Die deutsche Sprachfassung liegt leider nur in einer 2.0 Stereofassung vor. Zwischen ihr und dem englischen Dolby Digital 5.1-Upmix liegen qualitativ Welten. Hier wäre es schön gewesen, wenn sich Warner die Mühe zu einem Upmix oder zumindest zu einer umfaasenden Tonrestauration gemacht hätte. Der deutsche Ton wirkt im Verlgeich zu englischen Fassung nicht nur nicht räumlich, sondern auch kraftlos und wenig dynamisch. sojrner Yeah, I just don't get it. I own exactly one steelbook - The Phantom of the Paradise - and that is because it was the only way I could get the movie on blu-ray. So people buy steelbooks as investments and showpieces rather than for the content? And Stephen’s thoughts on Makoto Shinkai’s animated Children Who Chase Lost Voices (2011) on Blu-ray from GKids via Shout! Factory. perhaps The Hole, but to a lesser extent) as the best example, that has the fervour to go where horror goes, but with a gloss seldom used in such films.

They seriously need to stop with the bad artwork!! I mean are they for real with this?? The Digibook Blu-ray/standard Blu-ray artwork (which was ported over from the 25th Anniversary DVD Special Edition) was awesome! WCG and HDR give a natural boost to the colours without losing the original cinematic intent; flesh tones are natural, greens are lush, reds are bold, and blues cool. Lighting, so important in the atmosphere, is well captured, giving intensity and vividness to the scenes, without encroaching or bloom. from the camera negative, nonetheless impresses at every turn with excellent color reproduction, stability, strong fine detail, and a soft but Here's the huge disappointment of this set. These extras totally blow. In fairness to Warner, however, a birdie in the know tells me it has always been camp Steven Spielberg that has nixed the idea of a true 'Poltergeist' making-of (due to the still-sensitive issues over who really directed the film, etc.) So instead of cast and crew interviews and all that sort of good stuff, all we get is an utterly lame "documentary" on real-life spook hunters. Ugh...They're here!" A typical family in a quiet suburb of a normal California faces a frightening ordeal when its home is invaded by a Poltergeist. Late one night, 10-year-old Carol Anne Freeling (Heather O'Rourke) hears a voice coming from inside the television set ... At first, the spirits that invade the Freelings' home seem like playful children. But then they turn angry. And when Carol Anne is pulled from this world into another, Steve and Diane Freeling (Craig T. Nelson and JoBeth Williams--In the Land of Women) turn to an exorcist (Zelda Rubinstein) in this horror classic from director Tobe Hooper (Texas Chainsaw Massacre films) and producer and screenwriter Steven Spielberg. NOTE: The screenshots in this review are all sourced from the newly-remastered Blu-ray disc and, as such, obviously do not represent the Though there have been reams of discussion on who the real author of 'Poltergeist' is -- Spielberg or Hooper -- it's clear that thematically, this is Spielberg's show all the way. It displays in spades his penchant for generalized spirituality without overt religious allusion. Nowhere is this more clearly defined than in what may be the film's thematic centerpiece, when Straight explains to Diane and son Robbie Freeling (Oliver Robbins) the nature of "the other side." Rather than some sort of apocalyptic judgment day, Spielberg's afterlife comes off as a sort of heavenly paradise whose only requirement for entrance is that you die. There is no Christian fundamentalism or gooey new-agey gobbledygook at work in Spielberg's intentions -- just an all-encompassing, admirable wish-fulfillment fantasy in which a wondrous world of pure love awaits us on the other side.

they'll immediately strike viewers as impressive, especially on an OLED or even LCD screen with reliable local dimming. (There are even dual There is a great deal of detail on show, skin has good texture, with pores, wrinkles and hair lines, while clothing has decent weave. Overlooking the valley with the new houses is suitably expansive, while the lawns are crisp and defined, likewise the gloopy mud in the swimming pool and the rain are well seen as are furnishings, wall coverings (gaudy or otherwise), paranormal paraphernalia and TV screens; all are keen. Does show up the coarseness of the ‘tree’ though. Is it possible that Spielberg has some control over how his films are presented, since I'm sure that any boutique label would jump at the chance to release SEs of anything he directed, and doesn't want third parties producing SEs of his films?This two-disc release ships in a standard keepcase with...uh... different cover artwork, a matching slipcover, and a Digital Copy redemption The Making of Poltergeist (7:18) - Though it's brief, this 1982 MGM featurette (new to disc, apparently!), offers a

There are unquestionably many Spielbergian touches in Poltergeist; he did indeed co-write and produce it, after all. The suburban family milieu is pure Spielberg, as are the more melodramatic moments in the film. When Craig T. Nelson and JoBeth Williams have their dramatic farewell before she plunges into the abyss, the camera cuts away to Beatrice Straight’s tearful reaction, and that’s one of Spielberg’s standard techniques to manipulate the audience by letting them know that it’s time to cry. Yet Hooper’s stamp is present on the final product as well, as there are numerous shots and bits of editing that didn’t quite fit into Spielberg’s house style at the time—for example, the repeated use of crash cut zooms onto faces, or the montage of Nelson screaming from different camera angles after the appearance of the ghost head. (Spielberg would go on to use similar setups two years later in Indiana Jones and the Temple of Doom, but he arguably learned the technique from Hooper and The Texas Chain S aw Massacre.)

Extras

new restoration clearly leads the charge but is also supported by two improved audio options and a pair of unearthed vintage bonus features. A firmly sprinkled throughout a film that's largely dominated by static interiors and dark, stormy nights. Yet this new 4K transfer, likely sourced ever-present layer of film grain that clearly hasn't been subjected to excessive noise reduction. The HDR10 enhancement takes over in subtle but