In-depth DVD and movie reviews - the JBL sound!

[JBL 4645]

GoldCylon

Welcome to the JBL Lansing Heritage site.


This is quote from the Imdb site of one my first experiences hearing and feeling (((Sensurround)))

“Earthquake being one of the first to shake and rumble the hell of the audience
“70 mm 6-Track (70 mm prints) (Westrex Recording System) / Mono (35 mm optical prints) / Sensurround (70 mm and 35 mm magnetic prints) / 4-Track Stereo (35 mm magnetic prints)”

Earthquake (1974) and Battlestar Galactica (1979)
I saw this in (((Sensurround))) at the Bournemouth ABC screen 1

Now I’m not sure if the print I saw was 70mm or 35mm? I was far too young at the time to know those things, but I remember seeing the (warning to audiences) just before Earthquake started and it was nothing short than awesome…

I found this on the in-70mm site and I found it rather amusing, in fact darn right funny, because I’m not joking it was a very loud sound system for the cinemas back in 1974, I thought the ceiling was going to give, it was (thunderous)!!! And at just 79p to see a film back then, what a bargain.

Quote
Sensurround Horror Stories
“..the projectionist consumed a lot more alcohol on the job than normal to try and numb his headaches from the constant rumble and vibration in the booth!

I took my girlfriend to see "Earthquake" and she complained about a sick stomach! We were in the balcony and it felt like it was a roller coaster at times.

When The Branmar Theater in Wilmington, DE, which had shown all the Sensurround films closed in the late 80's, you could still see the cracks in the ceiling from the process!

In Billings, Mont. they opened “Earthquake”. A knickknack/china shop occupied one of the storefronts. Needless to say, the morning after the opening all the wall-mounted breakables were in pieces on the floor. For the rest of the run, that store had to take down all of their wall displays every night and put'em back up the next day!

I received an e-mail last night from a gentleman in England who's wife got a nose bleed watching "Earthquake" in Sensurround!

Ceiling tiles would vibrate loose and fall on the audience, giving the true earthquake effect. On "Battle of Midway", I walked inside on one of the rear beasts [speakers], and it was vicious.

The owner of a cinema in Luxembourg thought that the number of subwoofers proposed by the installer wasn't enough so he doubled it. Result was that the first time they played “Earthquake” the hotel next to the theatre was evacuated because people were convinced a real earthquake was happening

At the Fairlawn during the presentation of "Rollercoaster", it was found that in either theatre, the Sensurround noise would intrude into the sound of the other theatre. The only option was to run the picture simultaneously in both houses.

There were, of course, numerous tales associated with the running of this print (“Battlestar Galactica”), such as the elderly lady who lived behind the Fairlawn, complaining to the Toronto Transit Commission that they were running their subways especially loud at 8:00.

UA Fox Theatre in Hackensack, NJ. The theatre was an old 1800 seat Egyption Art Deco with an awesome balcony. Sensurround presentations ended when part of the plaster ceiling came crashing down during a showing of “Rollercoaster”. Nobody was hurt, but the fact that 10 seats got crushed spooked the management.

At the Penn Centre in St Catherines Ontario the effect was so powerful the booth floor separated from its slab and sank 2 inches

At the Elaine theatre the shockwaves killed all the goldfish in the pet shop at the other end of the mall. One of the most interesting aspects of the Sensurround "experience" was watching the crowd reaction. I saw a couple people get up and run out of the theater in fear! Really! The down side was going to a movie in a auditorium next door.”
Quote


Here are a few technical links regarding (((Sensurround)))
http://www.in70mm.com/newsletter/2004/69/sensurround/index.htm
http://www.in70mm.com/newsletter/2004/69/sensurround/about.htm
http://www.in70mm.com/news/2004/recreating_sensurround/index.htm
http://members.aol.com/earthquakemovie/trivia.html


Oh, there's just one other thing.

