Shin Godzilla (2016)
シン・ゴジラ
Action, Science Fiction, Horror • 2h
Overview
When a massive, gilled monster emerges from the deep and tears through the city, the government scrambles to save its citizens. A rag-tag team of volunteers cuts through a web of red tape to uncover the monster's weakness and its mysterious ties to a foreign superpower. But time is not on their side - the greatest catastrophe to ever befall the world is about to evolve right before their very eyes.
Directors: Shinji Higuchi & Hideaki Anno
Cast: Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Kengo Kora, Satoru Matsuo, Mikako Ichikawa, Issey Takahashi, Kanji Tsuda, Shinya Tsukamoto, Toru Nomaguchi, Daisuke Kuroda, Ren Osugi, Kimiko Yo, Akira Emoto, Sei Hiraizumi, Toru Tezuka, Kenichi Yajima, Akira Hamada, Ikuji Nakamura, Tetsu Watanabe, Jun Kunimura, Shingo Tsurumi, Jun Hashimoto, Pierre Taki, Takumi Saitoh, KREVA, Ken Mitsuishi, Kyūsaku Shimada, Tarō Suwa, Yū Kamio, Arata Furuta, Moro Morooka, Kôsei Katô, Shohei Abe, Keisuke Koide, Hairi Katagiri, Suzuki Matsuo, Takahiro Miura, Yohta Kawase, Ren Mori, Atsuko Maeda, Kazuo Hara, Isshin Inudo, Akira Ogata, Hideaki Anno, Kihachi Okamoto, Mansai Nomura, Mayumi Ogawa, Katsuhiko Yokomitsu, Yusuke Sugiyama, Sho Oyamada, Takashi Kobayashi, Takashi Fujiki, Shota Taniguchi, Tomonori Mizuno, Keitaro Azumi, Kôichi Miwa, Yuichi Ito, Koji Seki, So Nozawa, Kou Maehara, Masayuki Shida, Charles Glover, Takao Kinoshita, Hisao Kanno, Riko Yonemura, Daisaku Nishino, Toshihito Kokubo, Michiko Iwahashi, Shoki Matsui, Ōmiya Ichi
Director: Goro Miyazaki
2011 Japan Studio Ghibli Blu-ray
Director: Goro Miyazaki
2011 Japan Studio Ghibli Blu-ray
Japan King Records 4K Blu-ray
Japan King Records 4K Blu-ray / US GKIDS Blu-ray
US GKIDS Blu-ray for the Amazon English dub
US OOP Funimation Blu-ray for the older Funimation English dub
Japan King Records 4K Blu-ray is an upscale, but has less compression artifacts
Japan King Records 4K Blu-ray
Japan King Records 4K Blu-ray / US GKIDS Blu-ray
US GKIDS Blu-ray for the Amazon English dub
US OOP Funimation Blu-ray for the older Funimation English dub
Japan King Records 4K Blu-ray is an upscale, but has less compression artifacts
Directors: Katsuichi Nakayama & Kazuya Tsurumaki & Mahiro Maeda & Hideaki Anno
US GKIDS/UK Anime, Ltd. 4K Blu-ray
US GKIDS/UK Anime, Ltd. 4K Blu-ray
US GKIDS/UK Anime, Ltd. 4K Blu-ray for both the original Japanese and the Amazon English dub
US GKIDS/UK Anime, Ltd. 4K Blu-ray has higher bitrate and better encoding than the Japan King Records 4K Blu-ray
Directors: Katsuichi Nakayama & Kazuya Tsurumaki & Mahiro Maeda & Hideaki Anno
US GKIDS/UK Anime, Ltd. 4K Blu-ray
US GKIDS/UK Anime, Ltd. 4K Blu-ray
US GKIDS/UK Anime, Ltd. 4K Blu-ray for both the original Japanese and the Amazon English dub
US GKIDS/UK Anime, Ltd. 4K Blu-ray has higher bitrate and better encoding than the Japan King Records 4K Blu-ray
Japan King Records 4K Blu-ray
Japan King Records 4K Blu-ray / US GKIDS Blu-ray
US GKIDS Blu-ray for the Amazon English dub
US OOP Funimation Blu-ray for the older Funimation English dub
Japan King Records 4K Blu-ray is an upscale, but has less compression artifacts
Japan King Records 4K Blu-ray
Japan King Records 4K Blu-ray / US GKIDS Blu-ray
US GKIDS Blu-ray for the Amazon English dub
US OOP Funimation Blu-ray for the older Funimation English dub
Japan King Records 4K Blu-ray is an upscale, but has less compression artifacts
