Friday the 13th: The Complete Collection Blu-ray Review | High Def Digest
It's been nearly ten years since Freddy Krueger invaded dreams to exact his deadly form of revenge. English SDH, Spanish . Jason slices into Blu-ray with an eye-opening p, framed transfer. . Date added. You will also need to be registered as a Dating on facebook uk is developer in The biggest social freddy vs jason p latino dating red flag would be him. Freddy vs. Jason. The clash between two horror icons explodes with an excellent p/VC-1 encode that's identical to the Blu-ray release.
Colors are bold and energetic, particularly in the primaries. Part three arguably looks the worst of the bunch, especially since this is a missed opportunity for giving the movie a proper 3D conversion.
As with part two, grain can fluctuate in a number of scenes, mostly during dark interiors, but the change is tolerable and only gives the movie a nice film-like charm. Depth is excellent for the most part with great separation of the foreground from the background, but it's difficult to tell at times because the colorization is distracting and the 2.
The endless amount of crosstalk is also a constant strain on the eyes.
Friday the 13th: The Complete Collection
In the end, the gimmick photography is precisely that but mildly amusing. There are plenty of great scenes with excellent, crisp contrast and sharp definition in the surrounding foliage, furnishings and clothing, but there are also several moments of poor resolution, severe softness and film grain that looks a bit noisy.
The soft diffusion photography is a little weird but not too bad. Black levels are mostly accurate, but can fluctuate in a few areas. Colors benefit the most with a palette of vibrant primaries, yet in the end, the high-def transfer falls on the average side of things.
I'm saddened to report, however, that I experienced a terribly annoying glitch on the disc where it suddenly freezes and skips at a pivotal moment — Glover's character talks to his date in bed.
I played the disc on three different players, and the same thing happened on each at around the The players do well in skipping over the problem, but it's a major distraction to the movie's enjoyment. Part six is not too far off with fine object and textural details looking quite distinct and resolute, exposing every blemish and negligible imperfection in the architecture, background furniture and healthy facial complexions. A couple scenes do show their age; however, there is a nice consistency in quality throughout with a very fine layer of natural grain.
Contrast is comfortably bright while blacks appear true and accurate with strong shadow delineation. The color palette pops off the screen with rich saturation and energy. The diffusion photography of the seventh movie gives the video a soft, dreamy look, but definition is ultimately average with a grain structure that tends to fluctuate and brightness levels that are less than satisfying.
Both display good contrast balance while colors appear bold and well saturated. Part ten is far superior as well with better shadow delineation and deeply rich black levels.
Brightness could be a tad stronger in number nine, as the darker portions can look somewhat faded and murky. The color palette in both movies is accurately and cleanly rendered. Contrast fails to impress in 'Jason Goes to Hell' with highlights running a smidge hotter, exposing some noise and posterization, but 'Jason X' displays a crisper, brighter and better transfer.
The aged hockey mask exposes the tiniest nick, dent and scratch while we can see every muscle tissue, rotten tooth and individual scar on Freddy's badly burned face. Contrast is spot-on with clean, crisp white everywhere, and black levels are inky rich with deep, penetrating shadow that don't engulf the finer lines.
Colors are bold and loud as well, making this a great high-def presentation.
Also, the VC-1 encode is identical to its counterpartso there really shouldn't be any surprises at all. The highly-detailed picture displays sharp, well-defined lines on clothing, the surrounding foliage and close-up are very revealing. The smallest object in the background is distinct, and the new Jason is particularly grimy-looking. The little bit of softness is inherent to the sun-backed photography, which comes with contrast levels that are intentionally on the hot side.
Blacks could be a tad stronger, but visibility within the shadows is quite excellent while bold, vibrant colors invigorate the 2. Only thing keeping it on this side of perfection is some very light, almost negligible aliasing around the edges of objects.
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Part 1 — 3 Like the video, the first three movies arrive with Dolby TrueHD soundtracks that are identical to their previous releases. And while I find myself enjoying them for what they are, I can admit they also have their drawbacks, most notably a mid-range that's not very extensive or really all that impressive.
Friday the 13th / A Nightmare on Elm Street / Freddy vs. Jason Blu-ray
In fact, the higher frequencies tend to come off a bit screechy and bright, especially during Harry Manfredini's score and loud, sudden violin notes. Likewise, the low-end is noticeably lacking for a movie with so much action, even in the music, creating a largely flat, somewhat listless presentation. On the plus side, the soundstage is broad and welcoming with a well-balanced channel separation and good dialogue reproduction, generating a satisfyingly engaging soundfield.
The DTS-HD Master Audio soundtrack is not too terrible, but it generally sounds flat and monotone, thanks mostly to an even and uniform mid-range. The few moments in which the design pushes into the higher frequencies the lossless mix comes off bright and nearly ear-piercing with noticeable crackling and hissing. Low bass is largely absent, making the presentation all the duller.
Granted, imaging feels wide, allowing Manfredini's score to be the most engaging aspect, and vocals are cleanly delivered in the center, but overall, it's fairly average.
Dialogue is cleanly delivered in the center and well-prioritized. As with the others, the biggest problem is in the high-end, where the upper ranges are much too loud and ear-piercing, ruining finer details a tad, while the mids lack warmth and fidelity.
The front-heavy presentation comes with pleasingly broad imaging, showing good but very light panning between the channels. The score, especially, widens the soundfield to an amusing, engaging effect, and bass is bit more palpable here than in the previous movies though not by much.
Number six is definitely the better of the two with better bass and dynamic range while employing the rears with satisfying effectiveness and good directionality. It's somewhat of a shame since this is where minor rear activity with decent atmospherics generates a mildly amusing soundfield. Low bass is also a bit more palpable, adding some weight to the action pieces. Dialogue reproduction in both movies is excellent and intelligible while the front soundstage feels wide and welcoming.
Freddy vs. Jason vs. Ash () - IMDb
As with the others, the mid-range is the cause of my gripe, pushing the higher frequencies to ear-piercing levels, ruining the finer details and create noticeable clipping. Dynamic range is never pushed too far beyond its limits in 'Jason Goes to Hell,' but the tenth entry delivers sharp detailing in the mid-range with room-penetrating clarity. Most impressive is a hearty, booming low-end, giving every punch, thump, gunshot and footstep appreciable weight, and 'Jason X' wins out again with a more powerful bass that rattles walls and digs much deeper.
Surrounds are mostly used by the musical score, but the occasional discrete effect can be heard to lightly enhance the soundfield and create some minor immersion. Dialogue reproduction is clean and crisp in the center in both movies, but 'Jason X' is definitely much more fun. Imaging is broad with excellent fidelity and very well-balanced channel separation. The mid-range and acoustics are dynamic and extensive with great detailing in the higher frequencies and a potent, energetic low-end that adds heft and depth to the music as well as the action.
Vocals are precise and intelligible in the center while the other channels deliver convincing off-screen effects. Rear activity satisfyingly extends the soundfield and envelopes the listeners with various atmospherics, especially during nightmare sequences and the final fight.
Rear activity employs a variety of ambient effects and shares the space with the musical score, generating a satisfying soundfield with excellent panning and great directionality. Imaging is expansive and very engaging, displaying more off-screen effects that are discrete and convincing.
Dynamic and acoustics are sharp, detailed and very well-balanced, maintaining appreciable clarity in the highs and good, room-penetrating mids. The low-end packs a worthwhile punch, providing the action with power and Jason's footsteps with scary weight.
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