Back To The Future Part III 4K Ultra HD

Featured In Issue 253, January/February 2021

WSR Score5
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
Universal Studios Home Entertainment
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Not Indicated
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Robert Zemeckis
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Dolby Atmos, Dolby TrueHD 7.1
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"They've saved the best trip for last... But this time they may have gone too far." The trilogy concludes with a trip to the Old West. Marty (Fox) travels back to 1885 Hill Valley in an attempt to prevent Doc Brown (Lloyd) from being shot to death, since Doc is the only man who can help Marty get back to the future. Meanwhile, Doc gets involved in a romance with schoolteacher Clara (Steenburgen) and decides to stay in the Old West. The trio get help from the most advanced technology of the time, the locomotive, to help Marty and the Delorean time machine return to 1985. "Back To The Future Part III" offers a rousing conclusion to this entertaining series of movies. Look for appearances by ZZ Top, the Red Hot Chili Peppers' bassist Flea, and cinematographer Dean Cundey as, what else, the Hill Valley photographer. (Michael Coate)

The third film in the Back To The Future 35th Anniversary Trilogy, special features on "Back To The Future Part III" include Q&A commentary with Director Robert Zemeckis and Producer Bob Gale; feature commentary with Producers Gale and Neil Canton; a deleted scene with optional commentary by Gale; the following featurettes: "Tales From The Future: Third Time's The Charm" (HD 17:07) and "Tales From The Future: The Test Of Time" (HD 17:00); the following archival featurettes: "The Making Of Back To The Future Part III" (SD 07:32), "Making The Trilogy: Chapter Three" (SD 16:20), and "The Secrets Of The Back To The Future Trilogy" (SD 20:41); "Behind The Scenes," which includes the following: outtakes, "Designing The Town Of Hill Valley" (SD 01:08), "Designing The Campaign" (SD 01:18), and five photo galleries; ZZ Top's "Doubleback" Music Video; FAQs About The Trilogy, the theatrical trailer; "Back To The Future: The Ride" (SD 31:06); My Scenes; D-BOX Motion Code; BD-Live; U-Control™; up-front previews; and a Movies Anywhere digital code.

The 1.85:1 2160p HEVC/H.265 Ultra HD HDR10/Dolby Vision picture, reviewed on a Sony Bravia Z9D 4K Ultra HD HDR display, was photographed on 35 mm film stock using the Arriflex 35 III, Panavision Panaflex Platinum, VistaVision VistaFlex and VistaVision VistaGlide camera systems and sourced from a 4K master Digital Intermediate format. This newly restored and remastered 4K Ultra HD is is the last in the trilogy and, as with Parts I and II is far superior in every visual aspect compared to previous releases with no objectionable film grain. Part I and Pat II were shot back to back. The presentation delivers similar richer and better balanced hues with accurate fleshtones. Color saturation is much more saturated and enhances the vibrancy of the imagery with warm and rich hues with an emphasis on earthy hues that are perfectly realistic. The white and multi-coloed smoke of the train engine is spectacular. Dimensionality is excellent as well. HDR contrast delivers deep blacks and shadow delineation that is revealing of nuanced shadings, which are quite satisfying throughout. Bright highlights exhibit excellent luminance. Sharpness and clarity are outstanding, especially compared to the softer look of the previous release and the original theatrical presentation. The restoration is well executed and will please fans with a picture that is the best that this film has looked. As with Part I and Part II, this is a terrific restoration with superb dimensionality that will please fans. This is the most impressive of the three picture presentations, with strikingly dynamic imagery. The picture is absolutely gorgeous, (Gary Reber)

The Dolby Amos/Dolby TrueHD 7.1-channel soundtrack is the most refined of the series in terms of spatiality. Also notable is an increased presence in the low end over the first two movies, with significant 25 Hz .1 LFE, especially during the train sequences, and even some sub-50 Hz extension in the surrounds. Atmospherics and sound effects are often powerful and effectively convincing such as the scene with galloping horses and gunfire. Foley sound effects are perfectly in sync. Dialogue nicely integrated spatially in numerous scenes, such as the opening scene in Doc's mansion. Alan Silvestri's music is extremely powerful and dimensional, as well as lushly energized and spacious as ever.

The Immersive Sound element is nicely aggressive but limited to the extension of music segments to the height layer, except for the occasional brief sound effect.

This is a wonderful soundtrack that does not disappoint. (Gary Reber)