WSR Score4
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
MVD Visual
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Not Rated
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Single Side, Dual Layer (BD-50)
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(THX® Digitally Mastered):
Tibor Takács
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PCM 24/96 2.0
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In "Sabotage," Colonel Michael Bishop's (Mark Dacascos) last mission went horribly wrong. Destroyed from within...sabotaged. His was the only body dragged from the ashes of a black operation that never happened. After years of recovery, Bishop thought he escaped the Black Ops and began a successful new life as a bodyguard to the rich and famous. He was the best, with skills most men died learning. But his past caught up with him. His clients began to die violently, at the same shadowy hand that conspired against his Black Ops unit. Now he must own one last mission to destroy the faceless men that run an army that doesn't exist. (Gary Reber)

Special features include a new interview with Actor Mark Dacascos (HD 32:11), interview with Actor Tony Todd (HD 13:24), Mark Dacascos trailer reel, double sided artwork and collectible Mini-Poster.

The 1.78:1 1080p AVC picture, reviewed on a VIZIO Quantum X P85QX-JI UHD/HDR display, was photographed on 35mm film stock and sourced from a 2K Digital Intermediate. The picture is grainy, (though generally not objectionable) harsh and often dark with poor shadow delineation. The imagery was shot on 35mm film and it looks filmic. Color fidelity is varied. The film casts generally realistic colors with satisfying saturation. Flesh tones appear naturally hued but so many other hues are often dark. Contrast is clamped. Blacks are solid with virtually no detail. Shadows are far too dark and not revealing of nuances. White levels appear down in desired intensity. Overall, the picture is mediocre and the filmmakers should have done better with the transfer. (Gary Reber)

The Linear PCM 2.0 stereo soundtrack generally delivers decent fidelity, bass extension and wide stereo imaging. When processed in Auro Technologies' AuroMatic Immersive Sound format, the soundtrack is transformed with solid surround envelopment and a compelling soundfield, The soundstage, which lack dismensionality in the LPCM version, is now dramatically wide and deep. The orchestral/percussion score nicely occupies the soundfield. While bass is limited to the front stereo channels, to fully appreciate the soundtrack requires a system fully capable of dynamic, frequency extension at both end of the spectrum, and excellent fidelity. The explosive power of the explosions is impressive. (Gary Reber)