Mission: Impossible 1-5 4K UHDs (1996-2015)

[Fat Phil]

Originally Posted by ROSS.T.G.

What I wouldn’t give for that on UHD.

Lol. No one could handle Armand Assante shouting "Laawww!!!!!!" in Dolby Atmos.

[Show spoiler]

[KcMsterpce]

Originally Posted by Fat Phil

Stallone's Judge Dredd - I love that f***ing movie. Why? I can give you no logical explanation. It's terrible.

I saw a pre-screening of JD in Renton, WA. Stallone was there! I remember thinking "Wow, he's not as tall as I thought he'd be." Some guy tried to start a fight with him as he was leaving the theater. Heckling. I didn't understand why the dude was doing that... I think the 5 huge bodyguards surrounding Stallone would have done something about it first.
The VFX were only partially complete, so it was hilarious watching Atari-like animation sequences when they were flying around in their bikes during that chase sequence. I guess in the final release, it looked a little better.
Also, at the end, Rob Schneider was crushed under debris, and died.
"What a lovely day!"

[cynatnite]

It's a sucky movie, but I'd get it day one on UHD. How can it suck so badly, but still be good?

[Geoff D]

Originally Posted by Fat Phil

You take the blood out of a John Woo film and all you have left is interpretive dance moves amongst pigeons masquerading as combat.

Quoted for the ever-loving truth. I ain't got nuthin' against the Woomeister himself (but PG-13 Woo simply doesn't work. He amps everything up to the max, right, so when everything's dialled up EXCEPT the blood it just feels so neutered, so completely missing the point.

[DJR662]

Discussing M: I movies in the Jack Reacher thread, now Judge Dredd in the M: I movies thread. This is getting confusing.

[DJR662]

Originally Posted by Geoff D

Quoted for the ever-loving truth. I ain't got nuthin' against the Woomeister himself (but PG-13 Woo simply doesn't work. He amps everything up to the max, right, so when everything's dialled up EXCEPT the blood it just feels so neutered, so completely missing the point.

Yeah, I know we're apparently missing a lot from what M: I 2 initially was supposed to be, but even so I still think this is a Woo masterpiece and it works for me.

[Fat Phil]

Originally Posted by Geoff D

Quoted for the ever-loving truth. I ain't got nuthin' against the Woomeister himself (but PG-13 Woo simply doesn't work. He amps everything up to the max, right, so when everything's dialled up EXCEPT the blood it just feels so neutered, so completely missing the point.

I've just seen that imdb's trivia mentions that "Stuart Baird did uncredited re-editing work on this film" as part of some kind of quid pro quo arrangement with Paramount. As a friend of the family, I've grilled Stuart about his work on many films but I never knew they asked him to help with this one so i'll be sure to ask about it next time I see him. Should be interesting to hear his recollections.

[Geoff D]

Just got done with MI 1 and dear lord, is this UHD gorgeous. First things first: this was shot and finished on 35mm anamorphic, so naturally the film opticals (titles, subtitles, dissolves, etc) take an obvious hit in terms of sharpness, though it's worth mentioning that the opening 'KIEV' title has been recreated digitally, the rest appear to be the originals. A good example of the softness is when Ethan is doing his email messages to Max and we get a series of dissolves to indicate time passing, when the camera lingers on Ethan falling asleep at the table it's the tail end of the optical so it's very soft, but when it cuts back to him after seeing his vision of Jim he's razor sharp. The colour also takes on a sallow tinge during most of these shots. This happens on and off throughout the film, it is what it is.

But when we get the first generation material, oh mai. The detail, the texture, the fine grain, I never dreamed it would ever look this good. The ladies are also shot with various amounts of filtration which imparts a gauzy look in some shots, rather an outmoded concept now but I love it when I see stuff like that in movies, it's old-school Hollywood glamour. No signs of any overcooked noise reduction or "grain management" that I can see anywhere, and thank **** for that.

Colour is nice and healthy, perhaps a bit too healthy as skin tones can veer towards the ruddy at times, but I'd rather ruddy than orangey or yellowy. That said, when poor old William Donloe is retching in the bathroom he looks pale as anything, I'd say that was intentional! Red in particular is good and vivid, even something like Kristen Scott Thomas' lipstick caught my eye. HDR enhances the range without wrenching it into eye-melting territory, it still 'looks' like Mission Impossible, and the black levels are excellent, neither distractingly crushed nor ridiculously thin and grey.

