Indiana Jones And The Temple Of Doom 4K Ultra HD

Featured In Issue 260, March/April 2022

WSR Score5
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
Paramount Home Entertainment
(Catalog Number):
(MPAA Rating):
(Rating Reason):
(Retail Price):
(Disc Type):
Single Side, Dual Layer (BD-66)
(Widescreen Edition):
(Full Screen Edition):
(Running Time In Minutes):
(Color Type):
(Chaptered/Scene Access):
(Closed Captioned):
(Regional Coding):
Not Indicated
(Theatrical Year):
(Theatrical Release):
(Direct-To-Video Release):
(Disc Release Date):
(THX® Digitally Mastered):
Steven Spielberg
(Screenplay/Written By):
(Director Of Photography):
(Production Designer):
(Visual Effects):
(Costume Designer):
(Supervising Sound Editors):
(Re-Recording Mixers):
(Executive Producers):
(Academy Awards):
(Principal Photography):
(Theatrical Aspect Ratio):
(Measured Disc Aspect Ratio):
(Disc Soundtrack):
Dolby Atmos, Dolby TrueHD 7.1
(Theatrical Sound):
(Theatrical Re-Issue Soundtrack):
(DTS Bit Rate):
(Dolby Digital Bit Rate):
(Additional Languages):
(French Language):
(Spanish Language):
(Chinese Language):
(Cantonese Language):
(Mandarin Language):
(Japanese Language):
(Italian Language):
(German Language):
(Portuguese Language):

"Indiana Jones And The Temple Of Doom" is the sequel to "Raiders," but was actually a prequel (it was curiously set one year prior to the events in "Raiders"), and finds our favorite archaeologist-adventurer (Harrison Ford) in India on a quest to locate the Sankara stones that were stolen from a village and return enslaved children to their families. (Michael Coate)

The only special features are two trailers.

The 2.35:1 2160p HEVC/H.265 Ultra HD Dolby Vision/HDR10 picture, reviewed on a Sony Bravia Z9D 4K Ultra HD HDR display, was photographed on Eastman film stock in anamorphic Panavision® using the Arriflex 35-III and Panavision Panaflex Gold camera systems and sourced from a 4K master Digital Intermediate format. The previous Blu-ray Disc was impressively remastered and THX® certified from a 2.35:1 4K Ultra HD scan. This restored and 2.35:1 4K Ultra HD presentation preserves its filmic qualities, including a visible grain structure. Still, the picture exhibits excellent textural clarity and sharpness. The opening scene in Club Obi Wan is spectacular with rich and vibrant colors exhibited. Hue shadings are nuanced. The jungles of India are lush and green, while reds and golds abound in the Pankot Palace. Fleshtones are perfectly hued throughout. HDR contrast is excellent, with black levels that exhibit depth and detail even in low-light underground areas seen throughout. White levels are perfectly intensely brilliant. Shadow delineation is superb. Resolution reveals intricate details of production design, whether inside Pankot Palace or the darkened depths of the underground temple. Facial features are nicely resolved as well as clothing, especially during close-ups. This is such a gorgeous film and the best that "The Temple Of Doom" has ever looked. Viewing in a completely blackened room is recommended for optimum appreciation. (Gary Reber)

The Dolby Atmos/Dolby HD 7.1-channel soundtrack is stellar in sonic performance. Prior to this edition, the previous Blu-ray Disc presented a repurposed THX-certified DTS-HD Master Audio™ 5.1-channel soundtrack that fully involved the listener throughout with an impressive and engaging soundstage presence. This new Dolby Atmos edition is an exciting upgrade. Atmospheric effects impart a notably panoramic presence across the screen, with the extension of depth into the surrounds. There's also discrete placement of effects all around the listening space. John Williams' score fully wraps around the listener while retaining focus with a wide and deep soundstage. The surrounds frequently are prominently engaged, and there's left-right separation unlike the preponderance of the original mono surround content. This is true for action elements such as Indy's cracking whip, gunshots, and the mine carts zipping and zooming on narrow tracks. To a certain extent, voices and certain on-screen Foley effects are directionalized. Deep bass is distinguished, articulate, and powerful at times with very low frequencies all around, as well as prominent LFE channel engagement. Dialogue is intelligible throughout with at times good spatial integration.

The Immersive Sound element is comprised of the extension of the orchestral score, along with some brief dialogue, gunfire, airplane propeller sounds, screams, explosions, water rapids, insect sounds, a heavy stone gate closure, dripping water, rolling walls, ceremonial singing, fire pit roars, slave children being released, mining carts on the track, poundings, gunfire, rushing water and other numerous sound effects. The result, an effective spatial dimensional enhancement.

As with the other films in this release, this repurposed soundtrack is an absolute winner. (Gary Reber)