)
Video broadcaster : Sony Bravia XR-65A95L (Professional HDR)
Sources : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant : Sennheiser Ambeo Soundbar Max (Dolby Atmos | Dolby Surround), SVS SB-4000
Contents
Spider-Man, the beginnings of a canvas
Peter Parker, a young New Yorker raised by his uncle and aunt, is a gifted but unpopular student. During a scientific trip, a spider mutates his arm. The next day, he discovered superhuman powers...
After X-Men, Spider-Man is the second film that made it possible to launch superhero movies in Hollywood and remains a classic genre. The original story is simple but skillfully built, the juvenile freshness of the atmosphere is timely, the characters are well developed (especially its iconic hero) and interpreted by a particularly successful casting (Willem Dafoe and JK Simmons are at the top), the staging is inventive, the steady pace and effective action scenes. Almost unreleased on release, this success is still today.
While the upgrade is certainly not the most important, the images are technically solid with increased clarity, finer details, richly saturated bright colours and balanced contrasts. And even if the grain is a little more visible than in HD, this UHD transfer appears to be more natural, cinematographic and net. The wider and warm colorimetric palette allows to correct the colouring of the skin and boost the primaries (the suits of Spider-Man and the Green Bouffon), the improved contrasts agree to display lighter whites (lighter sequences) and darker blacks (more legible dark scenes), the reflections on the metal surfaces are more realistic and the lighting increases in brightness.
Unsurprisingly, this brand new soundtrack proposed in Dolby Atmos (and reserved for the VO) is a dynamic, harmonious and very wide soundtrack, where effects, atmospheres and heroic score are placed in the acoustic space with the necessary precision, clarity and intensity. Moreover, the aerial scene is in perfect harmony with the narrative (the evil thoughts of Norman Osborn, the structures that collapse during the fire, the canvases projected by Spider-Man, etc.) and thus reveals itself as especially tangible. Even if incomparable, the Dolby Digital 5.1 VF(Q) is correct at its level.
Artistic : 8 | Video : 8.5 | Audio : 9
Spider-Man 2, the top of the canvas
Divided between his secret Spider-Man identity and the deep desire to lead a normal life, Peter Parker will have to face his demons and make a difficult decision. But a new threat terrorizes the city: in a failed experience, Dr Otto Octavius becomes the tentacular and evil Doc Ock. Will Peter sacrifice his dreams, and probably his life, to save the city of New York and the people he loves?
Because of its radically human history where each character removes his mask to get naked in front of the spectator, Spider-Man 2 ahead of his elder and impose himself as a very good superhero film where emotion serves as a motor for a more intimate narrative but no less devoid of fairly unheard of action scenes (the aerial metro).
Preserving the cinema granularity of the work while stabilising it (compared to the first episode of the trilogy), this UHD transfer of exemplary clarity delivers an impressive definition, accentuated details (the textures of the skin, costumes and environments) that abound from the four corners of the screen, beautiful firm colors, enchanting contrasts and particularly intense blacks. The much more nuanced colorimetric palette stabilizes many hues (more saturated primary) and cleanses the subtons of the skin, the light sources that are much more enterprising (public lighting, fusion during the experiments of Dr. Otto Octavius) favour the shine of the lights, and the dark scenes display more detailed shadows.
Exclusive to the VO, the Dolby Atmos mixing at the ultra-engaging sound scene is just prodigious. The dynamics regularly go up sharply, the effects as the atmosphere spread in the room with ease (Dr. Octopus's mechanical tentacles move from one enclosure to another with fluidity), the score of Danny Elfman is diffused with great magnitude and the bass make the walls tremble. Moreover, aerial activity is quite fantastic ( Spider-Man's canvases, thunder, alarms, flames, explosions, etc.). As for the small VF(Q) Dolby Digital 5.1, she's doing pretty well.
Artistic : 8.5 | Video : 9 | Audio : 9.5
Spider-Man 3, The War of Canvases
Peter Parker finally managed to reconcile his love for Mary-Jane with his superhero duties. But the horizon darkens when his costume, which becomes black, depletes his powers and also transforms his personality to let out the dark and avenging appearance that Peter tries to control...
Episode of measurement (more people, abundant peripetia), Spider-Man 3 is a vertiginous blockbuster with hallucinating images (superbe transformed by Venom), gigantic action scenes and multiple emotions (from burlesque humour to amazing sobriety), which accentuates the recipe that made the success of the first two opus while neglecting the development of its characters and using excessive length. Not as inescapable as his elders, this last opus in the era Sam Raimi remains a spectacular entertainment and not taken over.
Despite the presence of small white dots (months of about ten in fact), this UHD transfer imposes itself as the best of trilogy. The definition is more sharp (the billboards), much more visible details (face features and clothing), amplified depth of field (the streets of New York), more energetic colors, sharper contrasts and more discreet grain. The dark scenes are better cut by a more progressive black management, the brightness is improved with more radiant whites and much more powerful lighting (the reflections of light make the metal objects and Venom's costume shine more realistically), and the colorimetric palette that gains in refinement animates the primaries more strongly while widening the other shades.
Similar to its predecessors, this Dolby Atmos mixing (used only to the VO which is also offered in DTS-HD MA 5.1) provides a lot of activity to the rear scene (New York life) and to the height canals (the Harry Osborn hoverboard, the sand grains of the Man-sable, debris falls, Venom screams, Spidey canvases, etc.). For the rest, the dynamics are fantastic, balanced spatialization, detailed effects/ambiences, well-extended music and bass punchy. If she doesn't do lace either, the VF(F) Dolby Digital 5.1 obviously fails to exploit the acoustic space as does the VO... Not to mention the voice of the Sandman who is far from being so deep.
