PictureWith a theatrically correct ratio of 2.35:1, this anamorphic transfer is very competently done. At the risk of sounding like a stuck record, I always feel that if it is a new film, rather than a re-master of an old movie, then it should be impossible to find fault with the print. In this case, the print used is pristine, with no signs of dust specks or print damage, so, so far so good. I couldn't see any sign of grain or haloing and certainly no artefacts were noticed even after watching this twice. Detail levels are nicely done, for example, a scene where we have a close up of Bacon's face shows the skin texture well, with lines around the eye being easily spotted. Colours are nicely handled - this isn't a vivid movie on one hand, but as it is set in the 50's/60's, there are some bold colours used, from the Pan Am blues of the air stewardess uniform to Lohman's deep red lipstick in some scenes, this hits the right notes and all without any bleeding of colour. I can't say that this is something that is exemplary of the format, but I can say there's nothing wrong here - it's great, but not superb.
SoundWith a Dolby Digital 5.1 soundtrack, this is another example of a soundtrack that isn't reference quality, but does the job it needs to admirably. Although the speakers play the soundtrack nicely and rears give a nice ambience to the whole proceedings, this is very much a movie where dialogue is of the essence - it is here where one needs to pay attention to follow the plot of the movie above all else and it doesn't disappoint. The dialogue is never drowned out and is never at any point misunderstood, with one minor caveat which is the movies final words uttered at the end. If you have the sound reasonably low, you will probably miss what is said - don't worry, you can always turn it up or flip the subtitles on. One note, is that the soundtrack is really superb - take the opening of the movie, where it starts off sounding up beat and perky, which would be right for a comedy double act, but it soon sounds ominous and creepy, a prelude of things to come.
ExtrasSadly, the extras are a bit light here. Starting with The Making of “Where The Truth Lies”, which runs for 5.41 minutes, we have the most ill-named “Making of” to date, or rather it is the complete opposite of a Making of. We don't hear from a single member of the cast or the crew, in fact all we do is watch them behind the scenes. There's no interaction from them to this camera, it's just like being on the set and nothing more.
Deleted Scenes is split into two sections, one is called “The Father Theme”, which runs for 2.28 minutes and focuses on a removed thread which ties in O'Connor's father into the story. It isn't actually relevant nor pertinent to the actual main story and can easily be seen why it was removed, as it serves no purpose. The second section, runs for 7.59 minutes and is simply trimmed scenes which only fill in blanks which are already implied anyway.
Finally we get trailers for “The Dying Gaul”, “The Warrior”, “The Tenants”, “London”, “Chasing Ghosts”, “End Game” and “Memory of a Killer”. For what it's worth, London looks interesting, if only to laugh at Jason Statham's hairstyle and Chasing Ghosts, with Michael Madsen, looks interesting in a B-Movie-wannabe-Se7en type way.
VerdictSuperb thriller that treats the adult audience like adults as opposed to watering down the material. Bacon is on top form, Firth is creepy and Lohman is by turns vulnerable and seductive to watch. It's as much fun to watch the second time around as it was the first, as you see more with the insight gained from the first viewing. If you don't buy this movie, you're missing out on a well crafted, intelligent, sexy and very logical thriller. Recommended without reservation.
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