Yes, there's a bit of that customary chroma noise sprinkled here and there but it's kept under control for the most part, and I only noticed artefacts in the lights (as mentioned by another poster) in one shot, the rest were fine. I spotted a vertical scratch in one shot (Ethan pinning Claire to the bed) but apart from that this image is pristine in terms of dirt and damage.

I even turned on my AVR for this and cranked it, I thought the sound was excellent. Some people wondered why this was done in TrueHD 5.1 when they had DTS-HD MA 5.1 encodes ready to go but when comparing the two I thought that the newer encode had the edge, it sounds crisper and more dynamic, right from the opening drumrolls it just seemed to be more 'airier' and open. So although this hasn't been redone in immersive (you'll get over it) I think they've re-recorded the 5.1 audio as part of this remaster in general.

And I just wanna say how much I enjoyed the film, I've always loved it but seeing it in this quality - arguably better than when I saw it twice in 1996, not that I can remember what it looked like - was an absolute joy. So many spine-tingling moments, such a twisty-turny spy yarn, all wrapped up in De Palma's masterful usage of Dutch angles, split diopters and badass anamorphic framing in general. For all the column inches that this franchise generates about its stunts, there's nothing else in this series that's as tense as the restaurant debrief scene between Hunt and Kittridge.

Note the lack of lens flares too (apart from some CG-generated ones on the chopper in the Chunnel), it looks so 'clean' and I do wish filmmakers would start to reign them in, it's not big and it's not clever! Even the music is a delight, Danny Elfman delivering a deliciously quirky score (though not Tim Burton quirky) and man, when the big triumphant cue kicks in as Ethan takes care of business with Phelps at the end, I literally got chills from head to toe. Even getting a little tingle as I type this.

I can't emphasise enough how much I love this film, and the UHD presentation ain't far behind. Superb. The only bad thing I can say is that I've now got to follow it up with MI-bleedin'-2. Oh, joy. Maybe I won't despise it this time, I'll settle for mildly disliking it.

[Geoff D]

Originally Posted by DJR662

Discussing M: I movies in the Jack Reacher thread, now Judge Dredd in the M: I movies thread. This is getting confusing.

Jack Dredd, Judge Reacher, it's all good

[DJR662]

Originally Posted by Geoff D

Just got done with MI 1 and dear lord, is this UHD gorgeous. First things first: this was shot and finished on 35mm anamorphic, so naturally the film opticals (titles, subtitles, dissolves, etc) take an obvious hit in terms of sharpness, though it's worth mentioning that the opening 'KIEV' title has been recreated digitally, the rest appear to be the originals. A good example of the softness is when Ethan is doing his email messages to Max and we get a series of dissolves to indicate time passing, when the camera lingers on Ethan falling asleep at the table it's the tail end of the optical so it's very soft, but when it cuts back to him after seeing his vision of Jim he's razor sharp. The colour also takes on a sallow tinge during most of these shots. This happens on and off throughout the film, it is what it is.

But when we get the first generation material, oh mai. The detail, the texture, the fine grain, I never dreamed it would ever look this good. The ladies are also shot with various amounts of filtration which imparts a gauzy look in some shots, rather an outmoded concept now but I love it when I see stuff like that in movies, it's old-school Hollywood glamour. No signs of any overcooked noise reduction or "grain management" that I can see anywhere, and thank **** for that.

Colour is nice and healthy, perhaps a bit too healthy as skin tones can veer towards the ruddy at times, but I'd rather ruddy than orangey or yellowy. That said, when poor old William Donloe is retching in the bathroom he looks pale as anything, I'd say that was intentional! Red in particular is good and vivid, even something like Kristen Scott Thomas' lipstick caught my eye. HDR enhances the range without wrenching it into eye-melting territory, it still 'looks' like Mission Impossible, and the black levels are excellent, neither distractingly crushed nor ridiculously thin and grey.

Yes, there's a bit of that customary chroma noise sprinkled here and there but it's kept under control for the most part, and I only noticed artefacts in the lights (as mentioned by another poster) in one shot, the rest were fine. I spotted a vertical scratch in one shot (Ethan pinning Claire to the bed) but apart from that this image is pristine in terms of dirt and damage.

