- Joined
- Feb 8, 1999
- Messages
- 18,425
- Real Name
- Robert Harris
I went into screening this disc with every hope that the quality would be superb, and every fear that the film would amount to two hours of my life, never to be regained.
I've come away correct on the first, and pleasantly surprised on the second.
Possibly one must try to place themselves into a teen mindset when reviewing YA fodder, and be far more accepting of on-screen contrivances and goings on plot-wise.
The lead, young Shailene Woodley actually does herself proud as Tris, the noble Divergent. Her youth allows us to better believe both her growth, mentally and physically to her surroundings (and plot points). Toward the end of the film, she had the need to scream, which comes out as a bit of a mouse shriek, sounding more like a child, but after thinking about it for a moment, it actually worked.
I read reviews after I view a film, and one only thing that truly troubled me, was pointed out by Susan Wloszczyna over at RogerEbert.com.
There are some things that just take me out of a film, sometimes, not allowing me to return. Fortunately, in this case I was able to overcome my mindset.
There's a sequence during which Tris decides that she needs to mature, to get ready for battle, and shed her tresses.
So she takes what Ms Wloszczyna describes as...
Well, best to quote her:
As Tris, the free-thinking fugitive hero of the clumsily titled “The Divergent Series: Insurgent,” Shailene Woodley picks up what looks like a pair of gardening shears and manages to somehow transform her lengthy locks into a chic pixie cut worthy of Vidal Sassoon. No mirror or comb needed apparently.
Of all the misleading tropes in the history of cinema, chopping off one’s own hair without having it look as if Freddy Krueger was your stylist probably gets on my nerves more than most. Yes, I know it is a metaphor for change, new beginnings and all that, but such an irresponsible act of DIY should not be encouraged.
However, I can fully relate to the reason behind Tris wanting to simplify her beauty regimen, especially since she spends so much of her time on the run in this sequel to last year’s “Divergent.” As she explains her new ‘do to boyfriend and protector Four (Theo James, whose maturity and manliness nicely offsets the plot’s more ridiculous turns), “I wanted something different.”
The other anomaly that troubles me involves driving scenes, during which the driver will look to people seated in the rear, or the front passenger seat -- for LONG periods of time, during which any number of horrific things could occur.
I find my solace in knowing that either the vehicle is attached to a camera car, and is being towed, or that we're seeing background mattes, and that all occupants are actually safe.
So, in the end, I found Part Two of the Divergent Series to be a loud, and decently pleasant way to spend a couple of hours.
Imagery, inclusive of a myriad of digital effects, are all nicely done. Audio, presented here, in my preferred format of Dolby Atmos, allows for huge lint-clearing passages, with some terrific low-end, and beautifully placed audio effects.
As has been said before, the thick plottens, characters emerge, die off (or are summarily executed), turn sides (possibly one a couple of times too often), but there again, one needs the ability to flow with the plot, with that human ability toward suspension of disbelief.
Shot with an Arri Alexa, and finished as a 2k DI, the up-rez is nicely performed, but like all films that only have a small number of XLS, there is little to be gained from 4k, as 2k, especially when player up-rezzed to 4, allows a projected image, that especially from a nominal seating distance, nicely replicates a 35mm print.
Bottom line, a gorgeous 4k UHD presentation.
Image - 5
Audio - 5
4k - 5
Pass / Fail - Pass
Recommended (for YA, and those who can relate)
RAH
I've come away correct on the first, and pleasantly surprised on the second.
Possibly one must try to place themselves into a teen mindset when reviewing YA fodder, and be far more accepting of on-screen contrivances and goings on plot-wise.
The lead, young Shailene Woodley actually does herself proud as Tris, the noble Divergent. Her youth allows us to better believe both her growth, mentally and physically to her surroundings (and plot points). Toward the end of the film, she had the need to scream, which comes out as a bit of a mouse shriek, sounding more like a child, but after thinking about it for a moment, it actually worked.
I read reviews after I view a film, and one only thing that truly troubled me, was pointed out by Susan Wloszczyna over at RogerEbert.com.
There are some things that just take me out of a film, sometimes, not allowing me to return. Fortunately, in this case I was able to overcome my mindset.
There's a sequence during which Tris decides that she needs to mature, to get ready for battle, and shed her tresses.
So she takes what Ms Wloszczyna describes as...
Well, best to quote her:
As Tris, the free-thinking fugitive hero of the clumsily titled “The Divergent Series: Insurgent,” Shailene Woodley picks up what looks like a pair of gardening shears and manages to somehow transform her lengthy locks into a chic pixie cut worthy of Vidal Sassoon. No mirror or comb needed apparently.
Of all the misleading tropes in the history of cinema, chopping off one’s own hair without having it look as if Freddy Krueger was your stylist probably gets on my nerves more than most. Yes, I know it is a metaphor for change, new beginnings and all that, but such an irresponsible act of DIY should not be encouraged.
However, I can fully relate to the reason behind Tris wanting to simplify her beauty regimen, especially since she spends so much of her time on the run in this sequel to last year’s “Divergent.” As she explains her new ‘do to boyfriend and protector Four (Theo James, whose maturity and manliness nicely offsets the plot’s more ridiculous turns), “I wanted something different.”
The other anomaly that troubles me involves driving scenes, during which the driver will look to people seated in the rear, or the front passenger seat -- for LONG periods of time, during which any number of horrific things could occur.
I find my solace in knowing that either the vehicle is attached to a camera car, and is being towed, or that we're seeing background mattes, and that all occupants are actually safe.
So, in the end, I found Part Two of the Divergent Series to be a loud, and decently pleasant way to spend a couple of hours.
Imagery, inclusive of a myriad of digital effects, are all nicely done. Audio, presented here, in my preferred format of Dolby Atmos, allows for huge lint-clearing passages, with some terrific low-end, and beautifully placed audio effects.
As has been said before, the thick plottens, characters emerge, die off (or are summarily executed), turn sides (possibly one a couple of times too often), but there again, one needs the ability to flow with the plot, with that human ability toward suspension of disbelief.
Shot with an Arri Alexa, and finished as a 2k DI, the up-rez is nicely performed, but like all films that only have a small number of XLS, there is little to be gained from 4k, as 2k, especially when player up-rezzed to 4, allows a projected image, that especially from a nominal seating distance, nicely replicates a 35mm print.
Bottom line, a gorgeous 4k UHD presentation.
Image - 5
Audio - 5
4k - 5
Pass / Fail - Pass
Recommended (for YA, and those who can relate)
RAH
