This is my Next1 Movie, 2 Cuts | | Batman v Superman: Dawn of Justice (2016) Batman v Superman: Dawn of Justice Blu-ray delivers stunning video and audio in this fan-pleasing Blu-ray release Fearing the actions of a god-like super hero left unchecked, Gotham City�s own formidable, forceful vigilante takes on Metropolis�s most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it�s ever known before.For more about Batman v Superman: Dawn of Justice and the Batman v Superman: Dawn of Justice Blu-ray release, see Batman v Superman: Dawn of Justice Blu-ray Review published by on where this Blu-ray release scored 3.0 out of 5.Director: Zack Snyder Writers: David S. Goyer, Chris Terrio, Bob Kane, Bill Finger, Jerry Siegel, Joe Shuster Starring: Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne
» See full cast & crew Batman v Superman: Dawn of Justice Blu-ray, Video Quality Batman v Superman reunited Zack Snyder with his long-time cinematographer Larry Fong, who previously shot the director's 300, Sucker Punch and Watchmen. Behind-the-scenes clips in the extras show a variety of cameras, and IMDb reports that BvS�was photographed on formats ranging from the Arri Alexa to 65mm film in IMAX format. The final product, including extensive effects work, was finished on a digital intermediate at 4K, making BvS one of the rare Warner features to be completed at the higher resolution. On Blu-ray, the theatrical and director's cuts are presented separately, with each occupying its own 1080p, AVC-encoded BD-50. Screenshots 1-30 are taken from the theatrical cut, while screenshots 31-40 (following the theatrical version's menu) come from the "Ultimate Edition" director's cut. screenshots from the theatrical cut can be found accompanying the 3D review.
There is no difference in quality between the two presentations, and the new footage in the director's cut has been seamlessly integrated. Despite partial digital origination and copious CG effects work, BvS's presentation is noticeably film-like, with a finely visible grain pattern that is never obtrusive but gives the image depth and texture. Much of the action is set at night and in dark interiors like the Batcave, with deep black shadows where detail is often still visible (and where it isn't, it's not supposed to be). The film's colors are desaturated, for the most part, even including the reds and blues of Superman's signature costume (which has gained even more detailing since Man of Steel). On the rare occasion when colors are intense (e.g., the early Indian Ocean scene when local divers make an important find), they stand out brightly. viewers may find the cinematography's brooding atmosphere oppressive, that appears to be the intended effect, and there's certainly no faulting its Blu-ray rendition.
Warner's theatrical division continues to keep its average bitrates low, but in an ironic turn, the longer director's cut clocks in at a higher rate than the theatrical (23.96 vs. 21.01 Mbps). difference is attributable to the fact that the director's cut does not have to share its disc with several hours of HD extras. The busy imagery of BvS places heavy demands on the compressionist to conserve the bit-budget wherever possible, but the job appears to have been Batman v Superman: Dawn of Justice Blu-ray, Audio Quality BvS thunders onto Blu-ray with a Dolby Atmos soundtrack that fully delivers on fans' expectations for an epic superhero showdown. With broad dynamic range and deep bass extension, the track renders every blow, punch and crash in crisp detail, with sound emanating from multiple points throughout the listening space. Atmos localization enhances immersion into car chases, gun fights and the bone-crunching combat between the two title characters.
version of the Batmobile is as fully realized sonically as in its muscular physical presence (the latter being the subject of a whole separate extra). Explosions and building collapses are almostThe collaboration of Hans Zimmer and Junkie XL has produced an ever-present and overbearing score that is almost an additional character in the film, constantly commenting on, and underlining the importance of, the events onscreen. My sole quibble with the track is the dialogue, which is occasionally buried in the mix (Holly Hunter and Jesse Eisenberg are the mostI’ve been a computer programmer for 29-1/2 years, so I suppose I would be a tad biased toward a film that uses FORTRAN as a means of exacting socially relevant revenge. In “Hidden Figures,” the FORTRAN punch cards coded by Dorothy Vaughan (Octavia Spencer) prove that she is not only qualified to be the first employee supervisor of color in the space program, but that her “girls” (as she calls them) have the skills to code the IBM mainframe under her tutelage.
