6.1 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
What appears to be a random kidnapping becomes something more sinister when Secret Service Agent Jeremy Reins discovers he's being used as a pawn in a terrorist plot. Watching the clock tick down to an unknown catastrophe, Jeremy is forced by his captors to listen to the outside world on the brink of collapse, knowing that the only way to save the people he loves is to divulge a secret that he has sworn to protect.
Starring: Stephen Dorff, Chyler Leigh, JR Bourne, Tom Berenger, Kali RochaThriller | 100% |
Action | 27% |
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
English SDH, Spanish
25GB Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 3.0 | |
Video | 3.0 | |
Audio | 4.0 | |
Extras | 2.0 | |
Overall | 3.0 |
Between Buried, Frozen, and ATM, the single-location-meets-one-word-title thriller most definitely seems to be an indie film
thing at the moment. The allure for filmmakers and financiers is obvious—cheaper productions, shorter shoots, and complete control of the
set. This, however, comes with a few equally obvious caveats—the material needs to be gripping, the performances spot-on believable, and the plotting
airtight.
Brake, the latest, hits two out of three, and two out of three ain't bad. The film's adrenaline-injected story plays like a feature-length
Twilight Zone episode scripted by the writers of 24—think conspiratorial terrorist scheming with not one but two breakneck
finale twists—and leading man Stephen Dorff nails what's essentially a ninety minute closeup with admirable intensity. In the end, it's the plot holes
and oil slicks of ridiculousness that send this dramatic vehicle off the road, over the median, through oncoming traffic, and into a ditch, but hey—this
still makes for one hell of a ride.
Obviously, you'd hope that a film that's shot almost completely in tight close-ups would look good on Blu-ray, and Brake does, as long as you're watching at a normal viewing distance and not, say, watching via projector on a 150" screen. Look closely and you'll notice that the film's 1080p/AVC- encoded digital-to-digital transfer is extremely blotchy with source noise. This is partially to be expected—the inside of a trunk is a particularly low-light situation—but given that the filmmakers had complete lighting control over such a limited shooting location, you'd think they might've figured out a way to diminish the noise somewhat. The film was shot in 4K with the Red One MX camera and Zeiss lenses, but the overall level of clarity is compromised by the inherent digi-grittiness of the picture; it's easy to imagine the lines, pores, and stubble of Stephen Dorff's characteristically scruffy face looking far sharper than they do here. Like I said, though, it's not really an issue if you're watching on a small-to-medium-sized television, sitting on your couch twelve feet away. Color fares better. For visual variety, the film makes a clear effort to mix up the lighting from time to time. There are scenes lit only by a vibrant red glow, others where an almost neon greenish hue filters in from the outside, and a few where strands of lights along the edges of the plexiglass box burst on, casting everything in an intense white glow. It all looks good, with punchy contrast and deep blacks, although you may notice some blown-out highlights here and there. (There's also a rather inelegant soft-focus effect around the edge of the frame when Dorff eventually emerges into the sunlight—really, not a spoiler—but this is more of a poor post-production choice than anything else.) On the whole, the picture ain't exactly eye candy, but it looks to me like it's probably true to source.
The challenge of Brake's sound design is to convincingly put us inside the trunk with Agent Reins, to make us hear everything he hears. To that end, the film's lossless DTS-HD Master Audio 5.1 surround track is most definitely a success, building a fairly realistic soundscape from ambience and directional effects. From the start it's clear that the mix will thoughtfully utilize all 5.1 channels. Muffled voices and strange clangs emerge from the rears, bees buzz like mad, and the throttled roars of passing traffic move believably from back to front. There are gunshots and distant explosions, crashes and blown horns. I have no experience riding in the trunk of a car, but I imagine this is pretty close to what it'd sound like. Composer Brian Tyler (The Expendables) provides a pulsing score that emphasizes the onscreen action without overpowering it, and the music has plenty of presence and clarity. The subwoofer kicks in when necessary to underscore the tension of key sequences too. There are no hisses, pops, drop-outs or other audio anomalies to report, and dialogue is always cleanly recorded and easily understood. For those that need or want them, the disc includes optional English SDH and Spanish subtitles, which appear in bright yellow lettering.
Despite one twist too many and a few noticeable plot holes, Brake is one of the better recent entries in the suddenly popular single-location thriller genre. It's satisfyingly tense and straight-up dominated by Stephen Dorff, who—more than just surviving—thrives in his extended inside-the- trunk close-up. IFC's Blu-ray release gets the tech specs right and includes a few decent special features, making Brake a purchase-worthy consideration for fans of claustrophobic genre movies.
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