Pride And Glory

Featured In Issue 139, March/April 2009

WSR Score3.5
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
New Line Home Entertainment
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Strong violence, pervasive language and brief drug content
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Single Side, Single Layer (BD-25)
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Not Indicated
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Gavin O'Connor
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Dolby TrueHD 5.1
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Edward Norton, Colin Farrell, Jon Voight, and Noah Emmerich star in Pride And Glory, a gritty, tension-packed tale of a multigenerational family of cops facing hard realities and tough choices, when an NYPD drug bust goes horribly wrong with four cops down. Detective Ray Tierney (Norton) heads the investigating task force. His brother-in-law (Farrell), a fellow officer, often partnered with them. The more Ray uncovers, the more those family ties are tested. (Gary Reber)

Special features include Source Of Pride: The Making Of Pride And Glory (SD 67:07), a raw, in-depth documentary; and a digital copy of the film.

The 1.78:1 1080p VC-1 picture quality exhibits good contrast, with deep blacks and superb shadow delineation. At times, scenes are blue-casted for creative effect, but generally color fidelity is rendered nicely with accurate fleshtones. Resolution exhibits good facial details and texture refinements. Slight grain is noticeable at times, but is not objectionable. Noise and other artifacts, such as edge enhancement, are not problematic. At times the imagery is rough looking and at other times the image is pristine. Overall, this is a good picture. (Gary Reber)

The Dolby® TrueHD 5.1 soundtrack is conventionally produced with dialogue mostly not well-supported spatially. At times ADR dialogue is prominent. Surround envelopment is mostly subtle, leaving the center channel often to be prominent. Whether sound effect or music or a combination of both, the surrounds are mostly at low levels and are not treated equal to the front channels. This is disappointing, as numerous opportunities are missed, to heighten the drama. Bass extension, at times, is robust, but never aggressively exercised in the LFE .1 channel. There are some exceptions to both bass extension and to directionalized and aggressive surround envelopment, but few. The street and bar scenes toward the end deliver the most aggressive surround envelopment. Overall, this is a forward-sounding soundtrack with a nicely recorded music score but reserved surround envelopment, though, the ending scenes are energized holosonically. (Gary Reber)