Vaughan’s victory comes courtesy of the programming manual she had to lift from the segregated library that vengefully refused to loan it to her because it wasn’t in the “colored section.” When her shocked daughter protests her unconventional borrowing methods, Vaughan tells her, “I pay my taxes for this library just like everybody else!” Vaughan is one of the three real-life African-American women who helped decipher and define the mathematics used during the space race in the 1960s. “Hidden Figures” tells their stories with some of the year’s best writing, directing and acting. Co-writer/director Theodore Melfi (adapting Margot Lee Shetterly's book with co-writer Allison Schroeder) has a light touch not often found in dramas like this, which makes the material all the more effective. He knows when to let a visual cue or cut tell the story, building on moments of repetition before paying off with scenes of great power. For example, to depict the absurdity of segregated bathrooms, Melfi repeats shots of a nervously tapping foot, followed by mile-long runs to the only available bathroom.
This running joke culminates in a brilliantly acted, angry speech by Taraji P. Henson that is her finest cinematic moment to date.Henson plays Katherine Johnson, a mathematician who, in the film’s opening flashback, is shown to have a preternatural affinity for math in her youth. Her success at obtaining the education she needs is hindered by Jim Crow, but she still manages to earn degrees in math and a job at NASA’s “Colored Computer” division. In an attempt to beat Russia to the moon, NASA has been looking for the nation’s best mathematicians. The importance of the space race forces them to accept qualified candidates of any stripe, including those society would normally discourage.We meet the adult version of Johnson as she’s sitting in Vaughan’s stalled car with her NASA colleague Mary Jackson (Janelle Monae). The dialogue between the three women establishes their easy rapport with one another, and introduces their personalities. Vaughan is no-nonsense, Jackson is a wise ass with impeccable comic timing and Johnson is the clever optimist.
They are similarly educated, though each has their own skill set the film will explore.Vaughan’s mechanical skills are highlighted first: Spencer’s legs jut out from underneath her broken down car as she applies the trade taught to her by her father. Her supervisory expertise is also on display when a police officer shows up to investigate. Though the cop situation is resolved in an amusing, joyous fashion, “Hidden Figures” never undercuts the fears and oppressions of this era. They’re omnipresent even when we don’t see them, and the film develops a particular rhythm between problems and solutions that is cathartic without feeling forced. At the request of Vaughan’s supervisor (Kirsten Dunst), Johnson is sent to a room full of White male mathematicians to assist in some literal rocket science. The calculations have stumped everyone, including Paul Stafford (Jim Parsons), the hotshot whose math Johnson is hired to check. Parsons is a bit of a weak link here—his petulance, while believable, is overplayed to the point of cartoonish villainy—but the overall attitude in the room made me shudder with bad memories of my own early career tribulations.
I’ve been the only person of color in a less than inviting work environment, and many of Henson’s delicate acting choices vis-à-vis her body language held the eerie feeling of sense memory for me. Though she remains confident in her work and presents that confidence whenever questioned, Henson manifests on her person every hit at her dignity. You can see her trying to hold herself in check instead of going full-Cookie Lyon on her colleagues.In addition to the unwelcome men in the room, Johnson also has to deal with the tough, though fair complaints of her grizzled supervisor, Al Harrison (Kevin Costner). Costner is a perfect fit here; he should consider running out the rest of his career in supporting mentor roles. He and Henson play off each other with an equal sense of bemusement, and when the film gives him something noble to do, it hides the cliché under the nostalgic sight of “Bull Durham”'s Crash Davis holding a baseball bat.While Johnson tries to keep John Glenn (charmingly played by Glen Powell) from exploding atop a rocket and Vaughan fights FORTRAN and Dunst for the right to be a supervisor, Janelle Monae is secretly walking off with the picture.
Mary Jackson wants to be the first Black engineer at NASA, yet as with Vaughan’s library book, she’s hindered by Jim Crow practices. Jackson takes her case to court, and the scene where Monae wordlessly reacts to the outcome is one of the year’s best. With this and “Moonlight,” Monae has established herself as a fine actress able to handle both comedy and drama. The awards praise for Spencer is certainly justified, but Monae is the film’s true supporting player MVP. Watching “Hidden Figures” I thought about how I would have felt had I seen this movie 30 years ago, when I made the decision to study math and computer science. I might have felt more secure in that decision, and certainly would have had better ideas on how to handle some of the thorny racial situations into which I found myself. The strange thing for me is that I saw more Black programmers in this movie than I’ve encountered in my entire career. I had few points of reference in this regard, and the I.T. world reflects that.