Close-in shots of vehicles and weapons showcase plenty of wear and small nuanced details, like lettering on a gun or dust and scratches on a motor vehicle. Though digitally sourced, the image often passes for film quality. The one constant, however, is why. The same holds true in many scenes for the characters as they struggle to determine friend or foe. The divisive filmmaker known for his flashy popcorn blockbusters has finally made a movie that goes beyond raw entertainment value, crafting a picture of substance and authenticity centered around one of the defining moments in modern American history and global politics. This review is based on playback via an 11.
For more about 13 Hours: The Secret Soldiers of Benghazi and the 13 Hours: The Secret Soldiers of Benghazi Blu-ray release, see published by Martin Liebman on June 2, 2016 where this Blu-ray release scored 4. Rough, war-torn textures dazzle with tangible complexity, shredded with bullets or torn by explosions. It oozes a sense of place and time down to the finest details across the board, from local flavor to combat gear. Mortar rounds and rocket propelled grenades also zip and zoom through the stage. Close-ups never struggle to showcase every strand of facial hair, each pore, beads of sweat, and accumulated blood and grime. Wickland is able to escape but loses both Stevens and Smith.
It's no doubt destined to be remembered as one of the modern warfare classics for its impressive technical merits but, more importantly, reproduction of a proud but, at the same time, damning moment in modern history. The color palette pushes rather hot in the signature. He manages to draw the audience into every scene. It's all underscored by the movie's simple but compelling demonstration of humanity that depicts several key characters communicating with their loved ones back home, and as the night wears on and the raw emotions slowly rise to the surface. That night, a group of Islamist militants from Ansar al-Sharia assault the compound. Silva and Woods go into the building to try to find Stevens and Smith, but are only able to find Smith who has died from smoke inhalation. Michael Bay's biggest challenge in 13 Hours is keeping the audience engaged even considering the predetermined outcome.
The track is amazingly full and very finely detailed. Above all of that, however, it's an honest tribute to those who lived and died. That frustration is tangible and paramount to the story, and Bay's ability to weave that frustration so deeply into the already frenzied narrative only helps solidify the movie's mission of recreating the night in all of its physical and mental anguish alike. Paramount's Blu-ray release of 13 Hours: The Secret Soldiers of Benghazi delivers superb video, refined and engaging audio, and a solid supplemental content package. This is Michael Bay at his most balanced, in a way a stretch for the filmmaker who is up to the challenge of stepping beyond his comfort zone, who shows a capability to make thematically substantial, and not just sight-and-sound, cinema.
. You can also get an instant mobile notification with our iPhone- or Android app. As the remainder of the team wait at the airstrip with the bodies of Stevens, Smith, Woods and Doherty, they reflect on the events that happened and how they will most likely receive no recognition for defending the Annex as they were off the books. The film was released on January 15, 2016, by Paramount Pictures. This is a gorgeous presentation from Paramount. The film stars James Badge Dale, John Krasinski, Max Martini, Toby Stephens, Pablo Schreiber, David Denman, Dominic Fumusa, Freddie Stroma, and Alexia Barlier.
Over-saturation is key to the film's artistic style, and the Blu-ray captures that styling with as much intensity as it can muster. The team from the compound also follow suit, but after Wickland goes the wrong direction, they are followed back to the Annex. Even well manicured green lawns seems significantly more punchy and bold. Ambient effects are nicely positioned and integrated, whether chatter and public address announcements at an airport that seem to saturate the stage or minor exterior atmospherics that help set the stage in the movie's sonically calmer first act. The image is prone to display some source noise, but banding, aliasing, macroblocking, and other eyesores are non-factors.
Details are razor sharp and intimate. There's an almost frightening level of authenticity to the track. On the other hand, it diminishes some of the work the film previously accomplished with its characterizations. Gunfire tears through the stage with remarkable vigor and definition. The movie's sense of combat authenticity rivals all of the best of its kind. Based on the book of the same name by Mitchell Zuckoff and doing its best to tell the truest story it can from the events of that , Bay's picture is a tribute to the men who fought and died there, a testament to the power of wartime filmmaking, and a mostly tonally impressive experience that engages the individual mind and the world scene alike.
The United States, however, still has a diplomatic compound not an official embassy open in the city. Billed as being based on a true story, the film follows six members of a security team who fight to defend the American diplomatic compound in Benghazi, Libya after waves of terrorist attacks on September 11, 2012. Maneuverability around the listening area, complimented by a balanced but never intrusive overhead presence, recreates the battles with amazing authenticity. The one area where the movie stumbles, however, is in how it draws its characters. Arriving at the Annex, Da Silva is introduced to the rest of the team and the chief Costabile , who constantly gives the team strict reminders to never engage the citizens to avoid conflict with local militants in the area. As one would expect, production values soar.
It's extraordinarily well done, defined by several signature Bay elements that remain, such as the quick cuts, a hot canvas, and occasionally over-stylized action scenes. Flesh tones hit an orange shading. Clarity is excellent and placement holds tight in the front-center location. In that way, Bay manages to recreate a frenzied chaos. Black levels -- largely nighttime exterior backdrops -- hold deep and accurate. Lesser, but no less important, support details also impress. This is also a very strong textural image.
Christopher Stevens Letscher arrives in Benghazi to maintain diplomatic connections amidst the political and social chaos. Many, if not most, in the audience know the names and the fates of several characters coming into the movie, but 13 Hours isn't so much about narrative details as it is rather sharing the experience, demonstrating it in tangible clarity, and highlighting the messy details of both the firefights and the underlying social and political underpinnings that defined the event. The different sonic signatures of different weapons -- from. He doesn't quite shy completely away from his signature flash -- he can't help himself, at times, and during the final assault on the compound near film's end in particular -- but he's crafted, within the core of his basic parameters, an engaging, effective venture in which his style is complimentary to the movie rather than a movie that's a slave to it. One grand prize winner will also receive an autographed poster.