I even turned on my AVR for this and cranked it, I thought the sound was excellent. Some people wondered why this was done in TrueHD 5.1 when they had DTS-HD MA 5.1 encodes ready to go but when comparing the two I thought that the newer encode had the edge, it sounds crisper and more dynamic, right from the opening drumrolls it just seemed to be more 'airier' and open. So although this hasn't been redone in immersive (you'll get over it) I think they've re-recorded the 5.1 audio as part of this remaster in general.

And I just wanna say how much I enjoyed the film, I've always loved it but seeing it in this quality - arguably better than when I saw it twice in 1996, not that I can remember what it looked like - was an absolute joy. So many spine-tingling moments, such a twisty-turny spy yarn, all wrapped up in De Palma's masterful usage of Dutch angles, split diopters and badass anamorphic framing in general. For all the column inches that this franchise generates about its stunts, there's nothing else in this series that's as tense as the restaurant debrief scene between Hunt and Kittridge.

Note the lack of lens flares too (apart from some CG-generated ones on the chopper in the Chunnel), it looks so 'clean' and I do wish filmmakers would start to reign them in, it's not big and it's not clever! Even the music is a delight, Danny Elfman delivering a deliciously quirky score (though not Tim Burton quirky) and man, when the big triumphant cue kicks in as Ethan takes care of business with Phelps at the end, I literally got chills from head to toe. Even getting a little tingle as I type this.

I can't emphasise enough how much I love this film, and the UHD presentation ain't far behind. Superb. The only bad thing I can say is that I've now got to follow it up with MI-bleedin'-2. Oh, joy. Maybe I won't despise it this time, I'll settle for mildly disliking it.

Thanks for the review, makes me looking forward in watching it even more. But you just had to make that comment at the end, didn't you?

[Geoff D]

Quid pro quo Clarice, you tell me things I tell you things

[ROSS.T.G.]

Prediction. Geoff watches M:I2 and realizes it’s a hidden gem.

[Fat Phil]

Originally Posted by Geoff D

Just got done with MI 1 and dear lord, is this UHD gorgeous.

[Show spoiler] First things first: this was shot and finished on 35mm anamorphic, so naturally the film opticals (titles, subtitles, dissolves, etc) take an obvious hit in terms of sharpness, though it's worth mentioning that the opening 'KIEV' title has been recreated digitally, the rest appear to be the originals. A good example of the softness is when Ethan is doing his email messages to Max and we get a series of dissolves to indicate time passing, when the camera lingers on Ethan falling asleep at the table it's the tail end of the optical so it's very soft, but when it cuts back to him after seeing his vision of Jim he's razor sharp. The colour also takes on a sallow tinge during most of these shots. This happens on and off throughout the film, it is what it is.

But when we get the first generation material, oh mai. The detail, the texture, the fine grain, I never dreamed it would ever look this good. The ladies are also shot with various amounts of filtration which imparts a gauzy look in some shots, rather an outmoded concept now but I love it when I see stuff like that in movies, it's old-school Hollywood glamour. No signs of any overcooked noise reduction or "grain management" that I can see anywhere, and thank **** for that.

Colour is nice and healthy, perhaps a bit too healthy as skin tones can veer towards the ruddy at times, but I'd rather ruddy than orangey or yellowy. That said, when poor old William Donloe is retching in the bathroom he looks pale as anything, I'd say that was intentional! Red in particular is good and vivid, even something like Kristen Scott Thomas' lipstick caught my eye. HDR enhances the range without wrenching it into eye-melting territory, it still 'looks' like Mission Impossible, and the black levels are excellent, neither distractingly crushed nor ridiculously thin and grey.

Yes, there's a bit of that customary chroma noise sprinkled here and there but it's kept under control for the most part, and I only noticed artefacts in the lights (as mentioned by another poster) in one shot, the rest were fine. I spotted a vertical scratch in one shot (Ethan pinning Claire to the bed) but apart from that this image is pristine in terms of dirt and damage.

