BLU-RAY REVIEW

Destiny's Child Live In Atlanta

Featured In Issue 120, May 2007

Picture4
SoundNR
WSR Score3
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
(Studio/Distributor):
BMG Entertainment
(Catalog Number):
88697 06297 9
(MPAA Rating):
Not Rated
(Rating Reason):
(Retail Price):
$19.98
(Disc Type):
Single Side, Dual Layer (BD-50)
(Widescreen Edition):
Yes
(Full Screen Edition):
No
(Running Time In Minutes):
111
(Color Type):
Color
(Chaptered/Scene Access):
Yes
(Closed Captioned):
No
(Regional Coding):
Not Indicated
(Theatrical Year):
2006
(Theatrical Release):
No
(Direct-To-Video Release):
Yes
(Disc Release Date):
02/20/07
(THX® Digitally Mastered):
No
(Director):
Julia Knowles
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(Story):
(Music):
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(Producers):
(Academy Awards):
(Principal Photography):
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(Measured Disc Aspect Ratio):
(Disc Soundtrack):
(Theatrical Sound):
(Theatrical Re-Issue Soundtrack):
(DTS Bit Rate):
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(French Language):
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(Chinese Language):
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It's easy to see why Beyonce Knowles, Kelly Rowland and Michelle Williams of Destiny's Child are in such great shape—they never stop moving! As they perform Live In Atlanta these "Independent Women" are constantly "Jumpin', Jumpin'" and never even stop to take a "Dancer Break." (Tricia Spears)

Special features include the 31-minute Destiny's Child A Family Affair featurette; Fan Testimonials, which can be watched in its 14-minute entirety or broken into four different chapters; and three bonus audio tracks.

With superb depth of field and bright, vibrant colors, the 1.78:1 Blu-ray Disc image really pops from the screen. Fine details, like beads of sweat and individual sequins on outfits are delivered very well. Some dithering noise can be seen in the darkest scenes, shadow delineation is not quite up to par, and high-contrast transitions can have a slightly digital-looking edge. (Danny Richelieu)

The uncompressed linear PCM 5.1-channel soundtrack is encoded at dangerously high levels, so proper precautions should be taken. The mix images vocals on the center of the screen using the front left and right channels, with the center channel mainly used to lock the vocals on the screen for people sitting off-center. The surrounds are used for a low-level reverberation of the vocals and for spontaneous instrumentals. The LFE channel is incorporated frequently, mimicking the deep bass that is also delivered through the front left and right channels. Fidelity is enjoyable, as is the entire soundtrack. (Danny Richelieu)