In Star Trek Beyond, the Enterprise crew explores the furthest reaches of uncharted space, where they encounter a mysterious new enema who puts them and everything the Federation stands for to the test. Also available as a 4K Ultra HD version and as part of the Star Trek trilogy Blu-ray Collection. (Gary Reber)
Special features include two deleted scenes (HD 01:02); the featurettes: Beyond The Darkness (HD 10:08), Enterprise Takedown (HD 04:31), Divided And Conquered (HD 08:17), A Warped Sense Of Revenge (HD 05:15), Trekking In The Desert (HD 03:06), Exploring Strange New Worlds (HD 06:02), New Life, New Civilizations (HD 08:04), To Live Long And Prosper (HD 07:51), and For Leonard And Anton (HD 05:04); a gag reel (HD 05:13); and an UltraViolet digital copy.
The 2.38:1 1080p MVC 3D picture was converted by Stereo D, helmed by Stereographer Brian Taber. Warning: this is an extremely dark visual experience, which requires a display system capable of superb black level reproduction and a dark viewing environment. Otherwise, shadow delineation will be washed out, as well as resolution during the dark segments. When optimized, the visuals are dramatically engrossing with good shadow detail. Black levels are deep and solid. Contrast, given the dark nature of numerous scenes, is realistic, with bright highlights providing faint resolution. The movie exhibits a sense of vastness, with spectacular environmental effects and settings. The Enterprise, while intact, appears to float in space, with excellent depth and perspective relative to other ships and planets, whether during her approach to Space Station Yorktown or Planet Nebula. Enterprise interiors are spacious and exhibit convincing depth, as in long corridors or on the bridge. Natural environments are rendered realistically with excellent spatial dimensionality, no matter what the perspective. The Enterprise crew and other characters exhibit excellent volume and weight. The overall picture is pristine, as it was photographed with the Arri Alexa XT digital camera system. Resolution is superb, with fine detail revealed in complex textures, as well as smooth surfaces. Instrument panels on the Enterprise are clearly defined. Textural detail on the planet is also revealing and realistic. Uniforms and various accessories and weapons are nicely defined as well. Fleshtones are naturally hued and detailed, as well as the prosthetics of other creatures. The color palette is also naturally hued with general emphasis on blue and gray hues. While some colors pop, generally the palette is subdued. Overall, while a generally dark movie, the colors are texturally realistic and the 3D rendering is superb, (Gary Reber)
The Dolby TrueHD 7.1-channel soundtrack is the star of this movie, with an intense dynamic holosonic® presence throughout with excellent fidelity. Every channel is energized, especially during intense action scenes. While this is the Dolby Atmos soundtrack, there is a sense of abundant overhead energy. But definitely the ear level dimensionality is a vast soundscape with exciting sonic directionality and motion from channel to channel. Surround energy is powerful throughout all four channels. Deep .1 LFE bass is extremely strong, extending to sub-25 Hz frequencies, and challenge the most capable home theatre system with extremely intense explosions, phaser blasts, destructive debris, and all manner of sonic mayhem. Michael Giacchino's orchestral/choral score is a tour de force in dynamics and instrumental texture. It completely occupies the soundfield with a wide and deep sense of dimension and imaging. All this enhances the intense action scenes, full of atmospherics and sound effects that define the varied soundscapes. The immersion is spectacular!. Dialogue through it all retains incredible intelligibility, naturalness, and good spatial integration. At times the dialogue is directionalized. From the most nuanced to the most bombarded atmospheric and sound effects, this is one of the most exciting holosonic soundtrack experience created. Splendid reference quality throughout. (Gary Reber)