Review added January 13, 2005.
Con Air
:: DVD Review |
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Studio:
Touchstone |
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>> Review
Equipment |
Video:
2.35:1 (Enhanced for 16:9) |
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Length:
111
Minutes |
Audio:
Dolby Digital 5.1 (384kbps) En |
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Subtitles: En/Fr/It |
Dolby
Digital 2.0 (192kbps) Fr/It |
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Disc Format:
DVD-5 |
Video Format:
PAL |
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Disc Capacity Utilised:
4.35GB |
Layer Change:
NA |
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Region Coding:
2/4 |
Average Bit-Rate (A+V):
5.30Mbps |
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:: The Film
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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.
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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.
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::
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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