7.2 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
In 1963, all the prisoners and guards mysteriously disappear from Alcatraz. In the present day, they resurface, and a task force works to recapture them.
Starring: Sarah Jones (VIII), Jorge Garcia, Jonny Coyne, Parminder Nagra, Sam NeillMystery | 100% |
Crime | Insignificant |
Drama | Insignificant |
Action | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.78:1
Original aspect ratio: 1.78:1
English: DTS-HD Master Audio 5.1
French: Dolby Digital 2.0
Spanish: Dolby Digital 2.0
English SDH, French, Spanish, Dutch, Korean, Norwegian, Swedish
50GB Blu-ray Disc
Two-disc set (2 BDs)
UV digital copy
Region A, B (C untested)
Movie | 4.0 | |
Video | 4.5 | |
Audio | 3.5 | |
Extras | 2.0 | |
Overall | 4.0 |
Once upon a time, premature cancellation of a weekly TV drama didn't automatically make it a
hard sell on video. Episodes were largely standalone, and fans could make do with however
many they got. But then shows like The X-Files introduced season-long, and eventually series-long, plot arcs or
"mythologies", and
show runners got cold sweats as renewal time approached,
because they never knew whether they'd have to pen a hurried and unsatisfying wind-up for the
final episode of the season. When J.J. Abrams came along, he made the problem even worse by
demonstrating that the show itself could be a mythology, and that you could change the
mythology as you went along. Alias, Lost and Fringe redefined themselves season after
season
but still managed to keep most of their fan base. Nothing was safe and nothing was sacred.
Unfortunately for viewers, not everything from Abrams' Bad Robot Productions has been
allowed to run its course. Alcatraz was a mid-season replacement on the Fox network that
debuted on January 16, 2012, and was canceled due to poor ratings. Fox aired the initial thirteen-episode order, but that was all.
(It probably didn't
help that Fox was still carrying—and even
renewed one last time—Bad Robot's Fringe despite weak ratings performance.)
Still, I disagree that Alcatraz ended on a "cliffhanger". All of the questions raised by the pilot
episode were answered in one way or another, while leaving much open for further exploration,
if the series had received a second season. And while the thirteenth episode does include events
that would have to be revisited for the series to continue—I'm being vague on purpose—one
cannot complain over a lack of finality, just a lack of satisfaction with the turns of events. Series
creators Elizabeth Sarnoff (a Lost veteran), Steven Lilien and Bryan Wynbrandt seem to have
understood the first rule of a thirteen-episode order, which is to plan something that's reasonably
self-contained.
Shot on hi-def video, Alcatraz comes to Blu-ray in a 1080p, AVC-encoded treatment that neatly preserves the carefully delineated palettes distinguishing between the two timelines. There's never any doubt where you are in Alcatraz's fractured narrative. Even if the locations, costumes and haircuts didn't make it clear, the desaturated chill of the 1960s scenes—usually, but not always, initiated by the sound of cell doors and a translucent graphic of bars slamming across the screen—tell you instantly that the Rock is active and functioning. In the present, colors are warm and vibrant, fleshtones are natural, and even the caverns below Alcatraz appear to be alive, thanks to the huge array of lively computer monitors and other technology that bring all the hues of the rainbow into the task force's quarters. (In an episode where a downpour causes the power to flicker on and off, the temporary loss of those colors is even more shocking than the loss of illumination.) In both time periods, detail is excellent, black levels are strong, and artifacting and noise are de minimis.
Despite the sci-fi premise, Alcatraz is primarily dominated by talk, but when the DTS-HD MA 5.1 track does get an opportunity, it shines. The attacks by a sniper in episode 2 capture the sonic confusion of a panicking crowd. A mess hall riot in episode 10 catches the melee and the havoc. The thunderous downpour in episode 8 echoes through the rear speakers. A Bullitt-style chase through San Francisco registers with appropriate force and impact. All of the prison scenes in the past and all of the scenes beneath the now-disused prison in the present have a subtle sense of ambiance supplied by the rear speakers. The dialogue, which includes an array of distinctive regional accents (since prisoners on the Rock came from all over the country), is clearly rendered. The score credited to Michael Giacchino, Andrea Datzman and Chris Tilton may occasionally remind you of Fringe, which is appropriate, since both Tilton and Giacchino work on that show as well.
Whether or not one wants to invest time in a show whose mythology was never allowed to
develop to its full extent is a personal choice, but to those who insist that no prematurely
canceled show can ever be worth anyone's time, I have a one-word answer: Firefly. Now,
admittedly Firefly is the platinum standard that it's hard to imagine any other canceled show
achieving (and Alcatraz certainly does not), but stop for a moment and consider what happened
when Firefly's creator, Joss Whedon, bucked the odds to get his show's mythology to a point of
closure in the feature film, Serenity. Not every fan was overjoyed with the outcome (and I'll say
no more for fear of spoilers). Sometimes it's better to leave things to the imagination.
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