Directors: Masayuki & Hideaki Anno & Tsuyoshi Kaga & Shoichi Masuo & Ken Ando & Seiji Mizushima & Kazuya Tsurumaki & Naoyasu Habu & Hiroyuki Ishido & Tensai Okamura & Akira Takamura & Minoru Ohara & Masahiko Otsuka & Tetsuya Watanabe & Keiichi Sugiyama
Directors: Masayuki & Hideaki Anno & Tsuyoshi Kaga & Shoichi Masuo & Ken Ando & Seiji Mizushima & Kazuya Tsurumaki & Naoyasu Habu & Hiroyuki Ishido & Tensai Okamura & Akira Takamura & Minoru Ohara & Masahiko Otsuka & Tetsuya Watanabe & Keiichi Sugiyama
Director: Hayao Miyazaki
Director: Hayao Miyazaki
Director: Kiyotaka Oshiyama
2026 Japan Avex Blu-ray. The 4K Blu-ray is an upscale with strong sharpening. Caps
2026 Japan Avex 4K Blu-ray, includes original 5.1 and an Atmos remix. The HD disc only includes 5.1.
Director: Kiyotaka Oshiyama
2026 Japan Avex Blu-ray. The 4K Blu-ray is an upscale with strong sharpening. Caps
2026 Japan Avex 4K Blu-ray, includes original 5.1 and an Atmos remix. The HD disc only includes 5.1.
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) has English dub and subtitles
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) is the native SD transfer in a superior MPEG-4 AVC encode. GKIDS Blu-ray is upscaled.
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) has English dub and subtitles
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) is the native SD transfer in a superior MPEG-4 AVC encode. GKIDS Blu-ray is upscaled.
Director: Makoto Shinkai
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) has English subtitles
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) is the native SD transfer in a superior MPEG-4 AVC encode. GKIDS Blu-ray is upscaled.
Director: Makoto Shinkai
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) has English subtitles
Japan SD Blu-ray (bonus on the International Edition of 5 Centimeters per Second) is the native SD transfer in a superior MPEG-4 AVC encode. GKIDS Blu-ray is upscaled.
More Action on Blu-ray
International Cut: Lionsgate 4K Blu-ray
International Cut: Lionsgate 4K Blu-ray, Upscaled from the 2K DI. Caps are here. While not as dramatic an upgrade as Jackie Brown, color reproduction and especially the reveal of additional highlight information that were completely blown-out on the old master make this a great upgrade regardless. See Uma Thurman’s face in the above cap. Japan Cut: Japan DVD
International Cut: Lionsgate 4K Blu-ray
International Cut: Lionsgate 4K Blu-ray, Upscaled from the 2K DI. Caps are here. While not as dramatic an upgrade as Jackie Brown, color reproduction and especially the reveal of additional highlight information that were completely blown-out on the old master make this a great upgrade regardless. See Uma Thurman’s face in the above cap. Japan Cut: Japan DVD
Director: John Ford
Germany Filmjuwelen Blu-ray is AI upscaled https://ibb.co/album/mCJ7RQ
Director: John Ford
Germany Filmjuwelen Blu-ray is AI upscaled https://ibb.co/album/mCJ7RQ
Director: Edwin L. Marin
Warner Archive Blu-ray 4K restoration from technicolor negatives
Director: Edwin L. Marin
Warner Archive Blu-ray 4K restoration from technicolor negatives
Director: Wong Kar-Wai
2010 US Kino Lorber or 2012 UK Artificial Eye
2017 JP Kadokawa Blu-ray has the best encoding out of all the older discs.
Kino Lorber and Artificial Eye Blu-ray use the same master, between the two the PQ on Kino's release is slightly better, but the difference is negligible.