I even turned on my AVR for this and cranked it, I thought the sound was excellent. Some people wondered why this was done in TrueHD 5.1 when they had DTS-HD MA 5.1 encodes ready to go but when comparing the two I thought that the newer encode had the edge, it sounds crisper and more dynamic, right from the opening drumrolls it just seemed to be more 'airier' and open. So although this hasn't been redone in immersive (you'll get over it) I think they've re-recorded the 5.1 audio as part of this remaster in general.

And I just wanna say how much I enjoyed the film, I've always loved it but seeing it in this quality - arguably better than when I saw it twice in 1996, not that I can remember what it looked like - was an absolute joy. So many spine-tingling moments, such a twisty-turny spy yarn, all wrapped up in De Palma's masterful usage of Dutch angles, split diopters and badass anamorphic framing in general. For all the column inches that this franchise generates about its stunts, there's nothing else in this series that's as tense as the restaurant debrief scene between Hunt and Kittridge.

Note the lack of lens flares too (apart from some CG-generated ones on the chopper in the Chunnel), it looks so 'clean' and I do wish filmmakers would start to reign them in, it's not big and it's not clever! Even the music is a delight, Danny Elfman delivering a deliciously quirky score (though not Tim Burton quirky) and man, when the big triumphant cue kicks in as Ethan takes care of business with Phelps at the end, I literally got chills from head to toe. Even getting a little tingle as I type this.

I can't emphasise enough how much I love this film, and the UHD presentation ain't far behind. Superb. The only bad thing I can say is that I've now got to follow it up with MI-bleedin'-2. Oh, joy. Maybe I won't despise it this time, I'll settle for mildly disliking it.

Noice. I was also (re)thrilled by the wonderful De Palma-yness of it all. He really wrings every ounce of tension out of each and every moment. And my god, the set pieces - he's gets so many plates effortlessly spinning. Ethan dangling, can Krieger hold him, now the rat's coming, the temperature, is Donloe coming back, the bead of sweat, the sound monitor. Arrrrrgh!!!!

[Geoff D]

Originally Posted by ROSS.T.G.

Prediction. Geoff watches M:I2 and realizes it’s a hidden gem.

If UHD can make me like MI2 then truly, this format is something special. You'll have to wait until this time tomorrow though as there's more footy on during the day/evening, if England crash out of the World Cup to Colombia then I might look more fondly on MI2 as it won't be as big of a disappointment after that!

Originally Posted by Fat Phil

Noice. I was also (re)thrilled by the wonderful De Palma-yness of it all. He really wrings every ounce of tension out of each and every moment. And my god, the set pieces - he's gets so many plates effortlessly spinning. Ethan dangling, can Krieger hold him, now the rat's coming, the temperature, is Donloe coming back, the bead of sweat, the sound monitor. Arrrrrgh!!!!

Exactly what I was thinking when watching that sequence, it's a masterpiece of editing.

[KcMsterpce]

Originally Posted by Fat Phil

Noice. I was also (re)thrilled by the wonderful De Palma-yness of it all. He really wrings every ounce of tension out of each and every moment. And my god, the set pieces - he's gets so many plates effortlessly spinning. Ethan dangling, can Krieger hold him, now the rat's coming, the temperature, is Donloe coming back, the bead of sweat, the sound monitor. Arrrrrgh!!!!

It is SoooOOO "De Palma". All those split diopter shots. He loves doing that, and doing it a LOT in M:I. It's a signature De Palma-ism. That, and many of the single-take scenes with large crowds (like at the party, where Ethan is being watched by agents), much like Scorcese's forte.

Yes, the picture can be soft at times due to it being shot anamorphically. Especially in zooms. I remember very heavy softness in the frame when Ethan was in a room (maybe just before the sleight of hand moment?) and his feet were blurry as heck. It's not the fault of the transfer, though. It is all inherent in the movie itself. Many soft shots, but you can't blame a transfer for being faithful to its source. M:I is a great 4k UHD.

[Fat Phil]

Originally Posted by Geoff D

If UHD can make me like MI2 then truly, this format is something special. You'll have to wait until this time tomorrow though as there's more footy on during the day/evening, if England crash out of the World Cup to Colombia then I might look more fondly on MI2 as it won't be as big of a disappointment after that!

Oh ma gawwd. Never have the stakes been so high for our boys

[gnj1958]

It's Christmas Theo. It's the time for miracles.

