Bad Boy Bubby stars Nicholas Hope as Bubby, a demented man-child kept locked his entire life in a squalid apartment by his depraved mother. But when Bubby—who can only communicate by mimicking what others say and do—escapes into the outside, he soon discovers the wonders of sex, crime, rock-and-roll, and pizza. Will this "mad bastard" be destroyed by the realities of our cruel world, or does a higher calling ultimately await him in the most unlikely place of all? (Gary Reber)
Special features include an interview with Director Rolf de Heer (SD 2356), an interview with Nicholas Hope (SD 14:18), the short film Confessor Caressor starring Hope (SD 19:37), and the theatrical trailer.
The 2.35:1 1080p AVC picture is compelling throughout. The picture in the opening scenes is desaturated, exhibiting a "documentary" character. The opening scenes in the isolated basement dwelling feel extremely confining and drab. As Bubby ventures out to explore the "real" world, the imagery brightens up and appears more natural. Hues are warm, and at times vibrant, and fleshtones appear accurate. Shadow delineation is generally good, as is contrast. Resolution is quite good and satisfying. This is a fascinating picture that exhibits natural qualities and perfectly complements the unusual story of coming of age. (Gary Reber)
The DTS-HD Master Audio™ and Dolby® TrueHD 5.1-channel soundtracks are identical except for a slight DTS® level. The sound is minimal with respect to surround envelopment, which is infrequent and limited to essentially monaural with the left surround channel slightly elevated in signal level. The surround, as a result, tends to focus in phantom center back with a duplication of the center front channel signal, but at a much lower level. Thus, this should be credited as a 4.1-channel soundtrack. The sound is focused on the front channels. Sound effects are perfectly natural and the music is well presented, though limited. Bubby's voice is reproduced equally in the front left and right channels, for a binaural hearing effect from his perspective. All other dialogue is strictly monaural, although in some scenes the dialogue is spatially integrated. Bass impact is limited. Sound effects are directionalized in the front channels. Clearly there is a problem with this soundtrack encoding. (Gary Reber)