The Mask 4K Ultra HD

Carrey is "the nicest guy" Stanley Ipkiss, a mild-mannered bank clerk who discovers a magical mask that turns his innermost desires into a live S-s-s-s-smokin' toon action in this "wonderfully wacky" assault on the nonsenses. Ipkiss uses his newfound eccentricity to capture the heart of the woman of his dreams, the stunning Miss Tina Carlyle (Diaz). "The Mask's" lunacy and visual storytelling is an eye-popping cavalcade of fun! (Gary Reber)

Special features include archive commentary by Director Chuck Russell; archive commentary with Russell, New Line Co-Chairman of Cinema Bob Shaye, Writer Mike Werb, Executive Producer Mike Richardson, Producer Bob Engelman, ILM VFX Supervisor Scott Squires, Animation Supervisor Tom Bertino, and Cinematographer John Leonetti; "The Man Behind The Mask" new interview with Russell (HD 20:27); "From Stip To Screen" new interview with Mike Richardson, Mike Webb and Mark Verheiden (HD 18:33); "Green Faces Blue Screens" new interview with Visual Effects Supervisor Scott Squires (HD 14:16); "Ssssssspilcin'l" new interview with Editor Arthur Coburn (HD 06:51); "Ask Peggy" new interview with Actor Amy Yasbeck (HD 12:37); "Towing The Conga Line" new interview with Choreographer Jerry Evans (HD 10:09); "Terriermania" new video essay by critic Elizabeth Purchell (HD 10:18); archival documentary "Return To Edge City" (HD/SD 27:16); an "Introducing Cameron Diaz" featurette (HD 13:17); "Cartoon Logic," a tribute to genius Cartoonist Tex Avery (HD 13:42); the "What Makes Fido Run" featurette (HD 10:51); a making-of featurette (HD ); on-set interview bites with the cast and director; B-Roll footage (HD 05:24); two deleted scenes with optional commentary by Director Russell (HD 03:55; the theatrical trailer; image gallery, reversible sleeve; double-sided fold-out poster, sic postcard-sized artcards and an illustrated collector's booklet.

The 1.78:1 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 Panavision Panaflex camera system and sourced from a 4K master Digital Intermediate of the 4K restoration from the original 35 mm camera negative by Arrow Films and approved by Director Chuck Russell. The original 35mm camera negative was scanned in 4K/16 bit resolution at Warner Bros. Motion Picture Imaging. Film grain exhibits a smooth texture that is very filmic but never objectionable. Picture quality is terrifically filmic. Grain is smooth and virtually nonexistent. The color palette is perfectly natural, well saturated and vividly presented, with at times a cartoonish look. Hues are naturally saturated and vibrant. Stanley Ipkiss' orange outfit and green mask laden face nicely pop. Locations and set designs exhibit natural hues. Flesh tones are perfectly rendered and natural throughout. Cameron Diaz has never looked so stunning and gorgeous, with costumes that pop. HDR contrast is excellent with natural black levels, revealing shadows and brightly illuminated white levels. Resolution is revealing of fine detail throughout/ Facial features reveal skin pores, lines, beard stubble and hair. Wardrobe fabrics reveal fine threads and texture. Environments and sets appear perfectly realistic, and objects are dimensional. This is an eye-popping and fun visual experience with classic Jim Carrey humorous antics. This is the best this classic has ever looked. (Gary Reber)

The repurposed Dolby Atmos/Dolby TrueHD 7.1-channel soundtrack delivers lots of sound effects antics that provide the physical comedy. Sound effects and atmospherics sound realistic with excelling sound field panning. The "hurricane" transformation scenes deliver a whirlwind of sonics. There is quite a lot of gunfire that sounds realistic. Foley sound effects enhance the comic antics. Bass support never is exaggerated but enhances the comedic antics. Randy Edelman's orchestra and propulsive swing era music score is nicely recorded with a wide and deep soundstage presence that extends to the surrounds for sound field coverage. The Coco Bongo Club dance and street "Cuban" scenes are musically captivating. The crowd scenes are nicely dimensional. Dialogue is intelligible throughout with good spatial integration, even that which is ADR produced.

The Immersive Sound element is nicely active and is comprised of an extension to the height layer of the music, atmospherics and sound effects, as well as occasional bursts of dialogue, and at times with direction and panning. Some of the sound effects really excite the SPL of the height layer. There is a lot here and the result is wonderful. Those with an Dolby Atmos system will be thrilled.

This is well crafted holosonic® spherical surround soundtrack that delivers a lot of comedic fun and diverse sounds that are exciting. (Gary Reber)