My Week With Marilyn

Featured In Issue 166, April 2012

WSR Score5
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
Anchor Bay Entertainment
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Some language
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Simon Curtis
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DTS HD Lossless 5.1
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In My Week With Marilyn, while on her first trip to London to film The Prince And The Showgirl with Sir Lawrence Olivier (Branagh), Marilyn Monroe (Williams) befriends Colin Clark (Redmayne), an ambitious 23-year-old Third Assistant Director on the set. As their relationship progresses, Colin's focus shifts from making his way in the film business to rescuing her from the pressures of celebrity life. When Monroe's new husband, playwright Arthur Miller, makes a brief trip to Paris, Clark takes the opportunity to introduce her to the world outside of Hollywood fame. Based on the true story by Colin Clark, this memoir describes a magical week in which Monroe opens herself up to a stranger and finds in him a confidant and an ally. (Gary Reber)

Special features include commentary with Director Simon Curtis, The Untold Story Of An American Icon featurette (HD 19:07), and up-front previews.

The 2.40:1 1080p AVC picture is gorgeously natural in appearance, with a honey-toned hued character that exhibits rich and warm hues. The color palette exhibits strong earthly tones that are visually engaging. Contrast is well balanced with deep blacks and revealing shadow delineation. Fleshtones are naturally hued and richly toned. Resolution is excellent, with finely detailed facial features, hair, clothing, and object texture. The cinematography is also compelling and convincingly dramatic. This is a wonderful picture with a strong natural color palette that is absolutely spellbinding. (Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is nicely produced with a dialogue track that is perfectly integrated spatially and is natural sounding. Atmospherics and sound effects are well executed and spatially dimensional, extending effectively to the surrounds at times. The orchestral music score is well recorded with a wide and deep soundstage that also envelopes the soundfield. Deep bass in the .1 LFE channels is limited, but the overall low-frequency foundation is solid and natural sounding. This is a wonderfully effective soundtrack for a dialogue-driven film, and the sonics always feel rightly supportive. (Gary Reber)