Male nurse Greg Focker (Stiller) wants to propose to the love of his life Pam (Polo), but before he does, he's got to "Meet The Parents." And what parents they are! Well, Mom's (Danner) okay, but Dad (De Niro)...he's another story. A CIA agent for 34 years, Jack Byrnes is more than a little bit suspicious of his little girl's new beau. And, of course, everything, but everything goes wrong during the visit. Ultimately, everyone in the family (who are all there for the wedding of Pam's sister), can't stand the sight of the poor Focker. (Laurie Sevano)
Special features include a spotlight on location (SD 24;17), deleted scenes with optional comments by Director Jay Roach and Editor Jon Poll (SD 03:21), outtakes (SD 17:56), De Niro Unplugged singing "Love Is In The Air" during the wedding (SD 01:33), "The Truth About Lying" featurette (SD 06;41), Silly Cat Tricks (SD 05;33), Jay Roach: A Director's Profile (SD 01:16), the theatrical trailer, My Scenes bookmarks, and BD-Live functionality.
As with the previous two DVD releases (Issues 47 and 93), the 1080p VC-1 picture exhibits a clean picture that is easy on the eyes. Images are sharper and more detailed, though, some scenes are softly focused. Colors are well balanced with natural fleshtones, subtle hues, and deep blacks. Hues are stronger and better saturated, for a more vivid viewing experience. Contrast and shadow delineation are nicely rendered throughout. This vibrant renderding is definitely the definitive version of this classic comedy and is sure to please fans. (Gary Reber)
The DTS-HD Master Audio™ 5.1-channel soundtrack is of a quiescent nature throughout, but more dimensional in character compared to the previous DVD Dolby® Digital and DTS® Digital Surround™ soundtracks. The soundstage is predominated by the dialogue and music, and dimensional utilization is conservative. Dialogue sounds perfectly natural, with effective spatial integration. Other than some moments with subtle atmospheric spaciousness and screen-based directivity, the soundfield is limited to the screen channels. When the surrounds are active, the sonics are mainly presented as a low-level extension of the musical score, with at times, more assertive energy. Deep bass is appropriately restrained, though, during the Jinx retrival scene the .1 LFE is effectively strong. Fidelity is remarkably good, and the audio has a seemingly natural sonic character. Overall, the lossless treatment is discernibly more accurate to the master mix. (Gary Reber)