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Drive [4K UHD]

Drive [4K UHD]

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Overall, this is the best the film has ever looked at home, pulling as much depth and clarity out of the source as possible. The bundled award-winning Nero Burn and Archive software** which includes numerous special features including DiscSpan, MediaHome and SecureDisc Technology to help you successfully organise, burn and archive your important files. The screenshots used do not represent the 4K UHD because of the resolution and HDR downscaling used to take screenshots. The plot of Drive is rather simple; again trying to capitalize on the structural certainty of American road movies that were popular during that time, and it takes place right after the Chinese government took back control of Hong Kong.

Anyone expecting a 90 minute Car chase movie in the realm of Fast and the Furious and to some extent the classic Vanishing Point will be dissapointed though. A loner, who works in a garage and in his spare time acts as a getaway driver for various low lifes. Essentially, what I'm trying to say is that, in my opinion, all indie companies on 4K should strive for the highest quality transfers possible. Drive is a modern classic, one of the greatest movies of the last twenty years, a superbly orchestrated piece of indie filmmaking, made original by breathtaking visual energy, a stunning soundtrack, rich imagery and an effortlessly cool style.

Second Sight’s standard 4K Ultra HD release of Drive is UHD only, with a Region B Blu-ray version released separately. This is a deeply subtle film, told more in body language, gesture and eye contact than bold actions and lengthy exposition. It turns out that her husband has been doing time and now hes out and still in debt to the low lifes that put him inside in the first place. But after he meets Malik (Hardison), a bitter-yet-gregarious man on the outs with his wife, the duo team up. Overall I would certainly recommend this film and it would certainly be in my top five films of 2011.

The benefits here from upscaling at the uncompressed source are incremental, not revelatory, but it’s still a good reminder not to be so quick in dismissing anything that wasn’t captured natively at 4K. They do cover his relationships with the actors, shooting in sequence, and some other production information like that, but they’re far more interested in assessing how Drive works for them on a personal level. A portrait of a man of cool, detached intellect falling in love and as a result, his world falling apart. Combine that with Steve Wang’s skill for fluid action on a smaller scale, as well as Kadeem Hardison’s capability to tap into the story’s dopey humor, and you have one of the more unique action entries to come out of the late 1990s. That’s contrary to Hollywood norms, where car chases are supposed to have maximum energy at all times.Second Sight's 4K of Drive enjoys simultaneous standard and limited edition releases, with the main extras remaining identical across the two, but a number of premium packaging exclusives coming in the limited edition, including; a gorgeous box with 3D embossing on the outside and on the slide-out compartments; a 240-page hardcover book with new essays by Travis Crawford, Hannah Strong, Alison Taylor, Matthew Thrift, Simon Ward, Thomas Joseph Watson and Emma Westwood; exclusive written interview with Drive author James Sallis by Matthew Thrift; and a gallery of original storyboards, stills and behind the scenes photos, completed with a copy of the original novel with exclusive new artwork by AllCity, and 7 collectors' art cards. Drive comes to UK 4K Ultra HD Blu-ray courtesy of Second Sight, with a new 4K master produced by the original post production company and approved by Director Nicolas Winding Refn.

You can decide when and where to activate the siren and warning light, by customizing the detection zone and time period.One word of caution about this new presentation, though: I viewed some wear on some of the shots, most notably seen in the wider exterior sequences with blue skies in the background. And it is one of the better western releases emulating the Hong Kong action scene (with a weird sci-fi gimmick), all the way to the strange comedic undertones and buddy-cop esthetic. Refn and Newman have worked together since Bronson in 2008, while Martinez joined the team with Drive three years later, but they clearly have good chemistry together. That's not to say we don't get some discrete overhead and surround dissemination, with early helicopters whipping past overhead, whilst the LFE input is significant, not only bolstering the score itself, but also bringing significant weight to both the guttural growl of the performance engines, as well as the boom of the shotgun blasts which will shake you to the core. He explores both the similarities and differences in the camerawork for each of these scenes, and the ways in which they help to establish Driver’s character.

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