7.8 | / 10 |
Users | 4.3 | |
Reviewer | 4.0 | |
Overall | 4.2 |
Dr. Ellie Arroway, after years of searching, finds conclusive radio proof of intelligent aliens, who send plans for a mysterious machine. Based on the novel by Carl Sagan.
Starring: Jodie Foster, Matthew McConaughey, James Woods, John Hurt, Tom SkerrittSci-Fi | 100% |
Mystery | 34% |
Thriller | 4% |
Drama | Insignificant |
Video codec: VC-1
Video resolution: 1080p
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1
English: Dolby TrueHD 5.1 (48kHz, 16-bit)
Japanese: Dolby Digital 5.1
Spanish: Dolby Digital 5.1 (640 kbps)
French: Dolby Digital 5.1 (640 kbps)
German: Dolby Digital 5.1 (640 kbps)
Italian: Dolby Digital 5.1 (640 kbps)
Portuguese: Dolby Digital 2.0
English: Dolby Digital 5.1 (640 kbps)
Castillian Spanish, Japanese is hidden
English SDH, French, German SDH, Italian, Italian SDH, Japanese, Portuguese, Spanish, Danish, Dutch, Finnish, Norwegian, Swedish
50GB Blu-ray Disc
Single disc (1 BD)
Region free
Movie | 4.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 3.0 | |
Overall | 4.0 |
To quote sci-fi great Arthur C. Clarke, “Two possibilities exist: Either we are alone in the universe, or we are not. Both are equally terrifying.” And both, most would agree, are equally difficult to physically substantiate. While Clarke was speaking of extraterrestrial intelligence, his quip could just as aptly apply to God, that other unproven heavenly figure. Astronomer, skeptical inquirer, and agnostic Carl Sagan, author of Contact, devoted his life to seeking the uneasily obtained answer to one of humanity’s central questions—are we alone? Of course, his was a strictly scientific quest, one that led him to being an early proponent of SETI—the Search for Extra- Terrestrial Intelligence—but he was also interested in what ramifications the discovery of alien life would have on our world’s insular, anthropocentric faiths. And yet Sagan, unlike hardliners like Richard Dawkins, didn’t want to destroy religion. He just wanted to see it evolve, so to speak.
The truth is out there.
Aside from a few small quibbles, most of them relating to the film's source material, I was mostly satisfied with Contact's 1080p/VC-1 encoded transfer. I've read some recent buzz on the internets regarding injudiciously applied DNR, but if digital noise reduction was used here, it's very slight, as this transfer still retains a distinct filmic quality, with none of the smearing or waxiness usually associated with noise reduction measures. A thin stratum of grain is apparent in most shots, and it looks natural enough, to me anyway. The only segment that seems patently artificial is the climatic "beach" scene. Foster is in front of a green screen composite shot, and it looks like the edges of her face have been smoothed out to make the separation between the real foreground and the fake background less jarring. Of course, this blurring is all too evident in high definition. This scene also suffers from over-saturated colors, including some much-too-ruddy skin tones. Contrast has a tendency to get a little hot throughout the film, causing black levels to occasionally crush shadow detail and giving certain colors, like reds and greens, a somewhat overheated appearance. But I should stress that this was never overtly distracting, and never diminished my enjoyment of the film. In general, Contact looks great in its upgrade to Blu-ray, noticeably besting the now-ancient DVD in every area. While some of the digital composite shots are soft by modern standards, most of the film shows an excellent sense of presence and clarity for its age, with fine texture apparent in facial detail and the weft of cloth. Plus, the print itself is quite clean, with only a few scattered white specks and the rare instance of contrast wavering. Eagle-eyed videophiles may find some nits to pick, but overall, this release of Contact is largely true to source.
