3 Days To Kill

Featured In Issue 187, June 2014

WSR Score3.5
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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PG-13 / Unrated
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Intense sequences of violence and action, some sexuality and language
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Single Side, Dual Layer (BD-50)
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117 / 123
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DTS HD Lossless 5.1
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In 3 Days To Kill, Kevin Costner plays a daring international spy with lethal skills and a hard-earned reputation for tackling the most dangerous missions imaginable. But when a seductive CIA operative (Heard) makes him an offer he can't refuse, he's forced to juggle his two toughest assignments yet: looking after his rebellious teenage daughter (Steinfeld), while hunting down the world's most ruthless terrorist. (Gary Reber)

Both the theatrical version (01:57:02) and the unrated extended cut (02:02:18) are available. Special features include a making-of featurette (HD 09:55), McG's Method (HD 04:39), and Covert Operation (05:08) featurettes; the theatrical trailer; upfront previews; and an UltraViolet digital copy.

The 2.39:1 1080p AVC picture was digitally photographed with the Arri Alexa camera system. The imagery is impressively sharp and finely detailed, especially in close-ups and backgrounds, even those panoramic views of Paris. The color palette is accurate looking, with a vivid natural presence. Primaries are strong, and highlights are rich and warm and often pop. Contrast is excellent with deep, solid blacks and revealing shadow delineation. Some scenes are stylized for effect. This is a terrific visual experience that is reference quality.(Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is nicely presented, with finesse heard in varying scenes. Action scenes are intense, with aggressively enveloping surround energy that is directionalized. Shootout segments are impactful, as well as segments of sports car action. Surrounds are intensified during the action sequences and deliver a holosonic® soundfield experience. Soundscapes are nicely rendered with low-level sonics in atmospherics. The .1 LFE channel is often strongly energized with deep bass impact below 25 Hz. The orchestral music score is supportive with both traditional scoring and hip hop soul. Dialogue is consistently intelligible, but integration is at times wanting. Fidelity is excellent, as well as dynamic, for an engaging soundfield experience. (Gary Reber)