Update 4k Films Review – Los Angeles in the year 2154: The earth is a neglected and dirty pile of rubble that has finally been left to fend for itself. The population literally lives on earth. Those who could pay fled in time and turned their backs on the earth. They live in space inside a giant space station with its own biosphere and from there they control the people of their ancient homeland. If an illegal ship manages to land in the “Elysium”, Minister Delacourt ensures that the refugees are quickly deported or even “eliminated”. The simple Max Da Costa, who has always been an idiot, is still serving the suspended sentence for old crimes. Although he has always dreamed of going to the Elysium, right now he prefers to be alone, so he does his daily work in a robot factory. There one day he suffers a serious radioactive accident, which reduces his remaining life to five days. However, Elysium’s medical facilities could save him. However, to get there, he must once again join forces with his fellow former criminals, and in return they demand the near impossible …
South African born Neill Blomkamp caught Peter Jackson’s attention in 2005 when the New Zealander was watching some of Blomkamp’s shorts. The result of this connection should be the realization of the film adaptation of the video game
Update 4k Films Review
Directed by Blomkamp and producing by Jackson. But it didn’t come to that. Production proved to be too complicated and expensive. Instead, Jackson produced the full-length version of Blomkamp’s short film, Alive in Joburg, which was released as District 9. The sci-fi actor with strong socio-critical aspects turned into an independent hit and even scored several Oscar nomination. No wonder he was later entrusted with more money. In 2011, Sony Pictures was so excited about the concept art for Blomkamp’s new project that they wanted to raise $ 115 million in funding. The director, who now resides in Vancouver, went to work accordingly, garnering good old acquaintances from the production of
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(besides Sharlto Copley as an actor there are also numerous people on the production team) and he made parts of Elysium in a poor suburb of Mexico City and parts (those scenes that portray Elysium) in Vancouver. The finished film became a stark contrast between utopia and dystopia. The gap between rich and poor here has definitely opened and for Blomkamp it was NOT a science fiction film. Instead, he said it was a dramatized version of the “here and now” (source).
. Elysium is not only about racism and migration, but also more global issues such as overpopulation or injustices in the field of health or justice. The class struggle motif serves as the central superstructure for a sci-fi film that behaves in a decidedly ambivalent way. On the one hand, a film that wants to convey an unmistakable message, on the other hand it uses the conservative structure of many peers of the genre. Within this field of tension unfolds a predictable but always extremely entertaining and visually stunning contribution to the SciFi genre. The great animatronics and visual effects add to the fascinating optics of the film: already at the debut of Blomkamp, the mechanical androids were animated / rendered sensationally, and here too the tricks work very well, which are mostly played to the maximum of brilliance. Of course, gimmicks alone don’t make a movie; you also need some credible actors: Matt Damon, who, who would have thought, built huge muscles for the film, fits in well with the bald character of the film. reluctant rebel. His sarcasm not only helps to relax Elysium with humor at times, but also allows for identification with his character. It’s funny that he was “only” the third choice for the role, after a South African rapper first and Eminem second. Sharlto Copley undergoes a glaring change of character, from insecure Wikus Van De Merwe to lack of self-confidence
Changed into the taciturn mercenary of the rich of the Elysée. Not only can Jodie Foster show off her impressive calves again, but as an intriguing minister, she is as cold and mean as ever. Perhaps the conflict created by her character within Elysium could have been addressed further, but in the end it is a pretty high level of criticism.
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K/blu Ray Review:
The digitally shot Elysium is optically divided into two areas: the dirty earth is dominated mainly by brown tones. Only a few bright colors offer variety. The generally very bright image reinforces the dusty and inhospitable atmosphere. Resolution is particularly excellent in close-ups, which is seen very well in Damon’s short haircut. In long shots with visual effect backgrounds, the image may still show a little more depth of detail. Scenes taking place on the space station thrive on their high-contrast colors, which represent the exact opposite of monochromatic design on Earth. Deep black, crisp blue, and rather juicy green populate the rich belt off the earth. Sharpness is also very good. Aside from the short, somewhat blurry scenes caused by using the steadycam at 47’22 (perhaps deliberately), this is still an absolutely superior picture – and Blu-ray was released seven years ago, even more so.
Elysium features an uncompressed HD dts master track that really alarms in the intro as soon as the destroyed houses can be seen. Just before the passage to the space station there is a nice sweep and while the camera is panning past the Elysium there is another low bass. In addition, film music is always very spatial and always sets dynamic accents. The German synchronicity is perhaps a bit muted, so what Max and the other actors say always risks getting lost in the confusion. The surrounding landscape is excellent throughout. What’s happening in the hallways when Max gets to work is really fantastic from a spatial point of view. Whistles, loudspeaker announcements or hydraulic machines can be heard everywhere. As if you were in the middle, you watch and hear how robots are screwed. When the shuttles depart, they make a space crash through the orbit and, if fired, the bullets whistle in the ears (starting at 4pm). I love the action sequence during the first meeting between Max and Agent Kruger. The robot that disassembles in slow motion also tears correctly, but is then completed by the shots that are then fired in super slow motion. It’s also clear here that (surprise 🙂 the German sound not only levels higher, behaves a bit more bulky and has more bass power than its English counterpart. Sure, it’s nice that subtle cues like birdsong in Elysium are reproduced in space and atmosphere like rich battle sequences.
Elysium was shot entirely digitally in 2013 with the then-current Red Epics. The 5K resolution of the camera is used in anamorphic mode with 3296 x 2700 pixels. In addition to the Red Epics, the Canon EOS 5D MKII were also used to achieve super slow motion (similar to the Matrix effects). A total of 23 Canons were used, but they worked “only” with a resolution of 1920 x 1080p. However, a 4K-DI was used here, which allows the film to become a native 4K work FAST for extended periods, as the Reds “only” shot anamorphic at 3.3K. However, 3.3K is enough, and the move to 4K-DI wasn’t too far off. An expanded color space as part of Rec. 2020 and the contrast dynamics according to static HDR10 also speak in favor of the image. The latter ensures surprising values of maximum brightness of 2594 nits and maximum average brightness of 1698 if read through the Panasonic reader. And indeed: Elysium’s UHD-BD thrives on its dynamic HDR. Hardly any records in recent months have offered such impressive contrasting dynamics as this one. Even in normal mixed light without big dynamic jumps, the 4K disc lifts an image veil, which is present compared to the BD. Wide shots of the slums on earth also benefit, where they no longer look so confusing. Blacks are visibly sharper and bright areas appear brighter throughout. Once the night falls on the action, highlights like light sources at 30′02 or 57′43 are shown with much more force and significantly more color difference. The skylights in the factory building are also sharper (10’55) and the glass never fades to black or glows white. This is what HDR should be like. Thus and not otherwise. So you can easily overlook the fact that A LOT more resolution isn’t possible. Although the depth details are a little sharper and the wrinkles on the faces are a little more three-dimensional (also due to the dynamics of the contrast), a gigantic advantage in terms of resolution cannot be seen here, which in turn shows. how well the BD had already been fixed. . But let’s get back to the HDR effect. In the numerous scenes where Earth is seen filmed beyond the Elysée, the blue planet is a much brighter and more intense blue. Here too it appears that the gray fog has been removed from the BD image. Skin tones also appear visibly more natural in well-lit scenes with less (relatively) unhealthy yellow components.
Blu-ray (11’59): (Swipe right): The
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