Hush 4K Blu-ray Movie

Rating summary

Movie		4.0
Video		5.0
Audio		5.0
Extras		5.0
Overall		5.0

Hush 4K Blu-ray Movie Review

Reviewed by Dr. Stephen Larson February 6, 2025

Filmmakers this century have often been attracted to narratives centered on a small number of characters residing in a cabin or cottage where they are secluded from the outside world. I think their fascination derives from the question: "Who or what may be lurking in the wilderness?" This hypothetical scenario (or ones like it) is unsurprisingly common in horror cinema in films such as Cabin Fever (2002), Wrong Turn (2003), The Dark Hours (2005), Hatchet (2006), House (2008), I Spit on Your Grave (2010), The Cabin in the Woods (2011), Evil Dead (2013), Open Grave (2013), and He's Out There (2018). Director Mike Flanagan's Hush (2016) wrestles with this question, but perhaps in a different way than other films because his characters don't really suspect or anticipate a deadly presence to emerge.

One of the filmmakers' acknowledged influences actually came outside the cabin-in-the-woods subgenre. Co-writer/lead Kate Siegel drew inspiration from Wait Until Dark (1967), which I watched in preparation for this review, when she wrote Hush's screenplay with Flanagan. Both movies feature a female protagonist with an impairment who must deal with an external force. Susy Hendrix (Audrey Hepburn) is blind and lives in the downstairs of an apartment block in Manhattan. She has several unexpected visitors. In Hush, Maddie Young (Kate Siegel) is a deaf-mute novelist dealing with what she calls "writer's brain" in a small rural Alabama home. She lives alone and has one neighbor, who lives nearby with her boyfriend. Both Wait Until Dark and Hush make highly effective use of chiaroscuro lighting. (In the former's case, there's sometimes total darkness.) Perilous cat-and-mouse games play out in each.

Maddie should monitor her phone more closely.

In addition to Wait Until Dark, I was reminded of Halloween (1978), Friday the 13th (1980), those franchises' sequels, and other slasher classics while watching Hush. Like Dean Cundey before him, cinematographer James Kniest utilizes the outer edges of the widescreen frame to full effect. While Hush definitely pays homage to a bevy of slasher films (without deliberately ripping them off), it also subverts and thwarts some standard expectations one has of their common tropes. (And this is coming from someone who has seen many titles in the genre.)

Because Hush has its share of both surprises and suspense thrills, I don't want to detail what those are for those who haven't seen it. In fact, I went into the film knowing very little about the plot or the story. I feel that's the best way to approach Hush if you're seeing it for the first time.

Hush 4K Blu-ray Movie, Video Quality 

Scream Factory's four-disc "Collector's Edition" represents the first physical media release worldwide for Hush, an original Netflix production. Kniest and his crew shot the picture in Panavision using Chapman Leonard cameras. Post-production services for the initial color version and the much later black-and-white version (aka the "Shush Cut") were performed by Light Iron. Corinne Bogdanowicz severed as digital colorist. Scream has put the Original Version and the Shush Cut on separate Ultra HD discs. 1080p presentations of both cuts are included on a BD-50, which comprises Disc Three. Hush was shot in the hours of dusk and late at night. This is a dark film throughout. There's some LED light inside Maddie's home in an early scene but after that, the film's light sources are flashlights and shafts of moonlight. As Flanagan points out in the first commentary track, the drone shots were captured at a different resolution than the rest of the film. The image is very clean and clear (particularly when there is some light) on the color version. I spotted a white speck amidst the pine needles in Screenshot #9.

I concur with Flanagan that the Shush Cut should be watched in the evening. If you look at it during the daylight hours, I would advise having really good room darkeners. Grayscale is excellent on the 4K and regular Blu-ray. Blacks are inky.

