Eye In The Sky

Eye In The Sky follows Colonel Katherine Powell (Mirren), a UK-based military officer in command of a top secret drone operation to capture terrorists in Kenya. Using remote surveillance and on-the-ground intelligence, Powell discovers the targets are planning a suicide bombing, and the mission escalates from “capture” to “kill.” But as American Pilot Steve Watts (Paul) is about to engage, a nine-year-old girl enters the kill zone, triggering an international dispute, reaching the highest levels of American and British government, over the moral, political, and personal implications of modern military operations. (Gary Reber)

Special features include the featurettes Perspective (HD 01:22) and Morals (HD 01:31), upfront previews, and an UltraViolet digital copy.

The 2.39:1 1080p AVC picture is superb for its absolute natural imagery and a perfectly rendered color palette. Hues are well balanced, never exaggerated, and warm and rich throughout. Clothing details often pop with strong primaries. Fleshtones are accurate throughout. Contrast is excellent with deep, solid blacks and shadow delineation that reveals fine detail. The imagery shifts from a sun-bright Kenya to a dark British compound, an interior British office, and a dark USA drone strike bunker. Everything appears realistic and believable. Resolution is excellent as well, with fine detail visible in all scenes, and in particular in close-ups of facial features, hair, clothing, and object textures. This is a wonderfully imaged picture that is reference quality throughout. (Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is highly dialogue focused, with an impressive sense of natural spatial integration. Atmospherics are nicely supportive in creating the sense of realism. Sound effects are also very believable including panned aircraft and destructive elements during the strike on the target. The orchestral music score is wonderful, with a wide and deep soundstage that effectively is enveloping in the surrounds. Bass extension in the .1 LFE channel is impressively natural, never sounding exaggerated. The soundfield is well defined, with directionalized and panned sonics that are often aggressive for a holosonic® presence. Well executed throughout and tense. (Gary Reber)