Demolition Man 4K Ultra HD

In "Demolition Man," a police officer is brought our of suspended animation in prison to pursue an old ultra-violent nemesis who is loose in a non-violent future society. (Gary Reber)

Both the U.S. version (01:55:08) and the InternNational version ( 01:55:02) are available. Special features include new commentary with Director Marco Brambilla and Screenwriter Daniel Waters, new commentary by film historian Mike White, archive commentary by Brambilla and Producer Joel Silver, "Demolition Design" interview with Production Designer David L. Snyder (HD 14:14), "Cryo Action" interview with atunt coordinator Charles Peroini (HD 05:33), "Biggs' Body Shoppe" interview with special make-up effects artist Chris Biggs (HD 05:46), "Tacos And Hockey Pucks" interview with body effects set coordinator Jeff Farley (HD 09:55), "Somewhere Over The Rambo" visual essay by film scholar Josh Nelson (HD 17:01), theatrical trailer, image gallery, 60-page perfect bound collector's book, limited edition packaging, double-sided fold-out poster,six postcard-sized artcards, Three Seashells and Edgar Friendly graffiti stickers, and reversible sleeve.

The 2.39:1 2160p HEVC/H.265 Ultra HD Dolby Vision/HDR10 picture, reviewed on a VIZIO Quantum X P85QX-JI UHD/HDR display, was photographed on Eastman Kodak film stock in anamorphic Panavision® using the Panavision Panaflex camera system and sourced from a director supervised and approved 4K master Digital Intermediate format sourced from the original film negative and restored by Arrow Films. The opening sequence of explosive and fiery destruction lights up the screen with intense orange hues. The production design then shifts to a pseudo-utopian futurist crime-less society in 3032 with advanced technology and intricate metallic structures. The imagery is exceptionally sharp and clear with virtually no film grain, which suggests the assumption that some noise reduction may have been performed before encoding to minimize grain. Visual effects are extensive. The color palette exhibits saturated hues that pop, such as the red-colored Oldsmobile. The wide color gamut displays nuanced hues. Blues and are a prominent hues in the San Angeles PD headquarters, and earth tones in the underground sequences. Colors nicely contrast with the set designs. Flesh tones are healthy in natural hue. HDR contrast is excellent. Blacks are solid and deep. Shadows are revealing. White levels are brightly illuminated. Resolution is superb throughout. Facial detail is exceptionally revealing of skin pores, lines, beard stubble, beards, and hair, and the smooth facial complexions to reflect a stress-free joyous society. In contrast, the faces of barbarians Spartan and Phoenix reveal textural detail. The fabrics on the futuristic costumes are texturally defined. Structural and object textures are finely defined. This is a remarkably sharp restoration that projects a "comic" visual presence that presents Demolition Man at the best it has ever looked. (Gary Reber)

The release has been credited as a Dolby Atmos/Dolby TrueHD 7.1-channel soundtrack when, in fact, it is for the most part limited to a 7.1 mix. Still, the sound is dynamic with a dimensional soundfield. Atmospherics sound realistic, but sound effects really dominant, especially during action scenes with powerful gunfire, explosions, shattering glass and mayhem. There are even electric vehicles with their smooth moan. Foley sound effects are quite active and in sync with picture. Bass enhancement is supportive of the action sequences with deep energy in the .1 LFE channel. Eliot Goldenthal's orchestral score is dynamic and occupies a wide and deep soundstage that aggressively extends to the surrounds. The surrounds are enveloping. The film's title is from a Police song on the 1981 album Ghost In The Machine, and a version by Sting is heard over the closing credits. Dialogue is presented with generally good spatial integration.

The Immersive Sound element is comprised of spotty sound effects, such as Spartan's helicopter flyover and atmospherics, and a short segment of Jack Jones' "Love Boat" song in the background, an "attention" announcement, an explosion and shattering glass segment in a lab and raging fire on a building. All this was extremely limited and so much was not addressed to create height dimensionality. This is an example of branding a release with Dolby Atmos, when in fact, it is essentially a Dolby TrueHD 7.1 soundtrack.

This is a terrific ear level sound effects driven holosonic® soundtrack that is at times exciting. (Gary Reber)