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Review added January 13, 2005.                           Con Air :: DVD Review  

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Studio: Touchstone >> Review Equipment
Video: 2.35:1 (Enhanced for 16:9) Length: 111 Minutes
Audio: Dolby Digital 5.1 (384kbps) En Subtitles: En/Fr/It
Dolby Digital 2.0 (192kbps) Fr/It Disc Format: DVD-5
Video Format: PAL Disc Capacity Utilised: 4.35GB
Layer Change: NA Region Coding: 2/4
Average Bit-Rate (A+V): 5.30Mbps  
     
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:: The Film ::

 
 

>> Skip to Audio/Video Details

Con Air. Dear me, what can I say about Con Air? Well, when people speak of the 'dumbing down' of Hollywood, this is the film that comes to mind: it's about as brainless as they come. What might generously be described as a plot is in reality a paper-thin premise from which to hang numerous outrageous action sequences.

That's not to say it isn't mildly entertaining (the movie reminds me of Ford Fairlane's immortal line "[it's] like masturbating with a cheese grater: slightly amusing but mainly painful"), but the sheer stupidity of the film is overwhelming. "Big deal" I hear you say, "A dumb action movie? That ain't exactly news", and in many cases that would also be my reaction, but not here. Hell, Independence Day and Deep Blue Sea are among my favourite films, so I'm not completely against dumb films, but I do have my limits, and Con Air definitely crosses them.




The Gulf War has just ended and Cameron Poe (Nicolas Cage), an Army Ranger, returns home to his pregnant wife. The evening of his return, Poe and his wife are harassed by a group of drunks at a local bar (where his wife works as a waitress). Later that night, the men attack Poe outside the bar, and Poe is forced to kill one of them when attacked with a knife. The other attackers grab the knife and flee. Unable to prove the existence of the knife, Poe is convicted of involuntary manslaughter and sent to prison. Jump forward a few years and Poe, about to be released on parole, hitches a ride home on a US Marshals Service prisoner transport plane (nicknamed Con Air).

Coincidentally, Poe's plane is also transporting a variety of hard-core criminals to a new maximum-security penitentiary. Among the prisoners are Cyrus 'The Virus' (John Malkovich), a psychopathic murderer; Nathan Jones, AKA 'Diamond Dog' (Ving Rhames) a black militant and former leader of the Black Guerrillas; and Billy Bedlam, a mass murderer. Needless to say, the prisoners manage to overpower the guards and take over the plane. Only Cameron Poe, determined to make it home to his wife and daughter, can stop them. Like I said, not much of a plot.

One thing that can't be denied is the quality of Con Air's cast: John Malkovich, Ving Rhames, Nicolas Cage, Steve Buscemi and John Cusack among them. Sadly, even this pool of talent can't make anything from the film's script. In retrospect, many of them must wonder exactly why they decided to participate in the film. Although some may enjoy the film, I find it very hard to recommend.
 

  :: Video ::
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This disc's anamorphically-enhanced 2.35:1 transfer comes from Touchstone, and is excellent. The transfer is sharp and clean with no visible grain or significant use of edge enhancement. The print used for this transfer was fairly clean, but did include a number of noticeable film artefacts (hairs, flecks etc.). Skin tones are very stable and natural looking, while colour saturation is excellent. The film's later sequences showing Las Vegas at night in all its neon glory were stunning with vibrant colours positively leaping off the screen.

Blacks are very good, deep and clean with no noise or blocking, while shadow detail is excellent: the image remaining sharp and clear at all times. Despite the film's constant use of moving camera shots and rapid-fire edits, there are no detectable compression artefacts. Slight aliasing and shimmer on chrome and sharp metal surfaces (17:52 and 18:22, for example) is visible, but not to the point of distraction. This is an excellent transfer, and earns four and a half stars.
 

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  :: Audio ::
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The sound engineers responsible for this disc's Dolby Digital 5.1 soundtrack really went to town, including everything but the kitchen sink. The soundtrack includes an impressively wide front soundstage that wraps right around to the surrounds; while the front channels integrate seamlessly, containing many smooth audio pans and directional cues. LFE is used constantly, reinforcing music and effects in the main channels with impressively deep foundation-shaking bass.

The surround channels are rarely silent, and are used creatively throughout the film containing numerous discrete split-surround effects, helicopter and plane flyovers, ricocheting bullets, explosions and constant background ambient effects. Overall fidelity is good, but not without several notable instances of pegging distortion (such as at 24:32, 42:10 and 44:57) while dialogue was always clear and easy to understand, although ADR dialogue was poorly integrated, with inserts clearly detectable (as at 20:15, 32:53 and 44:00).

This is a very good soundtrack and should test the capabilities of any audio system, although the constant bombardment of sound did result in a slightly compressed effect overall (much like Armageddon and The Rock). Four and a half stars. 
 

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