The region 2 DVD of Battle Star Galactica is in monaural which is a shame and only Earthquake (1974) is presented in Dolby 5.1 for region 2, that I own, and I’ll just wait until Universal get a proper print of Battle Star Galactica (1979) I believe the region 1 version of Earthquake as two different soundtrack sections to chose from, while the region 2 only has one to chose form, and its mighty loud brings back Sensurround syndrome it really does that shaking feeling way down deep that you can feel on the LFE.1, chapter 8 The Big One, 8 minutes long!!!

[JBL 4645]

£5.00 ASDA

I noticed last December that a small scratch mark as got on my first edition region 2 version of the summer blockbuster of 1996 Independence Day, so I’ll review it over in the next month or two, for now its staying wrapped up in the shrink-wrap. It has a dts mix on it, wow, I’ll see how it compares, but I’m more of Dolby fan for DVD and dts fan for laserdisc.

This isn’t the exact DVD cover, I can’t find the first edition region 2 DVD cover, so this will suffice.

This is an Irwin Allen classic and what a few he brought out during the 1970’s water capsizing and ocean liner and then fire with sky rising, The Towering Inferno, which I have had for several years on region 2 DVD. Anyway I’m going to view this later on, and with all the (JBL control 1 boxed up!) I’ll hah to make a few adjustments to the settings on the DCX2496 for the LCR maybe connect the HF tweeter up with the DCX2496, for the surrounds I’ll use two JBL control 5 for the rear, this is temporally, and there partly, ready to move.

I’ve boxed up the Behreinger BFQ2496 that I use for primary surround EQ, my Cello DR-810 DVD-RW, and besides the boxes filling up the front of the room, the sound of the room is changing, grandly.

Can’t wait to get out of this crap hole dump!

£2.00 ASDA

I noticed last December that a small scratch mark as got on my first edition region 2 version of the summer blockbuster of 1996 Independence Day, so I’ll review it over in the next month or two, for now its staying wrapped up in the shrink-wrap. It has a dts mix on it, wow, I’ll see how it compares, but I’m more of Dolby fan for DVD and dts fan for laserdisc.

[JBL 4645]

Would you believe it! The second layer of, The Poseidon Adventure was (full of pixels) so I took straight back and I was just getting into watching (Gene Hackman) leading everyone to safety. Oh well I’ll look out for the two disc set sometime in the near future.

It’s the second time I’ve encountered this uncommon issue, the first time was a few years ago, that Pyrites of the Caribbean II had one moment, where (Jack peeks at the compass) and all of a sudden pixels! I took that DVD back and got a second one and that too, had the same issue.

Basically it was down to the supervising of the transfer, that’s all, I bet there was thousands with the same fault.

Anyway I changed The Poseidon Adventure over o Walk the Line “the man in black” AKA Johnny Cash (2005) I believe this was up for an Oscar for best sound so this should rock the ole JBL tonight.

[JBL 4645]

Later today the nominations for this, years Oscars will be announced at 5:30 a.m?

I’ve heard that the (writer’s guild) where on strike or something like that over the past few weeks, is this true? And will this curse disruption for the ceremony on February 24th when it’s broadcasted live to the world.

http://www.oscar.com/

I’ll be waiting for nominations, hope Kevin O’Connell gets nominated for Spiderman 3?

[JBL 4645]

Performance by an actor in a leading role

George Clooney in “Michael Clayton” (Warner Bros.)
Daniel Day-Lewis in “There Will Be Blood” (Paramount Vantage and Miramax)
Johnny Depp in “Sweeney Todd The Demon Barber of Fleet Street”
(DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)
Tommy Lee Jones in “In the Valley of Elah” (Warner Independent)
Viggo Mortensen in “Eastern Promises” (Focus Features)

Performance by an actor in a supporting role

Casey Affleck in “The Assassination of Jesse James by the Coward Robert Ford” (Warner Bros.)
Javier Bardem in “No Country for Old Men” (Miramax and Paramount Vantage)
Philip Seymour Hoffman in “Charlie Wilson’s War” (Universal)
Hal Holbrook in “Into the Wild” (Paramount Vantage and River Road Entertainment)
Tom Wilkinson in “Michael Clayton” (Warner Bros.)