Artistic : 7 | Video : 9.5 | Audio : 10
« Whatever I do, whatever my determination, those I love will always pay. »
The Amazing Spider-Man, the reboot of the canvas
Abandoned by his parents when he was a child, Peter Parker was raised by his uncle Ben and aunt May. By finding a mysterious briefcase belonging to his father, Peter begins a quest to elucidate the disappearance of his parents, which quickly leads him to Oscorp and to the laboratory of Dr. Curt Connors, his father's former partner...
This second version of Spider-Man, which takes over the genesis of the character almost 10 years after the adaptation of Sam Raimi, is a very successful reboot of the saga that is significantly different from the old version to found its own legend... which surprises in the right sense of the term. Indeed, The Amazing Spider-Man insists much more on the human aspect and features a superhero less heroic and infallible but much more human and endearing carried by the amazing performance ofAndrew Garfield (less head to slam than Tobey Maguire). The relationship he has with Gwen Stacy (adorable Emma Stone) is as touching as it is credible and is never cul-ass in contrast to the one he had with Marie-Jane (Kirsten Dunst) in the first trilogy. Next to this, there is a visually neat and well-written performance (the evolution of the character) where the action scenes of a dreadful efficiency (but less spectacular than in the past) coexist with moving passages that really take to the tripes (rescue on the bridge and crossing with the cranes). A winning comeback of spider man? Oh yes and a moving return that takes the viewer into his canvas because he is much more interested in characters than in an overbidding action yet well present. A great success that makes you want to quickly discover the sequel.
With impeccable precision and formidable beauty, this grainless UHD transfer (a 5K digital shooting) makes a spectacular without fault. The definition is solid as a rock, the details are ultra-precise (the laboratories at Oscorp), the textures are of incredible complexity (the clothing), the dark colors (dominantly grey) are of great richness (red and blue shades full of life), the contrasts are enchanting (the brightness of the whites and the abyssal depth of the blacks) and the light sources (the rear lights of the vehicles, the lights behind the windows) shine with sometimes blinding intensity (the reflections on Spider-Man's costume). Yet magnificent when released, the Blu-ray looks flat and dull in comparison.
The dialogues are clear, the directional effects are very effective, the atmospheres abound, the basses are deep and the dynamics are formidable. In addition, the upper sound layer supports ambiences (beating rain, announcements at Oscorp), effects (the Spider-Man cables, turning cars, debris) and even music (signed James Horner) for maximum wrapping. The VO Dolby Atmos is therefore a must. As for the VF(Q), unfortunately downgraded to Dolby Digital 5.1 (DTS-HD MA 5.1 on the French Blu-ray), it manages to ensure the show (by the abundance of sound design) despite a tighter spatialization and a smaller scale.
Artistic : 8 | Video : 10 | Audio : 10
TASM: The Destiny of a Hero, the Electroshock of the Canvas
Peter Parker finds his happiness between his life as a hero and the sweet moments he spent next to Gwen. But being Spider-Man has a price: to protect his New York fellow citizens from malicious individuals who threaten the city. In front of Electro, Peter will have to face a much more powerful enemy than he did. Upon the return of his old friend Harry Osborn, he realizes that all his enemies have one thing in common: OsCorp...
Ce 2e opus de la seconde trilogie de l’homme-araignée (qui n’aura malheureusement pas pu se conclure et s’arrêta après cet épisode), initiée en 2012 avec un reboot très réussi qui s’écartait sensiblement de l’ancienne version, permet à Marc Webb de continuer à tisser sa propre saga avec une aventure fantastique encore plus spectaculaire (séquences d’action vertigineuses), émouvante (jeu sentimental très crédible du couple vedette) et dense (intrigue riche en enjeux, personnages et rebondissements) que son aînée. N’hésitez donc pas à vous faire une toile !
Une démonstration de tous les instants avec un master UHD sans faille, une définition de pointe (la clarté est améliorée), un piqué d’exception (les détails sont plus raffinés), des couleurs radioactives (plus profondes comme avec le ciel bleu et/ou riches comme sur le costume de Spider-Man), des contrastes de haut niveau, des noirs magnifiques (ils jouissent de meilleures ombres) et des sources lumineuses qui explosent régulièrement la rétine (les arcs électriques, les panneaux publicitaires de New York, les avertisseurs lumineux des véhicules de secours). Néanmoins, le film ayant été capté en argentique au format 35 mm, il possède un grain fin et régulier qui pourrait rebuter certains spectateurs. Pourtant, cela lui donne un cachet cinématographique absolument savoureux.
Un mixages Dolby Atmos (accroché à la VO) qui ne manque ni d’énergie ni de folie. La puissance comme la finesse sont de la partie, la dynamique est particulièrement musclée, la spatialisation utilise l’ensemble des enceintes avec une précision et un sens du spectacle électrisants, la scène arrière est ultra-sollicitée (les ambiances citadines), la couche supérieure ajoute beaucoup à l’immersion ressentie (le « vent » dans l’avion, l’A.I. holographique d’OsCorp, la voix et les pouvoirs électriques d’Electro, etc.), la partition à haute tension d’Hans Zimmer envahit généreusement l’espace sonore et les basses envoient du bois. Néanmoins, si les voix restent audibles en toutes circonstances, elles souffrent parfois d’un souffle parasite (certes dû à la prise de son mais c’est tout de même gênant). Très solide même si un peu moins large et riche en effets, la VF(Q) DTS-HD MA 5.1 se rattrape par la plus grande clarté de ses dialogues.
Artistic : 7.5 | Video : 9.5 | Audio : 8.5
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