[Chris Souza]

Note the lack of lens flares too (apart from some CG-generated ones on the chopper in the Chunnel), it looks so 'clean' and I do wish filmmakers would start to reign them in, it's not big and it's not clever!

So the multi-layered flare from the police boat is no longer there, even the traditional Panavision blue flares?

I don't mind lens flares that much since it gives a more cinematic feel to many mainstream movies, but it feels kinda weird to digitally remove the flares (except the obvious cg flares in the tunnel scene) since it was shot anamorphically. But that's just me...

[lquevideo]

this is def becoming a fav disc. i just want more de palma in 4k.

[Agent Kay]

Originally Posted by Geoff D

Just got done with MI 1 and dear lord, is this UHD gorgeous. First things first: this was shot and finished on 35mm anamorphic, so naturally the film opticals (titles, subtitles, dissolves, etc) take an obvious hit in terms of sharpness, though it's worth mentioning that the opening 'KIEV' title has been recreated digitally, the rest appear to be the originals. A good example of the softness is when Ethan is doing his email messages to Max and we get a series of dissolves to indicate time passing, when the camera lingers on Ethan falling asleep at the table it's the tail end of the optical so it's very soft, but when it cuts back to him after seeing his vision of Jim he's razor sharp. The colour also takes on a sallow tinge during most of these shots. This happens on and off throughout the film, it is what it is.

But when we get the first generation material, oh mai. The detail, the texture, the fine grain, I never dreamed it would ever look this good. The ladies are also shot with various amounts of filtration which imparts a gauzy look in some shots, rather an outmoded concept now but I love it when I see stuff like that in movies, it's old-school Hollywood glamour. No signs of any overcooked noise reduction or "grain management" that I can see anywhere, and thank **** for that.

Colour is nice and healthy, perhaps a bit too healthy as skin tones can veer towards the ruddy at times, but I'd rather ruddy than orangey or yellowy. That said, when poor old William Donloe is retching in the bathroom he looks pale as anything, I'd say that was intentional! Red in particular is good and vivid, even something like Kristen Scott Thomas' lipstick caught my eye. HDR enhances the range without wrenching it into eye-melting territory, it still 'looks' like Mission Impossible, and the black levels are excellent, neither distractingly crushed nor ridiculously thin and grey.

Yes, there's a bit of that customary chroma noise sprinkled here and there but it's kept under control for the most part, and I only noticed artefacts in the lights (as mentioned by another poster) in one shot, the rest were fine. I spotted a vertical scratch in one shot (Ethan pinning Claire to the bed) but apart from that this image is pristine in terms of dirt and damage.

I even turned on my AVR for this and cranked it, I thought the sound was excellent. Some people wondered why this was done in TrueHD 5.1 when they had DTS-HD MA 5.1 encodes ready to go but when comparing the two I thought that the newer encode had the edge, it sounds crisper and more dynamic, right from the opening drumrolls it just seemed to be more 'airier' and open. So although this hasn't been redone in immersive (you'll get over it) I think they've re-recorded the 5.1 audio as part of this remaster in general.

And I just wanna say how much I enjoyed the film, I've always loved it but seeing it in this quality - arguably better than when I saw it twice in 1996, not that I can remember what it looked like - was an absolute joy. So many spine-tingling moments, such a twisty-turny spy yarn, all wrapped up in De Palma's masterful usage of Dutch angles, split diopters and badass anamorphic framing in general. For all the column inches that this franchise generates about its stunts, there's nothing else in this series that's as tense as the restaurant debrief scene between Hunt and Kittridge.

Note the lack of lens flares too (apart from some CG-generated ones on the chopper in the Chunnel), it looks so 'clean' and I do wish filmmakers would start to reign them in, it's not big and it's not clever! Even the music is a delight, Danny Elfman delivering a deliciously quirky score (though not Tim Burton quirky) and man, when the big triumphant cue kicks in as Ethan takes care of business with Phelps at the end, I literally got chills from head to toe. Even getting a little tingle as I type this.

I can't emphasise enough how much I love this film, and the UHD presentation ain't far behind. Superb. The only bad thing I can say is that I've now got to follow it up with MI-bleedin'-2. Oh, joy. Maybe I won't despise it this time, I'll settle for mildly disliking it.

He does Burton quirky in a few places.
And the KIEV but is new? Odd.