Performance by an actress in a leading role

Cate Blanchett in “Elizabeth: The Golden Age” (Universal)
Julie Christie in “Away from Her” (Lionsgate)
Marion Cotillard in “La Vie en Rose” (Picturehouse)
Laura Linney in “The Savages” (Fox Searchlight)
Ellen Page in “Juno” (Fox Searchlight)

Performance by an actress in a supporting role

Cate Blanchett in “I’m Not There” (The Weinstein Company)
Ruby Dee in “American Gangster” (Universal)
Saoirse Ronan in “Atonement” (Focus Features)
Amy Ryan in “Gone Baby Gone” (Miramax)
Tilda Swinton in “Michael Clayton” (Warner Bros.)

Best animated feature film of the year

“Persepolis” (Sony Pictures Classics) Marjane Satrapi and Vincent Paronnaud
“Ratatouille” (Walt Disney) Brad Bird
“Surf's Up” (Sony Pictures Releasing) Ash Brannon and Chris Buck

Achievement in art direction

“American Gangster” (Universal)
Art Direction: Arthur Max
Set Decoration: Beth A. Rubino
“Atonement” (Focus Features)
Art Direction: Sarah Greenwood
Set Decoration: Katie Spencer
“The Golden Compass” (New Line in association with Ingenious Film Partners)
Art Direction: Dennis Gassner
Set Decoration: Anna Pinnock
“Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)
Art Direction: Dante Ferretti
Set Decoration: Francesca Lo Schiavo
“There Will Be Blood” (Paramount Vantage and Miramax)
Art Direction: Jack Fisk
Set Decoration: Jim Erickson

Achievement in cinematography

“The Assassination of Jesse James by the Coward Robert Ford” (Warner Bros.) Roger Deakins
“Atonement” (Focus Features) Seamus McGarvey

“The Diving Bell and the Butterfly” (Miramax/Pathé Renn) Janusz Kaminski
“No Country for Old Men” (Miramax and Paramount Vantage) Roger Deakins
“There Will Be Blood” (Paramount Vantage and Miramax) Robert Elswit

Achievement in costume design

“Across the Universe” (Sony Pictures Releasing) Albert Wolsky
“Atonement” (Focus Features) Jacqueline Durran
“Elizabeth: The Golden Age” (Universal) Alexandra Byrne
“La Vie en Rose” (Picturehouse) Marit Allen
“Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Colleen Atwood

Achievement in directing

“The Diving Bell and the Butterfly” (Miramax/Pathé Renn) Julian Schnabel
“Juno” (Fox Searchlight) Jason Reitman
“Michael Clayton” (Warner Bros.) Tony Gilroy
“No Country for Old Men” (Miramax and Paramount Vantage) Joel Coen and Ethan Coen
“There Will Be Blood” (Paramount Vantage and Miramax) Paul Thomas Anderson

Best documentary feature

“No End in Sight” (Magnolia Pictures)
A Representational Pictures Production
Charles Ferguson and Audrey Marrs
“Operation Homecoming: Writing the Wartime Experience” (The Documentary Group)
A Documentary Group Production
Richard E. Robbins
“Sicko” (Lionsgate and The Weinstein Company)
A Dog Eat Dog Films Production
Michael Moore and Meghan O’Hara
“Taxi to the Dark Side” (THINKFilm)
An X-Ray Production
Alex Gibney and Eva Orner
“War/Dance” (THINKFilm)
A Shine Global and Fine Films Production
Andrea Nix Fine and Sean Fine


Best documentary short subject

“Freeheld”
A Lieutenant Films Production
Cynthia Wade and Vanessa Roth
“La Corona (The Crown)”
A Runaway Films and Vega Films Production
Amanda Micheli and Isabel Vega
“Salim Baba”
A Ropa Vieja Films and Paradox Smoke Production
Tim Sternberg and Francisco Bello
“Sari’s Mother” (Cinema Guild)
A Daylight Factory Production
James Longley

