Little Fockers

Featured In Issue 156, April 2011

WSR Score2
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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Mature sexual humor throughout, language and some dark content
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Single Side, Dual Layer (BD-50)
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Not Indicated
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Paul Weitz
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DTS HD Lossless 5.1
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In Little Fockers, Greg Focker (Stiller) has finally begun to earn the respect of his ex-CIA father-in-law, Jack Byrnes (De Niro) but one important test still lies ahead; can Greg prove that he has what it takes to be the family's next "Godfather?" (Gary Reber)

Special features include an alternate opening: "Wedding Dream and Morning Wakeup" (HD 03:36), an alternate ending: "Treehouse" (HD 03:15), 10 deleted scenes (HD 14:19), a gag reel (HD 07:02), a making-of featurette (HD 15:04), Bob and Ben cast member interviews (HD 04:37), a Ben and Owen interview (HD 05:29), the "Bout Time" climatic fight scene (HD 04:02), "The Focker Foot Locker" string of clips from the film of every time someone utters a version of "Focker" (HD 01:40), and BD-Live functionality.

The 1.85:1 1080p VC-1 picture is sharp and clean throughout. Resolution is excellent, with revealing detail in facial features, clothing, and object textures. Hues are rich and warm, with vivid primaries. Contrast is well-balanced with deep, solid black levels and revealing shadow delineation. The overall appearance is strongly hued, with a natural tone that is very pleasing. (Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is nicely produced with subtle but effective spatial soundfield presence, contributed mostly by the music score. The music is wide and deep across the soundstage, with a balanced presence in the surrounds. The music that accompanies the fight scene in the ball pit and the Focker Byrnes remix end credits is dynamic and engaging. Deep bass in the .1 LFE channel is reserved but effective when engaged. Dialogue can be spatially integrated and well recorded, though, at times forward sounding and ADR conflicted, while dialogue-focused atmospherics are occasionally developed with subtle surround presence. Overall, this is a conventional soundtrack with no particular distinguishing qualities. (Gary Reber)