Source United States | Publisher : Arrow Films | Release date : 24 September 2024
Video format
2160p24 | Ratio 2.39
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 2K
Soundtrack
English DTS-HD MA 5.1
Subtitles
English
Rated 3.5 out of 5
Artistic : 6.5 | 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. 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 (DTS Neural:X), SVS SB-4000
WORK - Machet Kills Again
Jason Voorhees, a deformed little boy, attends the beheading of his psychopath mother. Given for dead, he walks around the abandoned Crystal Lake area. Over the years, he acquired superhuman strength and blind rage towards all adults. Today, a group of teenagers will trigger his murderous madness...
Twelfth opus of the saga and modern compilation of the first three episodes, this pure and hard slasher produced by Michael Bay (Transformers) and carried out by Marcus Nispel (the excellent remake of Massacre with chainsaw) imposes as a return to the saving sources which certainly takes « the same » (exasperating young, cold meat and topless chicks) but does it with the greatest seriousness. Without any second degree and more gore than its predecessors (at least in its Killer Cut version)*), this vast technically successful massacre game has no other ambition than to kill violent deaths where his psychopath killer passes. Simple... but effective.
* Nine minutes longer with the addition of plans « adults » (more blood and breasts) and a new peripetia linked to the captive, it is better rhythmic and less cut during the killing.
« Hey, I'm not from around here, but I'm looking for my sister. She's gone missing. »
IMAGE - Back to Crystal Lake
Restored and calibrated at Duplitech From the DI 2K, this UHD scale with Dolby Vision calibration (exposed on BD-100 triple layer discs) is close to perfection (no difference in quality between the two mounts) and replenishes with a lot of subtlety the photograph loving in the darkness of Daniel Pearl. Bitrate varies from 80 to 100 Mbps with peaks that can rise well beyond.
Clean, stable and nicely organic (a 35 mm capture), this image with a few sweetnesses inherent in the source displays a firm definition, a little more refined details (the close-ups on the bodies, textile fibres, background decorations) and a fine silveric texture more closely resolved than in 1080p.
Naturally apathetic, the colorimetric palette observes a certain loosening of its shades (the greenery is less lush) to better stick to the morose atmosphere of the places. The tones are thus more nuanced with cold blue nights (and not crumbling yellow as usual in this type of production) more sophisticated and golden yellow days more diffuse. The carnation benefits from excess heat.
And in conjunction with the increased intensity of light sources (flames, flashlight light), the deep shadows surrounding the abandoned camp are clearly better defined by carefully adjusted contrasts. In fact, the superb di intro sequence in almost black and white captures more.
SOUND - Sex, drugs, alcohol 🎶
Restored under 24-bit in DTS-HD MA 5.1 (3739 kbps for the Theatrical Cut and 3741 kbps for the Killer Cut), this brutal soundtrack really does not do in lace with its just insane dynamic (to maximize the bursts) and its propensity to play off-the-spot (many suspicious sounds starting with cracking branches in the woods).
Spatialization is palpable (the rustling of the leaves, the rain), the engagement of the glaring rear scene (especially when its star boogeyman is nearby) and the response of the vehement low frequencies (the lightning that strikes, Jason's dry violence). The score of Steve Jablonsky fills the acoustic space with aggressiveness and the dialogues are clearly restored.
CONCLUSION - Kill for Mother
Quintessence of a franchise (largely missed) lying today at the bottom of the lake (but until when?), this Friday 13 Direct and free of fioritures to find on 4K Ultra HD support (bright A/V features) the best sharpening angle for its many blades!
Other article on Friday 13 on MaG:
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