Achievement in film editing

“The Bourne Ultimatum” (Universal) Christopher Rouse
“The Diving Bell and the Butterfly” (Miramax/Pathé Renn) Juliette Welfling
“Into the Wild” (Paramount Vantage and River Road Entertainment) Jay Cassidy
“No Country for Old Men” (Miramax and Paramount Vantage) Roderick Jaynes
“There Will Be Blood” (Paramount Vantage and Miramax) Dylan Tichenor

Best foreign language film of the year

“Beaufort” A Metro Communications, Movie Plus Production
Israel
“The Counterfeiters” An Aichholzer Filmproduktion, Magnolia Filmproduktion Production
Austria
“Katyń” An Akson Studio Production
Poland
“Mongol” A Eurasia Film Production
Kazakhstan
“12” A Three T Production
Russia


Achievement in makeup

“La Vie en Rose” (Picturehouse) Didier Lavergne and Jan Archibald
“Norbit” (DreamWorks, Distributed by Paramount) Rick Baker and Kazuhiro Tsuji
“Pirates of the Caribbean: At World’s End” (Walt Disney) Ve Neill and Martin Samuel

Achievement in music written for motion pictures (Original score)

“Atonement” (Focus Features) Dario Marianelli
“The Kite Runner” (DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics) Alberto Iglesias
“Michael Clayton” (Warner Bros.) James Newton Howard
“Ratatouille” (Walt Disney) Michael Giacchino
“3:10 to Yuma” (Lionsgate) Marco Beltrami

Achievement in music written for motion pictures (Original song)

“Falling Slowly” from “Once”
(Fox Searchlight)
Music and Lyric by Glen Hansard and Marketa Irglova
“Happy Working Song” from “Enchanted”
(Walt Disney)
Music by Alan Menken
Lyric by Stephen Schwartz
“Raise It Up” from “August Rush”
(Warner Bros.)
Nominees to be determined

“So Close” from “Enchanted”
(Walt Disney)
Music by Alan Menken
Lyric by Stephen Schwartz
“That’s How You Know” from “Enchanted”
(Walt Disney)
Music by Alan Menken
Lyric by Stephen Schwartz

Best motion picture of the year

“Atonement” (Focus Features)
A Working Title Production
Tim Bevan, Eric Fellner and Paul Webster, Producers
“Juno” (Fox Searchlight)
A Dancing Elk Pictures, LLC Production
Lianne Halfon, Mason Novick and Russell Smith, Producers
“Michael Clayton” (Warner Bros.)
A Clayton Productions, LLC Production
Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
“No Country for Old Men” (Miramax and Paramount Vantage)
A Scott Rudin/Mike Zoss Production
Scott Rudin, Ethan Coen and Joel Coen, Producers
“There Will Be Blood” (Paramount Vantage and Miramax)
A JoAnne Sellar/Ghoulardi Film Company Production
JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

Best animated short film

“I Met the Walrus”
A Kids & Explosions Production
Josh Raskin

“Madame Tutli-Putli” (National Film Board of Canada)
A National Film Board of Canada Production
Chris Lavis and Maciek Szczerbowski
“Même Les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)” (Premium Films)
A BUF Compagnie Production
Samuel Tourneux and Simon Vanesse
“My Love (Moya Lyubov)” (Channel One Russia)
A Dago-Film Studio, Channel One Russia and Dentsu Tec Production
Alexander Petrov
“Peter & the Wolf” (BreakThru Films)
A BreakThru Films/Se-ma-for Studios Production
Suzie Templeton and Hugh Welchman


Best live action short film

“At Night”
A Zentropa Entertainments 10 Production
Christian E. Christiansen and Louise Vesth
“Il Supplente (The Substitute)” (Sky Cinema Italia)
A Frame by Frame Italia Production
Andrea Jublin
“Le Mozart des Pickpockets (The Mozart of Pickpockets)” (Premium Films)
A Karé Production
Philippe Pollet-Villard
“Tanghi Argentini” (Premium Films)
An Another Dimension of an Idea Production
Guido Thys and Anja Daelemans
“The Tonto Woman”
A Knucklehead, Little Mo and Rose Hackney Barber Production
Daniel Barber and Matthew Brown

