Amityville Horror, The 3D

3D Picture3.5
WSR Score2.5
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Shout! Factory / MGM Home Entertainment
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Single Side, Dual Layer (BD-50)
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Richard Fleischer
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DTS HD Lossless 5.1
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In Amityville 3D, efforts are made to debunk the house's infamous reputation. Taking advantage of a rock-bottom asking price, skeptical journalist John Baxter (Roberts) buys the place and settles in to write his first novel. but as soon as the ink on the deed has dried, people who have come into contact with him''and the house''begin to meet with a shocking fate, Is it coincidence... or is this house really the gateway to hell? Amityville 3D is one of a collection of three cult classics released as a Special Collector Edition that includes The Amityville Horror and Amityville II: The Possession, both presented in 2D. (Gary Reber)

Both the 2D and 3D versions are available on the same disc. Special features include an interview with Actress Candy Clark (HD 09:46), a photo gallery, and the theatrical trailer.

The 2.35:1 1080p MVC 3D picture was shot natively and is a throw back to the resurgence of 3D in the 1980s. The 3D element aggressively favors a negative parallax sense of out-of-screen dimensionality. Positive parallax depth perspective is rather deep, with impressive perspective. However, often a chromatic aberration, seemingly inherent in the source element, produces slight fringing effects. While the color palette is strongly saturated with natural hues and fleshtones, resolution is softly focused, though, close-ups can reveal detail. Still, the 3D element is often effective as a thrills enhancement. There is quite a bit of "poking" out into the audience, which is fascinating and engaging as a 3D effect. Overall, this is a fun trip back to the era of theatrical 3D that delivered an exaggerated perspective. (Gary Reber)

The DTS-HD Master Audio 5.1-channel soundtrack is remastered from the original four-track Dolby Stereo master. While discrete sound effects are positioned throughout the surround supported with atmospherics, the sonics are dated in terms of presence and dynamics. Howard Blake's orchestral score is nicely recorded and provides effective envelopment in the surrounds. Limited and reserved .1 LFE bass support surfaces occasionally but is generally not present. Dialogue is intelligible and spatially integrated. Overall, this is a serviceable soundtrack but not particularly distinguished. (Gary Reber)