The 4K restoration (Criterion, 4K etc) are cropped to 2.35:1, have revisionistic colour grading and other changes.
Caps: old master, old master vs 4K restoration
Wong Kar-Wai on the framing:
With Fallen Angels, I have changed the format to cinemascope, because it was originally what I had intended to release the film in. When we were cutting the film, we accidentally turned the Steenbeck on anamorphic instead of standard. I felt that the film looked much more interesting because it enhanced the distance of the characters on top of the extreme wide angle that we shot on. Back then, it was impossible to shoot a film in standard and release it in anamorphic. With this restoration, we have successfully fulfilled this wish.
Director: Wong Kar-Wai
2010 US Kino Lorber or 2012 UK Artificial Eye
2017 JP Kadokawa Blu-ray has the best encoding out of all the older discs.
Kino Lorber and Artificial Eye Blu-ray use the same master, between the two the PQ on Kino's release is slightly better, but the difference is negligible.
The 4K restoration (Criterion, 4K etc) are cropped to 2.35:1, have revisionistic colour grading and other changes.
Caps: old master, old master vs 4K restoration
Wong Kar-Wai on the framing:
With Fallen Angels, I have changed the format to cinemascope, because it was originally what I had intended to release the film in. When we were cutting the film, we accidentally turned the Steenbeck on anamorphic instead of standard. I felt that the film looked much more interesting because it enhanced the distance of the characters on top of the extreme wide angle that we shot on. Back then, it was impossible to shoot a film in standard and release it in anamorphic. With this restoration, we have successfully fulfilled this wish.
Director: Mamoru Oshii
Bandai Japan 4K Blu-ray
All the Anime FRA 4K Blu-ray | Caps comparison: Ghost in the Shell (1995) | Slowpoke Pics
All the Anime FRA 4K Blu-ray
The All the Anime FRA and the Lionsgate USA run to the same frame and come from the same source, while the Bandai JPN is a separate assembly, and these three discs do not share a master and are graded differently. The French and the Japanese hold the same hue throughout; the Lionsgate is shifted, and by different amounts from scene to scene. The Lionsgate is the only Dolby Vision Profile 7 FEL (when the All the Anime is Dolby Vision Profile 7 MEL and The Bandai is only HDR10) and the extra coding precision is genuine, but it buys nothing here: the grain dithers the gradients on its own and none of the three discs bands.
What separates them is texture, and it is not close. The All the Anime FRA is very clearly superior to both others: far more fine detail, tighter edges with no sign of sharpening, and real gradation in the shadows where the other two simply go to black. It is a beautiful master, filmic and untouched. Both the US and the Japanese discs have had DNR applied: flat areas and edges are smoothed alike, so a great deal of the texture the French keeps is simply gone. The Lionsgate also falls apart on darker shots, and the Bandai is the softest of the three on top of a very conservative grade.
The French disc is the one to get, by a wide margin.
Caps comparison: Ghost in the Shell (1995) | Slowpoke Pics
Be warned that the All the Anime FRA is not English-friendly at all: it carries no English audio track and no English subtitles while being well served on the Japanese side, with the 6.1 mix from Ghost in the Shell 2.0 and the original 2.0 mix, both retaining the original 1995 end credits music, alongside the modern Dolby Atmos track.
Worth noting: the KSM GER release may carry the same master as the All the Anime FRA, but without a copy on hand I can neither confirm nor rule it out.