Less controversial is Contact's able but not always willing Dolby TrueHD 5.1 surround track, which pumps out some satisfying sound when the film really calls for it, but seems surprisingly vacant at other times. The film's audio showpiece is the frenetic wormhole sequence, which opens with the circular rotors of the machine sweeping through the rear channels in a kind of slow strobing effect accompanied by rumbling LFE resonance. Aside from this brilliant bit of sound design, there are few discrete, cross-channel effects in the track, and the rear speakers don't get much play. There's some crowd chatter and environmental ambience on occasion, but during certain scenes—like a massive rainstorm—the surround channels never come to life like you might expect. Still, the mix aptly conveys the drama of the film, utilizing a solid dynamic range and prioritizing both dialogue and Alan Silvestri's fantastic score, which is full of rich but understated cues that support rather than overwhelm. Contact has one or two eargasm-inducing moments, but expect a mostly quiet, dialogue-driven experience.
Commentary Tracks
Owners of Contact's DVD release will recognize these commentary tracks—and, indeed,
the rest of the special features—but if you've never had the film on home video, you won't be
disappointed here. First up is a fantastic solo track by Jodie Foster, who weaves complex character
and story analysis with on-set anecdotes and ultra-intelligent thematic discussion. She's very
soft-spoken throughout, but with warmth and insight, Foster's track is, for my money, the
highlight of the supplementary features. Next, director Robert Zemeckis and producer Steve
Starkey offer a solid mix of technical and production design details and their own thoughts about
the film's message. Visual effects supervisors Ken Ralston and Stephen Rosenbaum wrap things
up, naturally, with a track focused on the many CGI composite shots in the film. I wasn't too
engaged by the last track, but the commentaries by Zemeckis and Foster are essential listening
for fans.
"Making Of" Featurettes
In The Making of the Opening Shot (SD, 20:02), Ken Ralston and Stephen Rosenbaum
guide us through the process of building the epic CGI pullback shot that starts the film, from
reference photos and wire-frame animatics, to light shading, choreography, and layering. At
twenty minutes and featuring a lot of repetitive imagery, the feature runs a little long, especially
considering how simple the shot seems by "modern" standards. The most interesting bit is at the
very end, when a string of statistics shows various technical facts about the opening shot, like
how many computer hours it took to complete (117,384.16), how many gigs of disc space it
consumed (184.3), and how many individual pixels were used during the sequence (13,396,
973,280).
Likewise, in The Making of the NASA Machine Destruction (SD, 5:52) and The Making
of the Harrier Landing (SD, 8:55), Ralston and Rosenbaum dissect the sequences layer by
layer and show us all the individual elements used to make the shots look convincing.
High Speed Compositing Reel (SD, 6:08)
In this segment, Ralston and Rosenberg explain high-speed compositing—the use of mattes to
layer photographic or CGI elements—and show us several examples from the film.
Machine Fly By, Hadden's Plane, and NASA Control Room (SD, 2:21 total)
Here, 3-D computer graphics artist Tim Wilcox gives us a brief look at the CGI geometry used for
previsualization on certain scenes. I'm not sure why all three of these segments couldn't have
been combined into one.
5.1 Music-Only Track
This feature allows you to watch the entire film sans sound effects and dialogue, putting Alan
Silvestri's excellent score in the forefront. Do note that the music is presented by way of a lossy
Dolby Digital 5.1 encode.
Trailers (SD, 1:32 and 2:28)
As it examines the slim, Venn diagram-style overlap between science and religion, and prompts us to look to the sky in wonder, Contact is, in my view, one of the better sci-fi films of the 1990s. Fans will be glad to see that the movie has received a decent treatment on Blu-ray, and I do encourage everyone to listen to Jodie Foster's excellent audio commentary. Recommended, with no reservations.
1984
2016
Special Edition
1951
2019
1968
2008
2007
Limited Edition / Reprint
1997
2008-2013
40th Anniversary Edition
1977
1996
Includes "The Invisible Boy" on SD
1956
2018
2000
The George Lucas Director's Cut
1971
1965
1998
2015
10th Anniversary Edition
2009
1971