I Know Who Killed Me

Featured In Issue 127, January 2008

WSR Score3
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
Sony Pictures Home Entertainment
(Catalog Number):
(MPAA Rating):
(Rating Reason):
Grisley violence including torture and disturbing gory images, and for sexualilty nudity and language
(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):
Chris Sivertson
(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 5.1, PCM 24/48 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):

One night, regular high-school student Aubrey Fleming (Lohan), unexpectedly disappears. She is found two weeks later, unconscious in the middle of the woods. When found, Aubrey's personality has vanished and has been replaced instead, by an alter-ego named Dakota Moss. Dakota Moss is a character Aubrey created in an English class assignment, and now Dakota denies ever being Aubrey. It is now up to Dakota to unravel the mystery of Aubrey's abduction. Will Aubrey be able to reach out to Dakota to tell her I Know Who Killed Me? (Stacey Pendry)

Special features include an alternate opening, an alternate ending, the extended Strip Dance scene, three minutes of bloopers, previews, and up-front ads.

The anamorphically enhanced 2.40:1 DVD has overblown whites and somewhat milky blacks. Details in the shadows are not delivered well, with the darkest portions of the image looking flat. Colors are not balanced very well, especially outdoors when colors look blown out and unnatural. Fleshtones have an orange cast that also looks unnatural. Strangely, some scenes can look fairly good, but they are few and far between. Edge enhancement can be recognized on high-contrast transitions, but it is not overly distracting during normal viewing. The H.264 AVC-encoded Blu-ray Disc has improved resolution over the DVD, naturally, but fine textures are not delivered as well as the best high-definition releases. The imagery can also look too highly contrasted, and definition in the brightest whites is crushed. Black levels are deep, but shadows look flat. (Danny Richelieu)

The Dolby® Digital 5.1-channel soundtrack consistently sounds bright, which is particularly noticeable with the strident dialogue. The surround channels are used fairly well for both atmospheric and discrete effects, helping create a lively listening experience. In addition to being strident, dialogue often sounds recessed and nasally. A high-pitched ringing can be heard at times as well. Phantom imaging can be crafted well, and pans across the front stage are mixed nicely, but pans and imaging across each other stereo wall is limited, at best. The LFE channel is incorporated nicely, delivering solid, deep bass. The uncompressed linear PCM and lossless Dolby TrueHD encodings found on the Blu-ray Disc highlight the deficiencies of the soundtrack, especially the brightness and harshness to the dialogue. Actually, dialogue sounds worse in this release, because of the increased fidelity the codecs afford. Noise and shuffling distortion can also be recognized. (Danny Richelieu)