7.2 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
Set against an overwhelming desert landscape, Felix (Michael Lake, Fortress) and Betty Crabtree (Rhys Davis, Dead End Drive-In) are eccentric siblings living together in an isolated homestead in a post-apocalyptic era. Modern technology is absent, with wheels and gears operating a variety of broken devices to assist their struggle to survive. When they encounter a wandering stranger named Smith (Norman Boyd), their simple lives become tumultuous as the wheelchair-bound Felix dreams of flying and Betty believes their new arrival to be a demonic presence - the characters all yearning for escape but seemingly do not know how.
Starring: Michael Lake (I), Melissa Davis (I), Norman BoydSci-Fi | Insignificant |
Adventure | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.32:1
Original aspect ratio: 1.33:1
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region free
Movie | 3.0 | |
Video | 4.5 | |
Audio | 4.0 | |
Extras | 2.5 | |
Overall | 3.0 |
Alex Proyas is certainly some kind of visionary, though some curmudgeons may allege that Proyas’ “visions” are closer to hallucinations. There’s a psychedelic quality that runs rampant through at least parts of all of Proyas’ films, a not very large assortment of titles that includes The Crow, Dark City, Garage Days, I, Robot, Knowing and Gods of Egypt. Proyas has often been accused of favoring style over substance, and that may indeed occur to some watching Proyas’ lesser known debut feature, Spirits of the Air, Gremlins of the Clouds. This is yet another “Aussie-pocalypse” entry, a kind of odd subgenre with survivors attempting to perservere in the sometimes harsh environment of Down Under which includes such disparate films as On the Beach. Mad Max. Tank Girl. The Rover and These Final Hours.
Spirits of the Air, Gremlins of the Clouds is presented on Blu-ray courtesy of Umbrella Entertainment with an AVC encoded 1080p transfer in
1.32:1. Umbrella (and Proyas himself) tout this as a new 2K scan of the film's original 16mm negative, and, as mentioned above on several occasions,
this is often an extremely striking looking film. As Proyas gets into in his commentary, a very distinct and distinctive palette was chosen, along with a
strategy to shoot perpendicular to light sources, something that Proyas avers tips things toward red hues. One way or the other, the film's warmer
tones, be they red, orange or even amber, pop extremely well here, and some of the differentiation between this end of the spectrum and things like
bright blue skies look great for the most part here. There are some fairly wide variances in clarity, especially with regard to some of the dimly lit
interior shots (see screenshot 19). There are also occasional and transitory issues with grain resolution, which can become chunky and pixellated out
of nowhere for a second or two, and then return to a more organic appearance, without any edits in between the variations (screenshot 16 is one such
moment, and there are seconds before and after this moment with the same camera setup where the grain looks quite a bit better than this does).
There's still a bit of noticeable wobble during the opening credits, but no real issues with any kind of image stability during the course of the film.
Note: While Umbrella Entertainment services Region B, this is a Region Free release which played perfectly fine on my Region A players and
in my PC drive.
Spirits of the Air, Gremlins of the Clouds features DTS-HD Master Audio 5.1 and 2.0 tracks. The surround track arguably gets most of its activity from the sweeping pad sounds of Peter Miller's score. The score has evidently been embraced by a coterie of fans, but I personally found it a bit overwhelming on several occasions. There are also at least intermittent placement of ambient environmental sounds, especially with regard to some of the wind that blows through the environment. Dialogue is rendered cleanly and clearly throughout the presentation.
Spirits of the Air, Gremlins of the Clouds doesn't really have the ingenuity of Dark City, nor does it frankly have the general visual audacity of many of Proyas' later films, but considering what must have been a paltry budget, there is style in abundance here. Whether there's much if any substance will probably be debatable, but if you're going to see only one "Aussie-pocalypse" film featuring an attempt to build a "flying machine", this is probably your best bet. Technical merits are first rate and the supplements are quite enjoyable. Recommended.
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