Achievement in sound editing

“The Bourne Ultimatum” (Universal)
Karen Baker Landers and Per Hallberg
“No Country for Old Men” (Miramax and Paramount Vantage)
Skip Lievsay
“Ratatouille” (Walt Disney)
Randy Thom and Michael Silvers
“There Will Be Blood” (Paramount Vantage and Miramax)
Matthew Wood
“Transformers” (DreamWorks and Paramount in association with Hasbro)
Ethan Van der Ryn and Mike Hopkins

Achievement in sound mixing

“The Bourne Ultimatum” (Universal)
Scott Millan, David Parker and Kirk Francis
“No Country for Old Men” (Miramax and Paramount Vantage)
Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
“Ratatouille” (Walt Disney)
Randy Thom, Michael Semanick and Doc Kane
“3:10 to Yuma” (Lionsgate)
Paul Massey, David Giammarco and Jim Stuebe
“Transformers” (DreamWorks and Paramount in association with Hasbro)
Kevin O’Connell, Greg P. Russell and Peter J. Devlin

Achievement in visual effects

“The Golden Compass” (New Line in association with Ingenious Film Partners)
Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood

“Pirates of the Caribbean: At World’s End” (Walt Disney)
John Knoll, Hal Hickel, Charles Gibson and John Frazier
“Transformers” (DreamWorks and Paramount in association with Hasbro)
Scott Farrar, Scott Benza, Russell Earl and John Frazier

Adapted screenplay

“Atonement” (Focus Features)
Screenplay by Christopher Hampton
“Away from Her” (Lionsgate)
Written by Sarah Polley
“The Diving Bell and the Butterfly” (Miramax/Pathé Renn)
Screenplay by Ronald Harwood

“No Country for Old Men” (Miramax and Paramount Vantage)
Written for the screen by Joel Coen & Ethan Coen

“There Will Be Blood” (Paramount Vantage and Miramax)
Written for the screen by Paul Thomas Anderson

Original screenplay

“Juno” (Fox Searchlight)
Written by Diablo Cody
“Lars and the Real Girl” (MGM)
Written by Nancy Oliver
“Michael Clayton” (Warner Bros.)
Written by Tony Gilroy
“Ratatouille” (Walt Disney)
Screenplay by Brad Bird
Story by Jan Pinkava, Jim Capobianco, Brad Bird
“The Savages” (Fox Searchlight)
Written by Tamara Jenkins

[JBL 4645]

Well this is going to be a stiff competition in the sound effects category.

Transformers everyone’s favourite film for bass sub bass and LFE.1, will this be Kevin O’Connell’s year, or will Oscar snuff him once again?

“Transformers” (DreamWorks and Paramount in association with Hasbro)
Kevin O’Connell, Greg P. Russell and Peter J. Devlin

This was a great sounding action flick as they come for the summertime last year, and set in what better place to view it hear it and feel, was the Empire Leicester square, even if the dialogue was wooden who cares, it was great fun for the audio fans. Sure sold a few DVD’s I bet that made Paramount Pictures happy.


Another contender is Surf’s Up yeah “let the wave do the work” surfing penguins rule the waves.

“Surf's Up” (Sony Pictures Releasing) Ash Brannon and Chris Buck

Hmm, Michael Moore “Sicko” any takes on him, and if so, will he do another speech for his own, personal propaganda, like last time.

[JBL 4645]

Juts gave, Die Another Day (2002) a spin for a few moments some action highlights

One particular scene where a rail track carriage is coming down the tube, in the underground sequence rumbled without colouring the sub bass or LFE.1 was pleasantly felt, in the sofa, but could have been a bit more, if I had customized floor laid over the concrete flooring.

Depth is down to around 25Hz during certain action moments, JBL control 5 are playing as they where when I first set them up with the DCX2496 last year, but then experimented with a JBL control 1 as mid range top. This time around it’s just crossed off at 1KHz on the bass mid HF starts at 1.60KHz with a modest low level amplification at present, due to the wall surfaces, having high reflectivity.

Sound imaging was neat over LCR dialogue was clearly understood, if not a bit distant, but I’m sure that will change over the course of the year, with some absorption on the side and rear walls.

