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Media:  |
Rating:  |
| Format: Widescreen anamorphic - 2.40:1 |
Case: Custom |
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| Runtime: 127 min |
Region: 1 |
| Disc Type: SS-DL |
16:9 support: Y |
| Number of Discs: 1 |
Macrovision: |
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| Audio 1: English (DTS) |
Audio 2: English (Dolby Digital 2.0 Surround) |
| Audio 3: English (Dolby Digital 6.1 EX) |
Audio 4: Commentary |
| Audio 5: Commentary |
Audio 6: Commentary |
| Audio 7: Commentary |
Audio 8: |
SubTitles Available: Subtitles: English |
A replacement DVD for your old, non-anamorphic flipper is here with a new anamorphic transfer from the original negative. The anamorphically enhanced 2.40:1 DVD is a drastic improvement over the previously issued DVD. This new disc is remarkably clean, with minimal grain (appearing excessive on the previous version) and less distracting edge enhancement. Images are sharp and detailed, with excellent clarity and fine definition. The stylistically dark picture exhibits immaculate detail in the depths. Fine film grain is evident, but is never overly perceived. Though some minor distractions are apparent in the way of aliasing problems and occasional pixelization, this is undoubtedly the preferred version of this disturbing film. The soundtrack for Se7en has been re-mixed from the original stems by Robert Margouleff and Brant Biles of Mi Casa Studio under the supervision of the film's director David Fincher and Sound Designer Ren Klyce. There are actually two different re-mixes on this disc, a Dolby® Digital Surround EX-encoded 5.1-channel mix and a DTS-ES® Discrete 6.1 mix. The mix here is not the thrill ride sort, but is every bit as exciting and involving as any soundtrack I've heard in its ability to consistently place the viewer in the acoustic spaces that appear on screen. All three surround channels are active and engaged consistently throughout the film creating an expansive but spatially defined soundfield. Even in the cramped apartment interiors, the sounds of the rain, neighbors, and traffic, allow this soundtrack to take on a wonderfully three-dimensional and organic presence. The weather and the city are thematic elements of the film and their sonic signatures are significantly enhanced in both new mixes. The surround back channel is used very effectively to expand surround images with the occasional punctuation of placing sounds distinctly behind the listener. Dialogue is well integrated and natural sounding, albeit a bit dark in character. The LFE is engaged to punctuate sound effects as well as augment the low end of the film's haunting, ominous score by Howard Shore. The pop songs by Nine Inch Nails and David Bowie benefit from the new and more aggressive mixes and low-end impact of the LFE channel. The DTS-ES Discrete 6.1 mix is undoubtedly the superior sonic experience. The surround back channel is more prominent and defined within the soundfield. The surrounds image wider to create a noticeably more expansive and yet more spatially precise rear soundstage. Even when played back in 5.1 with a compatible matrix decoder the DTS ES mix offers superior resolution and imaging in the surround channels (including surround back) compared to the Dolby Digital Surround EX track. Overall the DTS ES track offers superior low-level resolution and fine inner detail. Imaging along the sidewalls and in between speaker positions is consistently fuller and more natural. From dialogue to the score and music, the DTS track is timbrally more natural and convincing. Chapter 11, "Hitting The Books" provides prime examples of many of these attributes, especially as the cavernous library is filled with floating voices and the lilting music of Bach. The Dolby Digital Surround EX mix is very good, but the DTS-ES Discrete 6.1 mix is simply spectacular! |
• Commentary by director David Fincher, actor Brad Pitt, and actor Morgan Freeman
• Commentary by Professor of Film Studies/author Richard Dyer, screenwriter Andrew Kevin Walker, editor Richard Francis-Bruce, New Line Cinema's President of Production Michael De Luca, and David Fincher
• Commentary by director of photography Darius Khondji, production designer Arthur Max, editor Richard Francis-Bruce, Richard Dyer, and David Fincher
• Commentary by sound designer Ren Klyce, composer Howard Shore (with isolated 5.1 music and fx cues, Richard Dyer, and David Fincher)
• Exploration of the Opening Title Sequence (3 video angles and 6 audio tracks)
• Animated storyboards
• Deleted scenes and extended takes
• Alternate endings
• Production design
• Still photographs
• Animated gallery - The Notebook
• Number of discs: 2
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