Anomaly, The

WSR Score3.5
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Anchor Bay Entertainment
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Not Rated
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Noel Clarke
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Dolby TrueHD 5.1
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Ryan Reeve (Clarke) has a problem. After successfully escaping from his kidnappers, he is trying to uncover why some people want him dead. Traumatized ex-soldier Reeve wakes up in the back of a moving van alongside a young boy (Parkinson) held prisoner. But after helping the boy escape, he comes to the terrifying conclusion that he's the kidnapper. Even more startling, five years have passed since he was last awake. Ryan soon learns that he's caught up in a futuristic conspiracy known as The Anomaly. Ryan's only connection with reality is the dogged pursuit of Ryan by the elegant but sinister Harkin Langham (Somerhalder), who—when he's not trying to kill Ryan—explains how to survive his blackouts, lasting exactly 9 minutes and 47 seconds. As he negotiates switching between parallel universes, Ryan teams up with the mysterious “Dana” (Knapp) to start unraveling the life-threatening mystery in which he's the explosive center. With Harkin dogging and thwarting his every turn, Ryan must summon all his will to challenge his programmed destiny and regain his humanity. (Gary Reber)

There are no special features.

The 2.35:1 1080p AVC picture was digitally photographed and exhibits a generally natural color palette but with seemingly muted hues at times, depending on the alternate universe at the moment. As such, the colors shift back and forth between warm and cooler hues, for a stylized effect. Fleshtones are generally appealing, if not perfectly natural. Contrast can be excellent, with deep blacks and revealing shadow delineation. Resolution is excellent, with fine detail exhibited in facial features, hair, clothing, and shadow delineation. The imagery is clean and pristine throughout, for an engaging viewing experience. (Gary Reber)

The Dolby TrueHD 5.1-channel soundtrack is at times strongly aggressive in the surround department and deep bass extension in the .1 LFE channel. Atmospherics and sound effects such as gunshots, punches, and even screaming penetrates the soundfield. The sonic are dynamo against a focus on dialogue, which is nicely integrated spatially. The music score is synthesized and quite effective in energizing the action sequences. The soundfield is often holosonic®, with an emphasis on atmospherics. (Gary Reber)