The first disc is officially a BD-100 but it's really a BD-66 since the total size it uses makes up 66.8 GB. The video carries an average bitrate of 80.0 Mbps and a total bitrate of 103 Mbps. The second disc occupies 70.9 GB. Its video boasts a mean bitrate of 85.0 Mbps and a total bitrate of 107 Mbps. Both versions on the third disc receive MPEG-4 AVC encodes. The Original Version's video sports an average bitrate of 23999 kbps while the Shush Cut averages 23976 kbps.

Note: Frame grab #s 20, 30, and 40 are Maddie's random photographic memories (in still images).

Screenshot #s 1-10 = 4K Ultra HD Original Version (downscaled to 1080p)
Screenshot #s 11-20 = 4K Ultra HD "Shush Cut" (downscaled to 1080p)
Screenshot #s 21-30 = Standard Blu-ray of Original Version
Screenshot #s 31-40 = Standard Blu-ray of "Shush Cut"

Both versions receive Scream's standard twelve chapter breaks.

Hush 4K Blu-ray Movie, Audio Quality 

Scream has supplied various sound track options for the two versions of Hush on the following discs:

DISC ONE: 4K ULTRA HD — ORIGINAL VERSION
1. Dolby Atmos (average bitrate: 4154 kbps; peak bitrate: 6825 kbps) (Original Version)
2. DTS-HD Master Audio 5.1 Surround (3816 kbps, 24-bit) (Original Version)
3. DTS-HD Master Audio 2.0 Stereo (2013 kbps, 24-bit) (Original Version)
4. DTS-HD Master Audio 5.1 Surround (3644 kbps, 24-bit) (Shush Cut Audio)
5. DTS-HD Master Audio 2.0 Stereo (1998 kbps, 24-bit) (Shush Cut Audio)

DISC TWO: 4K ULTRA HD — "SHUSH CUT"
1. Dolby Atmos (average bitrate: 3927 kbps; peak bitrate: 6693 kbps) (Shush Cut Audio)
2. DTS-HD Master Audio 5.1 Surround (3644 kbps, 24-bit) (Shush Cut Audio)
3. DTS-HD Master Audio 2.0 Stereo (1998 kbps, 24-bit) (Shush Cut Audio)
4. DTS-HD Master Audio 5.1 Surround (3816 kbps, 24-bit) (Original Version)
5. DTS-HD Master Audio 2.0 Stereo (2013 kbps, 24-bit) (Original Version)

DISC THREE: BLU-RAY — ORIGINAL VERSION & "SHUSH CUT"
1. DTS-HD Master Audio 5.1 Surround (3816 kbps, 24-bit) (Original Version)
2. DTS-HD Master Audio 2.0 Stereo (2013 kbps, 24-bit) (Original Version)
3. DTS-HD Master Audio 5.1 Surround (3644 kbps, 24-bit) (Shush Cut Audio)
4. DTS-HD Master Audio 2.0 Stereo (1998 kbps, 24-bit) (Shush Cut Audio)

Hush begins with a sonic boom that continues with birds chirping, insects buzzing, and the natural ambience of rural Fairhope, Alabama (where the film was shot). Dialogue is used sparingly throughout. When it is spoken, it is clear and discernible. There several differences with how sound is used in each cut of the film, which you can discover when you watch both versions and learn more about each mix in the commentaries/interviews.

The Atmos mix makes superb use of the height channels at various points. To my ears, it delivers a wider dispersal of sounds than the 5.1 track, which was probably the mix the filmmakers prepared when Hush was initially completed in post. There are three instances in which an arrow ejected from a crossbow hits something abruptly. No matter how many times you have seen Hush, it will probably always creep up on you if you're sitting by surround speakers.

Bass often rises at a steady rate to coincide with a suspenseful moment or imminent action. There are also sound f/x connected to Maddie's subjectivity (i.e, her mindscape). These include voices she hears in her head and sounds she imagines she could hear if she were not deaf. In one of the commentaries, Siegel explains how some of these sounds were conceived by the re-recording mixers. Some of these sound as if one's ears are under water.

