Pet Sematary: Bloodlines

Featured In Issue Issue 270, November/December

WSR Score2.5
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
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Horror violence, gore and language
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Single Side, Dual Layer (BD-50)
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Lindsey Anderson Beer
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Dolby Atmos, Dolby TrueHD 7.1
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"Pet Sematary: Bloodlines" is set in 1969. Young Jud Crandall dreams of leaving his hometown behind, but soon discovers sinister secrets buried within and is forced to confront a dark family history that forever binds him to Ludlow. Banding together, Jud and his childhood friends must fight an ancient evil that has gripped the town since its founding, and once unearthed has the power to destroy everything in its path. (Gary Reber)

Special features include five featurettes: "Origins" (HD 10:16), "Fresh Blood" (HD 12:02), "Death’s Design" (HD 09:06), "Method To The Madness" (HD 11:07) and "War Comes Home" (HD 12:25) and a digital copy.

The 2.39:1 1080p AVC picture, reviewed on a VIZIO Quantum X P85QX-JI UHD/HDR display, was photographed digitally and sourced from a 4K Digital Intermediate. The picture exhibits a generally dark appearance with brief segments of brightness. Color fidelity suffers as a result. Colors are bland throughout. Flesh tones are natural. Contrast exhibits the darker spectrum with natural black levels, dark shadows and low white levels. Resolution is decent given the generally low light levels. Overall, this is an acceptable presentation that delivers a suspenseful and frightening experience. (Gary Reber)

The Dolby Atmos/Dolby TrueHD 7.1-channel soundtrack is generally under par and essentially mis-credited. Atmospherics are spooky enough and sound effects deliver punch, such as gunshots and mayhem aided by deep and strong bass frequencies. The music score is haunting with a soundstage that is presented wide with extended surround envelopment. Dialogue is intelligible with generally good spatial integration, though ADR production is forward sounding.

The Immersive Sound element is virtually non-existent except for only four instances of height layer sonics at 09:46-09:56, 52:20-53:00, 53:30-54:00 and 01:15:18-01:15:25. As a virtually sole ear-level presentation, except for the the roughly 10- and 5-second and two 40-second segments, the soundtrack just as well could have been credited as a Dolby TrueHD 7.1-channel presentation. This is yet another example of how studios are not serious about the height layer, yet are crediting their releases wth the Dolby Atmos branding to attract enthusiasts. What a disappointment.

The sound design delivers a spooky holosonic® experience. (Gary Reber)