SHOOT AND RUN: Test Blu-Ray (Zone B)

SYNOPSIS

W hen Danny Fisher managed to apprehend Miles, a fearsome thief, this one is about to run away with a booty of several million dollars. During the operation, the bride's robber is killed accidentally.
After escaping from prison, the criminal mastermind decides to take revenge by forcing Danny to pass twelve tests, twelve rounds to save the life of his own fiancee.
Torturing his intelligence as much as his physical abilities, Miles makes every trap Danny. Each new round requires the officer to cross the city at a breakneck pace, endangering the lives of innocent people, cars and boats turning into real weapons of mass destruction ... In each round, the risks increase and the slightest misstep can s' be fatal. The race against time begins ...

PRESS KIT

For Renny Harlin, the film was an opportunity to revisit the genre. He explains: "I hope that 12 Rounds is the first of a new genre of action films, action films a" docu-realistic "shot camera in hand, completely different set of Hollywood blockbusters to the millimeter. We gave the film an energy and a strong sense of realism that reflects, I think, much better tastes and desires of the public today. "

12-jaquette For the action scenes of hellish 12 Rounds, Renny Harlin wanted to break with the traditional shooting style associated with this kind of movie. He explains: "I wanted a visual style that emphasizes the physical prowess of John. Instead of showing it as a superhero, we made an ordinary man. I put aside all the techniques and all the usual tools, such as shots with dolly or crane and visual effects that people expect to see in contemporary action films. We imagined 12 Rounds as a true story that would really come, and for filming we somehow fielded three teams of "documentary" to fix the history of the characters on film. "This shooting style" commando "has necessitated the use of multiple technologies and different types of cameras. The Director of photographieDavid Boyd says: "We used several media, including video surveillance images and aerial photography. In succeeding each other, they give 12 Rounds energy and realism that you seize the first to the last frame. "

The first draft of the script by Daniel Kunka was held in Chicago, but producer Michael Lake was another city in mind for this story, for both economic and artistic reasons: New Orleans. Michael Lakeraconte: "We see in this film many more locations in New Orleans than in any other film shot there. The city participates in the story really. It shows Ninth Ward, French Quarter, the business district Algiers and. "
Renny Harlin adds: "We find in New Orleans an exotic atmosphere which exists in no other American city. "
The scars inflicted on the city by the terrible hurricane Katrina were still visible. Ashley Scott recalls: "One felt that a catastrophe of biblical scale took place, and yet all around us, people were rebuilding their homes and their lives. It was overwhelming. During filming, we met great people and heard some amazing stories. "

VIDEO CODEC: AVC
1080p
FORMAT: 2.35:1
Fox (France), availability: February 3, 2010

12-2 Overall, pressing proposed here reproduces images rigorous filmmaker with panache and gusto. The assembly struck and very eventful, if not sporty, keeps pace via the AVC encoding that instills a real sense of high definition, without constituting the best song of the moment. Strength: The color pallet. Elkle result shows very high values in terms of "heat" and reveals saturated images, sometimes close to the supersaturation, evidence of a digital calibration (too?) Vitamins in post-production. The definition comes out with the usual honors of production typical "Hollywood". That is to say that the first plans show themselves clear and detailed, and backgrounds do not suffer from compression or a reduction in the level of detail provided. Smooth, sharp, images of the film (even more ridiculous) is easily hoisted up to the current standards, although there remains a sense of unfulfilled, therapy too "industrialized", standardized to elicit genuine emotion, whether you or cinéphage cinephile. Vibrant and devoid of too full of grain (here, under control), the images remain strong and deep, making clothing in value if the specific architecture of the southern United States, whose many details are exposed to light, in framing scope of a nice outfit.

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DTS-HD Master Audio 5.1: English, French DTS 5.1 Mi Flow.
24 Bit, 48 Khz
OFFSET: no

12-3 Just like visual processing, this edition does not disappoint in any way, blockbuster (missed, note) requires. Credit for this soundtrack, we gladly include his constant use of tense and serious reinforcement. The LFE channel 0.1 proposes a tenfold power, sometimes roaring, but often full and expansive in its rendering of the bottom of the spectrum, the codec DTS-HD Master Audio can explore with richness and fullness, power and passion. The sequences of the most muscular set a very good record in this spectral region, with effects really tense at the grave, which does not hesitate to line the part of a carrier of meaning, permanently effective. Other passages do not enjoy the same extension to the sub-bass, but redouble their effectiveness to flesh out the sound reproduction even in areas most deaf. As is often the case in this genre too little productive of creative acoustic, quiet sequences show a significant decrease in the overall sound reproduction, totally collapsing on the center speaker, Central, also on As such, sorely lacking in ambition acoustics, made by a somewhat muffled and dull, lifeless or magnitude. A decline acoustic, on multiple occasions, weakens the content of the front facade.

Otherwise, the mix is still very effective, capturing most of the channels without excel to create a relief or Dantesque deafening. In this sense, the stage is back and this certainly shows obvious, but willingly abandons subtle effects or catchy, in favor of a rather trivial extension of the front facade, activated in specific scenarios sound ... and quite rare. The dominant feature, besides the constant reinforcement of the LFE channel, the dynamics remains, inflammatory and boisterous, which includes the film and its soundtrack in lush decibels without jouerla card finesse at all costs. Powerful, 'volume' and somewhat scattered, the dynamic lags impressive weight, ever be struck on, or attacks, but without ambiguity or artistic ambition clear. A sense of power tenfold seizes the soundtrack from the beginning of the film, but unfortunately it seems that mixing and sound editing fail to harmonize with sufficient rigor and insight.

Draws doubts however about the virtues of lossless audio codec. The track DTS-HD Master Audio 5.1 provides extended frequency, a spatial compressive stress-free, thus cleverly (must admit) in decibels before a riot of wild and wild areas without generating distortion or pooling phenomenon . Powerful and pervasive if not totally inspired and creative, this soundtrack follows the pace of the film with some good humor, and staged on the acoustic with some effectiveness, but with a little controlled fury, and ' strengths sound 'too' industrial 'or artificial. Strokes of brilliance in explosions, out chase in close combat, the nuances are slim, but the presence and aggressiveness respond, always present at the call.