I have listened to the score written by The Newton Brothers several times as heard in the film and on the digital soundtrack album. As the composers explain in the interview on Disc Four, they frequently employed full-blown synthesizers, wind chimes, bells, and glass. (They also wrote music specially for two of the characters.) For action scenes, they layered in metal-like sounds. Their synths remind me of scores Fred Mollin has written for horror. The Newton Brothers' music is often subtly interwoven with the rest of the sound design.

Scream has delivered two sets of subtitle tracks for the two cuts of the film. The first are auto-generated subs for ASL. (See Screenshot #10.) They automatically pop up. The optional English SDH deliver a complete and accurate transcription of spoken words and sound f/x.

Hush 4K Blu-ray Movie, Special Features and Extras 

All bonus materials were recently produced by Justin Beahm's Reverend Entertainment company for this release. They include behind-the-scenes footage from Hush's on-location shoot.

DISC ONE: 4K ULTRA HD — ORIGINAL VERSION (1:21:46; 2160p)

• Audio Commentary with Mike Flanagan, Actor & Co-Writer Kate Siegel, and Actors Samantha Sloyan, John Gallagher, Jr., and Michael Trucco - this feature-length track marks a reunion for the director and his lead with the film's other co-star and its supporting actors. Indeed, all are together again for the first time since Hush wrapped eight years earlier. The commentary is filled with stories and anecdotes about the film's shoot. Occasionally, the talk is not screen specific. For example, when one or more discuss off-set happenings (e.g., meetings, dinners, hotel chats, et al.) There's a palpable sense of camaraderie amongst the group. (The director and his cast often guffaw.) There are no gaps. All participants speak in English, not subtitled.

DISC TWO: 4K ULTRA HD — "SHUSH CUT" (1:21:46; 2160p)

• Play with Intro (3:59, 1080p) - a video intro with Flanagan and Siegel. The former explains the preliminary conception for the black-and-white version he wanted. Flanagan also talks a little about the sound mix recently done for the Shush Cut. In English, not subtitled.

• Audio Commentary with Mike Flanagan and Kate Siegel - While the group commentary is a terrific track in its own right, this is an arguably better track because it's more tightly focused and covers more topics in depth. Flanagan and Siegel offer more details about Hush's pre-production than they do in their interviews. When they frequently comment on the onscreen action, they transition well while one scene moves into the next. In English, not subtitled.

DISC THREE: BLU-RAY — ORIGINAL VERSION (1:21:46; 1080p) & "SHUSH CUT" (1:21:46; 1080p)

• Audio Commentary with Mike Flanagan, Actor & Co-Writer Kate Siegel, and Actors Samantha Sloyan, John Gallagher, Jr., and Michael Trucco (Original Version) - this is an identical track from Disc One.

• Play with Intro (3:59, 1080p) - a video intro with Flanagan and Siegel. The former explains the preliminary conception for the black-and-white version he wanted. Flanagan also talks a little about the sound mix recently done for the Shush Cut. This can only be accessed via the Shush Cut menu. In English, not subtitled.

• Audio Commentary with Mike Flanagan and Kate Siegel ("Shush Cut") - Scream has ported over the same track from Disc Two.

DISC FOUR: BLU-RAY — SPECIAL FEATURES

• Feature-Length Picture-in-Picture Video Commentary with Mike Flanagan, Kate Siegel, Samantha Sloyan, John Gallagher, Jr., and Michael Trucco (Original Version) - the remarks spoken on the PiP track are a facsimile of the contents on the audio commentary appearing on Discs One and Three. The main difference here is that the viewer can see Flanagan, Siegel, Gallagher, Sloyan, and Trucco watch and comment on Hush. (Three are seated in front while two sit in back.) A 1.78:1 anamorphic widescreen image is shown of them. A miniaturized version of the movie is placed in the upper right of the screen. All participants speak in English, not subtitled.

