Night Of The Living Dead 4K Ultra HD SteelBook

"Night Of The Living Day" is a remake of George A. Romero's 1968 cult classic. Seven strangers are trapped in an isolated farmhouse while cannibalistic zombies wage a relentless attack, killing (and eating) everyone in their path. The classic for the '90s: graphic, gruesome and more terrifying than ever. (Gary Reber)

Two version are available in 4K Ultra HD with Dolby Vision: a new uncensored cut (01:28:30) and the 1990 theatrical version (01:8:18). Special features include archival commentary with Director Tom Savini, new interview with Actor Bill Moseley, "Time With Tom"new interview with Actor William Butler (HD 15:45), "Flesh And Blood"new interview with Actors McKee Anderson and Heather Mazur (HD 23:51), "In Living Dead Color" new interview with Producers John A. Russo and Russell Steiner (HS 18:08), "Cutting The Dead" new interview with Editor Tom Dubensky (HD 19:57), "The Dead peak! new interview with Zombie Performers Greg Funk and Dyrk Ashton (HD 16:41), the featturettes "Savini's Night With Director Tom Savini" (HD 27:54), "Being Barbara With Actres Patricia Tallman" (HD 16:27), "Oh, Brother! With Acttor Bill Moseley" (HD 11:51), "Return To The Living Dead" (HD 21:00) and "The Dead Walk: Making-Of" (HD 24:52) and a Movies Anywhere digital copy.

The 1.85:1 2160p HEVC/H.265 Ultra HD Dolby Vision/HDR10 picture, reviewed on a VIZIO Quantum X P85QX-JI UHD/HDR display, was photographed on 35 mm film using the Arriflex 35 BL3 camera system and sourced from a 4K master Digital Intermediate format. The new restored Uncensored Cut, reviewed here, was supervised by Director Tom Savini. The setting is a farmhouse near a cemetery. The action takes place on the interior, which the habitants take to boarding up the windows to prevent entry. Film grain is smooth and light with the picture being very cinematic. The color palette is nicely saturated with warm and rich hues that produce vidid colors , which appear natural throughout with nuanced hue shadings. Vibrant primaries, however, are limited. HDR contrast is excellent. Black levels are solid. Shadows reveal deep shadows that reveal detail. The lighting design is very effective as is the production design, all of which delivers imagery of frightening gore. Resolution is superb with fine detail exhibited throughout. Fine textures are revealed in every closeup. Facial features, such as skin pores, lines, freckles, sweat and hair are finely detailed. Makeup and pyrotechnic effects are amazing. Clothing reveals fine tattered fabrics. Interior structural attributes and objects reveal realistic texture. The picture, regardless of which cut of the film is select, is terrifically i,impressive. This is an incredible restoration that brings the Living Dead to horrific realism as never before and is sure to please fans of the horror classic. (Gary Reber).

The repurposed Dolby Atmos/Dolby TrueHD 7.1-channel soundtrack is dynamic sounding with powerful gunfire and sound effects, such as an intense explosion. Other sound effects are more subtle such as the pounding of nails to board up windows. Atmospherics are nuanced but realistic. Foley sound effects further enhance realism. The orchestra score occupies an enveloping sound field with a wide and deep soundstage that aggressively wraps through the surrounds. Bass extension is deep, often energizing the .1 LFE channel as zombies smash windows and force doors down with their pounding fists to gain entry into the farmhouse. The music also delivers good bass. Dialogue is intelligible throughout with good spatial integration.

The Immersive sound element is comprised of an extension of the orchestra score to the height layer as well as distant subtle gunfire, subtle zombie grows, a fading radio broadcast, a helicopter panned overhead and rescue survivor chatter. The music is the prominent element and effectively enhances the spherical sound field when active. Of course, far more could have been accomplish with this restoration.

This is an intense holosonic® soundtrack that delivers horrific jitters and nightmares. (Gary Reber)