Peak level was a bit hard to tell with a parcel flat battery, I was getting peaks at one point around 107dbc at seating position, it wasn’t loud it was kinder comfortable.

I’ve swapped the disc over for Cat People (1982) now see how that turns out, the Dolby stereo mix is a bit on the quite side, but has some nice bass rhythm in it by, (Giorgio Moroder). Meow.

[JBL 4645]

High octane action adventure that’s bought to you by Rob Cohen of Dragon, Dragonheart and Daylight comes XXX. For a while NSA agents have been dropping like flies, so now they need a new operative that is expendable, daring and willing enough.

Xander Cage played by fast and (The Fast and the Furious) Vin Diesel has all the right moves plus the attitude that Agent Augustus Gibbons played (Star Wars episode 3 Revenge of the Sith) Samuel L. Jackson.

Picture farmed 2.35:1 and with anamorphic lenses, which rarely used today,
looked stunningly marvellous throughout the entire picture.

Sound was quite a ride a bit (LFE.1 heavy) and with the concrete floor, helped to remain tight and taught, while lots and lots of directionality moved over the three-screen JBL control 5 and along the sidewall JBL control 1 and centre back surrounds as well.

[JBL 4645]

Depth of the expulsions at the Columbian drug ring, with a hut ripping apart, with an almighty kaboom! 112dbc! Yes I know but oddly enough I only do this in the daytime, and it felt good too.

The avalanche sequence was ride that rumbled with warmth that was pressing on me, in the sofa, just like the re-recording mixers intended, mostly down at 40Hz with the occasional 25Hz seeping in now and then. I failed to take an SPL db reading during this sequence, oh well next time around, as this film, as many good sound bite moments to chose from.

Xander in last minute must prevent a chemical weapon, from wiping out Prague, before millions are killed; all works out well in the end, with Xander enjoying the sweet life in the tropics.

If you’ve got the time rent this one out, it won’t disappoint those JBL or if you’re feeling daring buy it, this one only cost me £3.00, worth the trip.

http://www.imdb.com/title/tt0295701/

[JBL 4645]

Best sounding moments with JBL well, there are many so many, so I’ll pick the science fiction thriller Hollowman (2000) for its excellent craft in visual effects and sound effects editing, that has some creepy directional sounds moving around the viewer.

Notably the moment where Linda uses the canister has flamethrower to fight the deranged and dangerous Sebastian, off with devastating results of burns to his body, and the whole underground facility, getting damaged at the same time though, Linda’s rage of fury.

When Sebastian has removed all his clothing, leaving a hand full of ashes on the floor, and once again his appearance, is obscure, you don’t know if he had time to run around Linda to surprise her? So she then looks around then upwards towards the (fire water suppression system). With a short burst of flame, the sprinkler is activated sending commands to each sprinkler down the corridor.

This starts at centre channel the fans outwards over matching LCR then onto the centre back surrounds if you happen to be using centre back surrounds in your home cinema. You still get a fine result with standardized stereo surround configuration, but its far more exciting and entertaining with centre back surrounds.

Once the sprinklers are working and dispersing water everywhere, with droplets landing on the concrete flooring that sounds like mild pink noise, the rest of the action KICKS back in with some laughable almost insane comic action.

Check it or but it it’s a blast of film.

[JBL 4645]

It’s highly charged up high octave fast paced action adventure. Yes, Jason Bourne is back move over, 007.

The opening takes us back where the first film end with Bourne fleeing the scene while being pursued though the streets wounded. Where after we move to the present day where the CIA is still trying to hunt down Bourne before he kills one of CIA operatives, but Bourne could really care less about that no more he’s looking for the answers, the answers that would made him what is now.

Film editing is extremely while done in this final conclusion, that’s up for an Oscar nomination for (Universal) Christopher Rouse.

Doors always make good sound-effects in films as this one clearly opens to left front one of the major benefits to have matching fronts LCR because timbre matching is extremely crucial to film sound art.