• The Dance Macabre: Mike Flanagan on Hush (28:12, 1080p) - the director offers a nice autobiography of his early interest in film. Home movie footage of Flanagan as a youngster acting with friends, who reenact scenes from a popular Hollywood film, is shown. Flanagan provides a detailed overview of Hush's inception (including some unforgettable moments for the venue chosen to write the script), the house the crew filmed inside and out, and challenges the grips and gaffers encountered when lighting it. Since Hush was previously available on only one platform, he savored the experience of seeing the picture in a theater with a live audience during a test screening. This interview covers a lot of ground in less than a half hour. In English, not subtitled.

• To Stand Alone: Kate Siegel on Hush (19:46, 1080p) - Siegel fondly recalls a dinner date with Flanagan in which the couple discussed several ideas that later germinated in the script and eventual production of Hush. The actress describes Maddie's moods throughout the film, Gallagher's acting qualities, the house where Hush was filmed, performing stunts, Flanagan as a filmmaker, his directing methods, and the "Shush Cut." In English, not subtitled.

• The Constant Reader: Actress Samantha Sloyan on Hush (5:16, 1080p) - Sloyan explains how her friendship with Siegel helped get her a role in Hush. Also, Sloyan describes her admiration for The Texas Chain Saw Massacre (1974), relations between Sarah and Maddie, and her scenes in Hush. In English, not subtitled.

• The Shape of Silence: John Gallagher Jr. on Hush (18:52, 1080p) - Gallagher reflects on where he was in his acting career just before reading the script for Hush, his early correspondence with Flanagan, how he approached his character, ambiguities of "The Man," working with stunt choreographer Chuck Borden, prep process, his character's garment, and handling props. In English, not subtitled.

• Silent Witness: Actor Michael Trucco on Hush (9:12, 1080p) - Trucco recalls how he was approached to sign on to Hush. He also describes his character of John Stanley, the choreography of his scenes, how he and the filmmakers determined John's movement, and how he carried out his scenes. In addition, Trucco remembers details from a home viewing party of the film. In English, not subtitled.

• One Good Scare: Producer Trevor Macy on Hush (7:38, 1080p) - Macy delivers an overview of how Hush was developed and how Flanagan envisioned it. Macy goes over the production's logistics, schedule, budget, and audio mix in post. He also offers his thoughts on the "Shush Cut." In English, not subtitled.

• Violent Strains: Composers The Newton Brothers on Hush (10:14, 1080p) - co-composers John Grush and Taylor Stewart talk about their initial collaboration with Flanagan on Oculus (2013), their early conversations with the director about tone and style for Hush, musical choices for the movie's setting and its characters, and the instrumentation they employed for the score. They also delve into how musical cues were selected for different points in the film, where sound f/x was more appropriate to have than musical accompaniment, and their process for scoring films (coupled with the overall sound design) in general. Grush and Stewart each speak in English, not subtitled.

• One Terrible Night: Cinematographer James Kniest on Hush (7:46, 1080p) - Kniest briefly goes into how he got involved in Hush, the conditions for filming the picture in Alabama, how his camera crew (mainly Thomas Valko) used Steadicam, what it was like to shoot at night, and how individual scenes were set up. In English, not subtitled.

Hush 4K Blu-ray Movie, Overall Score and Recommendation 

Hush is a chilling low-budget horror thriller whose two versions merit repeat viewings. Each object in the frame serves a narrative purpose at some point over the course of the film. There is no wasted space. My only quibble is that Maddie makes two questionable choices that are inconsistent with other, better choices she makes, which are also sounder in judgment. Also, this is more of a personal preference: I would have liked to have seen more of the mask, which I loved.

Hush has finally received a physical media release, and the two UHDs/two Blu-rays produced by Scream Factory deliver a lot of goods. The movie looks terrific in both color and black and white. The audio is deep and pulsating on the Atmos and 5.1 mixes. The authoring and encoding on the four discs are top notch. While content overlaps on the commentaries and interviews, it also complements and expands certain points so it never sounds redundant. This is the total package. MY HIGHEST RECOMMENDATION.