In The Name Of The King 2: Two Worlds

Featured In Issue 167, May/June 2012

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.
20th Century Fox Home Entertainment
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Some violence
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Single Side, Single Layer (BD-25)
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Uwe Boll
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DTS HD Lossless 5.1
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In The Name Of The King 2: Two Worlds finds Granger (Lundgren), a lethal, ex-Special Forces soldier, transported back to a mystical age of sorcery, dragons, and savage hand-to-hand combat. This modern-day warrior has been summoned to defeat the forces of darkness and fulfill an ancient prophecy. But as he fights his way to the truth, Granger learns no one can be trusted—and one wrong move could cost him not only his life, but the future of his world. (Gary Reber)

Special features include commentary with Director Uwe Boll, commentary with Writer Michael C Nachoff, a behind-the-scenes (HD 06:27) featurette, the featurette From Page To Screen: Writing (HD 05:05), and up-front previews.

The 1.78:1 1080p AVC picture is a straight-to-video digital production that exhibits a generally low-production value appearance and thus conveys a mediocre viewing experience. Overall, the imagery is sharp and detailed, especially during close-ups of facial features, hair, clothing, and object texture. The color palette is well saturated with warm hues and fleshtones. Blacks are deep, and shadow delineation is decent. Still, the production limits the visual excitement and the "digital"" look never engages. (Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is pretty much underwhelming, with a generally frontal focus and occasional aggressive surround envelopment, especially during segments of a CGI dragon. As well, outdoor ambiance is spatially dimensional, though, not particularly impactful. The .1 LFE extends deep with, at times, sub-25 Hz response. The orchestral music score sounds spatially competent with a deep bass foundation. Dialogue, at times, sounds integrated but often is ADR produced and wanting in spatial congruency. Overall, this translates to a conventional sonic experience that isn't distinguished. (Gary Reber)