Mission: Impossible—Ghost Protocol

WSR Score4
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):
Sequences of intense action and violence
(Retail Price):
(Disc Type):
Single Side, Dual Layer (BD-50)
(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):
Brad Bird
(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 TrueHD 7.1, Dolby Digital 5.1
(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):

In this fourth installment of Mission: Impossible, IMF operative Ethan Hunt (Cruise) is blamed for the terrorist bombing of the Kremlin and is disavowed, along with the rest of the agency, when the President initiates Ghost Protocol. Left without any resources or backup, Ethan must find a way to clear his agency's name and prevent another attack. To complicate matters further, Ethan is forced to embark on this mission with a team of fellow IMF fugitives whose personal motives he does not fully know. (Gary Reber)

Special features include the featurette Mission Accepted in three parts: Suiting Up In Prague (HD 17:58), Heating Up In Dubai (HD 17:36) and Vancouver Fisticuffs (HD 12:01); the featurette Impossible Missions in 11 parts: The Russian Prison (HD 11:49), Shooting In IMAX (HD 03:33), Art Department (HD 02:56), A Roll Of Film (HD 02:33), Life Masks (HD 01:40), Stepping Into The Storm (HD 02:04), The Sandstorm (HD 03:06), Dubai Car Crash (HD 08:15), Lens On The Burj (HD 0:57), Props (HD 03:07), and Composer (HD 10:42); eight deleted scenes, including an alternate opening with optional commentary by Director Brad Bird (HD 15:02); two theatrical trailers; and an UltraViolet digital copy.

While the 2.40:1 1080p AVC picture was photographed and released in the 70 mm IMAX film format, the storytelling would have been much more immersive had the movie been shot in native 3D. The IMAX format exhibits an extremely cinematic visual appearance, with better-than-average dimensionality and filmic density. The color palette is strongly saturated with bold and vibrant hues, yet hues retain a natural appearance. Fleshtones are naturally hued, though, not consistently. Contrast is well balanced with deep, solid blacks and revealing shadow delineation. Resolution is tightly defined, especially during close-ups of facial figures, hair, clothing, and object texture. During the sandstorm sequences, the most minute particles of sand are resolved, which dramatically enhances the dramatic effect. Visually, this is an engaging experience with a wide range of cinematographic scenes that impress. (Gary Reber)

The Dolby® TrueHD 7.1-channel soundtrack is dynamic throughout, with a driving orchestral music score by Michael Giacchino. The score, with the familiar Mission: Impossible theme, is rhythmic and sweeping in spatial dimension across the soundstage and deep into the surrounds. In combination with the other sound elements, the experience is holosonically® enveloping, with an impressive directionalized and spatial soundfield. Atmospherics and sound effects are rendered effectively with powerful dynamics and dimension. During aggressive action sequences the .1 LFE channel delivers sub-25 Hz bass that really energizes the soundfield. Dialogue is always intelligible and generally integrated spatially, except for instances of ADR. With the extent of action, the nuanced sonics are excellent. The 7.1-channel format conforms to the Dolby theatrical format, with the extra two channels at the back instead of to the 90-degree sides, and may require some rewiring in systems to hear the intended added dimension. The two added channels are generally only engaged during intense action sequences. This is a spectacular sonic experience, with an exciting dimensional holosonic soundfield that sounds both dynamic and nuanced. (Gary Reber)