Sound effects editing (Universal) Karen Baker Landers and Per Hallberg and what a clash of superbly crafted and engineered effects that really stuck me in the centre of the films non-stop action, even the subtle sound effects kept me intensified, with heavy duty Foley body face punches and lots and lots of Bourne crashing though windows headfirst, even as far as running a car at high speed in reverse of a rooftop!

Lots of hand-to-hand combat and some wicked stunt work, that look so painful, as each CIA operative tries to stop Bourne dead in his tracks.

Its also up for best achievement in sound for (Universal) Scott Millan, David Parker and Kirk Francis, and after hearing this felling the impacts, I’d say Kevin O’Connell has some stiff competition with this one, if he’s lucky The Bourne Ultimatum might just walk away with sound effects editing and Kevin and Rick might walk away for best sound achievement for Transformers, we shall see this Sunday?

One of the assassins does away with CIA operative while Bourne tries to warn! Just moments too late, the sound of the explosion rumbled as it faded out with a nice reverb in the surrounding streets as on looking people rush o the scene.

Score by John Powell was nice hear again and Moby Extreme Ways which is now a kind of trademark with the Bourne films. I think this is one KM Kennedy Marshall best productions and contributions in there partnership. It’s nice that director Paul Greengrass has kept with the project as one director should do.

Good surround sound moment as Bourne jumps though an opening window with frantic woman screaming and yelling as the sound moves from centre front to left then side surrounds then on to the centre back surround very fast sound effects editing.

Extreme Ways (Bourne's Ultimatum) - Moby
http://www.youtube.com/watch?v=sdQ09L3Xotc

[JBL 4645]

Some nice lows in this film that ranged from assorted body types of kicks face hits and flying though the air smashing straight though glass and explosions that partly shuddered the sofa with pleasing vibration.

I noted the car flying of the roof at 25Hz upon impacting into a load parked vehicles below, Bourne has one hell of death-wish is all I can say, you’d have to be completely off your trolley or very desperate to escape those who are trying to hunt you down.

Bourne has a lot of cheek to spy on Pam from one many of high raise building windows, you’d think she’ll know by now, when having a phone conversation with Bourne, he could be standing right behind you!

Another good example was the London underground tube station that sounded just like it was supposed to having travailed many times on the tube rumbled away on the JBL 4645 at 25Hz has Bourne was perusing an (assassin like-him-self gave).

Image framed at 2.35:1 scope by Oliver Wood; again for DVD this was spot on, clear and viewable thought with natural tones of colourization while contrast kept image shape. Brightness also was nicely toned for the dark shadowing and some nice lenses flares techniques.

After confronting the man reasonable for creating Jason Bourne into the killing assassin monster that he’s become, Bourne then comes to his senses no more killing, he’d rather see them all go down legally in the courts then shed more blood.

Have to give this Bourne a thumps up well worth the money and full of DVD extras which I will explore later on with

Audio commentary with Paul Greengrass
Man on the Move Jason Bourne
Rooftop Purest
Planning the Punches
Driving School
New York Chase
Deleted Scenes

[toadwithhorn]

Excuse me jbl4645, but aren't you violating copyright law on those movies?

[hjames]

Excuse me jbl4645, but aren't you violating copyright law on those movies?

He is a reviewer pointing out why these movies are worth buying.
He is not getting paid for posting the pictures, or for doing the reviews.
Its called viral marketing - generating a "buzz" in a product.

First time poster and you start out like that??

Are you a lawyer, or perhaps Leonard Maltin's agent?

[toadwithhorn]

He is a reviewer pointing out why these movies are worth buying.
He is not getting paid for posting the pictures, or for doing the reviews.
Its called viral marketing - generating a "buzz" in a product.

First time poster and you start out like that??

Are you a lawyer, or perhaps Leonard Maltin's agent?

Sorry, forgot to introduce myself. Long time lurker, first time poster. No lawyer or agent of any kind.
At the beginning of those DVDs, it says, "The unauthorized reproduction or distribution of this copyrighted material is illegal.". Copy of images from the movie is reproduction, isn't it? I wouldn't need to ask if I am a lawyer.