Tetro

In "Tetro," fresh-faced and naive, 17-year-old Bennie (Ehrenreich) arrives in Buenos Aires to search for his older brother who has been missing for more than a decade. The family had emigrated from Italy to Argentina, but with the great musical success of their father Carlo (Brandauer), an acclaimed symphony conductor, the family moved from Argentina to New York. When Bennie finds his brother, the volatile and melancholy poet Tetro (Gallo), he is not at all what he expected. In the course of Bennie's stay with Tetro and his girlfriend Miranda (Verdu), the two brothers grapple with the haunting experience of their shared past. (Gary Reber)

Special features include commentary by Francis Ford Coppola and Alden Ehrenreich, "The Ballet" featurette (HD 08:06), "The Cinematography Of Tetro" by Mihai Malaimare, Jr., (HD 08:30), "The Rehearsal Process" (HD 08:33), "Music Born From The Film" by Osvaldo Golijov (HD 09:16), "Siempre Fui Loco (I've Always Been Crazy)" by La Colifata (HD 05:47), "Fausta: A Drama In Verse" (HD 04:34), and up-front previews.

The 1080p AVC picture is fantastic! The prominent black-and-white sequences are stunning, with a richly depicted gray scale that is well balanced. Occasional flashbacks are rendered in color, with warm and rich hues that appear perfectly natural. The color sequences retain the same picture height as the anamorphic 2.39:1 aspect ratio but framed in 1.85:1 or 1.33:1, and even 2.39:1. This switch to color sequences and back is dramatic visually in this regard. An accurate display with excellent contrast ratio and the capability to display deep, solid blacks is essential for this cinematic effect to be optimized. The cinematography is wonderful as well, with dramatic lighting and contrast. Resolution is excellent and revealing of fine facial features and object textures. This is a beautiful picture with reference visual quality that is sure to engage the visual senses. (Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is nicely recorded and presented with, at times, directional dialogue. The dialogue is always perfectly intelligible and nicely integrated spatially within each scene. Some scenes that lend themselves perfectly to an aggressive surround presence simply collapse to monaural. Other scenes sound effectively enveloping, with a range of atmospheric sound effects and subtle-to-dramatic effects directionalized in the surrounds. The music score is well recorded with a wide and deep soundstage and revealing instrument timbres. The fidelity is excellent. At times the .1 LFE channel is aggressively employed with deep low-frequency effects. This is a well-produced soundtrack with a quiet presence, and while the surround presence is to be desired, the overall effect works well to enhance and support the storytelling. (Gary Reber)