Review by Leonard Norwitz
Studio:
Theatrical: Dark Castle
Blu-ray: Warner Home Video
Disc:
Region: FREE!
(as verified by the
Momitsu region FREE Blu-ray player)
Runtime: 2:02:49.153
Disc Size: 22,927,722,735 bytes
Feature Size: 20,184,317,952 bytes
Video Bitrate: 20.98 Mbps
Chapters: 23
Case: Standard Blu-ray case with slipcase
Release date: January 19th, 2010
Video:
Aspect ratio: 2.35:1
Resolution: 1080p / 23.976 fps
Video codec: VC-1 Video
Audio:
Dolby TrueHD Audio English 1587 kbps 5.1 / 48 kHz / 1587
kbps / 16-bit (AC3
Core: 5.1 / 48 kHz / 640 kbps)
Dolby Digital Audio French 640 kbps 5.1 / 48 kHz / 640 kbps
Dolby Digital Audio Spanish 640 kbps 5.1 / 48 kHz / 640 kbps
Subtitles:
English (SDH), English,
French, Spanish,
none
Extras:
• The Coldest Thriller Ever Story – in HD (12:02)
• Whiteout: From Page to Screen – in HD (12:05)
• Additional Scenes – in SD (4:14)
• Digital Copy Disc
The Film:
5
I was a bit surprised when I learned that Whiteout derives
from a graphic novel about a series of homicides in
Antarctica, a place noted for its unusually low crime rate –
not that comics require superheroes or stomach-turning
horror, and not that the movie version has either. In the
Bonus Feature "Whiteout: From Page to Screen" we can see how
the black and white drawings made the transition to the
monochromatic images of the Antarctic. The thing is (said
John Carpenter when faced with his remake): you still have
to come up with a screenplay, and that's where Whiteout
brings to mind the correction liquid that bears its name.
From its cliché-ridden script, to its ill-advised dependence
on a singe flashback, to its leaps of investigatory logic,
Whiteout fails to keep our attention. Perhaps I've just been
watching too many criminal investigation television shows,
but how U.S. Marshall Carrie Stetko derives her conclusions
based on the evidence at hand wouldn't pass muster for the
average TV viewer these days. And while I acknowledge the
ferocity of the "whiteout" pursuits, somehow I couldn't
allow for the perpetrator to be in so many places so
conveniently, and without being noticed.
Kate Beckinsale has exchanged her spandex and leather
(Underworld and Van Helsing) for a fur coat here, but for an
intelligent actress she still hasn't found a vehicle to suit
her talents promised in A&E's 1996 television rendering of
Jane Austen's Emma, not that she needs to go all English
literary on us again (Kate was also Hero to Robert Sean
Leonard's Claudio in Kenneth Branagh's Much Ado About
Nothing and Flora in the BBC's Cold Comfort Farm.) In a way
her beauty and sex appeal works against her since it is too
often expected– as it is here - that she be seen in her
skin. It doesn't do anything for this movie, however.
Image:
6/8
NOTE:
The below
Blu-ray
captures were taken directly from the
Blu-ray
disc.
The first number indicates a relative level of excellence
compared to other Blu-ray video discs on a ten-point scale.
The second number places this image along the full range of
DVD and Blu-ray discs.
I can understand how filming in subzero temperatures (ha!)
must take its toll on the equipment and make for the
possibility of scene to scene inconsistency, so I can't
fault the transfer for its general lack of sharpness and
resolution. There are a couple of indoor shots of remarkable
clarity and natural color that leap off the screen almost
out of context, but more often textures lack detail. but the
outdoor shots, whether in still air or blasting wind, are
bathed in a ice-blue light that drops our body temperature
down a degree or two just to witness it. I found no
distracting transfer issues, though edge enhancement can be
detected now and then (whatever for?)
CLICK EACH
BLU-RAY
CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION
Audio & Music:
7/7
I don't see how it's possible to obtain realistic audio
tracks in the kind of conditions that the climax of this
movie presumes. So it is only reasonable to assume and
expect that all will be made right in post-production. So
where, I ask, is the surround mix that should immerse us in
a state of near suffocation in 100 mph winds of swirling
snow and ice, or the Antarctic equivalent of an earthquake,
or even the heft of a healthy crash of a cargo plane into
the ice? On the other hand, interiors of various sizes and
shapes are convincingly realized. The dialogue is clear
enough, usually, not that the script made for agreeable
listening.
Operations:
6
I've encountered this evil before: there is no door back to
the main menu from the Extra Features page. Why is that I
wonder?
Extras:
3
Without a commentary track we are left with two
twelve-minute production featurettes: "The Coldest Thriller
Ever" looks at what it was like filming in the Artic Tundra
"braving disintegrating sets, gale-force winds and –65
degree lunch hours." In the other segment, graphic novelist
Greg Rucka and artist Steve Lieber talk about bringing their
novel to the screen – like two kids in a candy store, they
are.
Bottom line:
4
I am sorry to report that the movie is drivel. It's too bad,
really, because Antarctica deserves better, and so does
Kate. The image isn't bad, but it's far from demo-worthy
despite some gorgeous shots of the landscape. The audio mix
is serviceable but hardly does justice to the elements.
Leonard Norwitz
January 10th, 2010