Director: Mamoru Oshii
Bandai Japan 4K Blu-ray
All the Anime FRA 4K Blu-ray | Caps comparison: Ghost in the Shell (1995) | Slowpoke Pics
All the Anime FRA 4K Blu-ray
The All the Anime FRA and the Lionsgate USA run to the same frame and come from the same source, while the Bandai JPN is a separate assembly, and these three discs do not share a master and are graded differently. The French and the Japanese hold the same hue throughout; the Lionsgate is shifted, and by different amounts from scene to scene. The Lionsgate is the only Dolby Vision Profile 7 FEL (when the All the Anime is Dolby Vision Profile 7 MEL and The Bandai is only HDR10) and the extra coding precision is genuine, but it buys nothing here: the grain dithers the gradients on its own and none of the three discs bands.
What separates them is texture, and it is not close. The All the Anime FRA is very clearly superior to both others: far more fine detail, tighter edges with no sign of sharpening, and real gradation in the shadows where the other two simply go to black. It is a beautiful master, filmic and untouched. Both the US and the Japanese discs have had DNR applied: flat areas and edges are smoothed alike, so a great deal of the texture the French keeps is simply gone. The Lionsgate also falls apart on darker shots, and the Bandai is the softest of the three on top of a very conservative grade.
The French disc is the one to get, by a wide margin.
Caps comparison: Ghost in the Shell (1995) | Slowpoke Pics
Be warned that the All the Anime FRA is not English-friendly at all: it carries no English audio track and no English subtitles while being well served on the Japanese side, with the 6.1 mix from Ghost in the Shell 2.0 and the original 2.0 mix, both retaining the original 1995 end credits music, alongside the modern Dolby Atmos track.
Worth noting: the KSM GER release may carry the same master as the All the Anime FRA, but without a copy on hand I can neither confirm nor rule it out.
Arrow UK 4K Blu-ray (damage removed, improved color/HDR, and best audio) or Capelight DE 4K Blu-ray (best compression but no damage removal and LaserDisc audio from Arrow)
Arrow UK 4K Blu-ray >
Capelight DE 4K Blu-ray Kino Lorber US Blu-ray, see caps
Arrow has done additional cleanup work removing nearly all the damage in the transfer. They have massaged the color timing and HDR to try and improve what they could. The Capelight may have better encoding but it does not have these improvements. The Arrow encoding is solid and in motion there are no issues whatsoever. The Kino release has the damage and other issues plus frequent noise due to the lesser encoding.
Some scenes in the Arrow transfer are better, some better in the Capelight.
Original matrixed Dolby Stereo: Arrow 4K Blu-ray or Image Entertainment LaserDisc
(Arrow is a port of the LD track, see spectrograms) This track has the best fidelity of any release but does have some channel bleeding baked in. The 2017 2.0 on the Arrow and Shout BDs was the Dolby Stereo original mix without channel bleeding but that had heavy noise reduction resulting in a very flat and underwhelming presentation. The surround winds up being lessened as well due to the processing. It's a tough choice between the two but the Image LD audio wins out because it hasn't been messed with and the impact is so unrestrained that no other version hits in the same way.
Capelight and old Arrow BD included the original stereo mix, but with excessive noise reduction rendering it much less detailed. Kino only included a painfully defective 2.0 track sourced from somewhere with limited fidelity, volume spikes and screechy high end which frequently ruins the music. The 5.1 remix on most modern release is a processed version that does not sound as good as it once did.
The best and most accurate of the 5.1 mixes is the original version from the 2003 Special Edition DVD in lossy AC3 form.
Arrow UK 4K Blu-ray (damage removed, improved color/HDR, and best audio) or Capelight DE 4K Blu-ray (best compression but no damage removal and LaserDisc audio from Arrow)
Arrow UK 4K Blu-ray >
Capelight DE 4K Blu-ray Kino Lorber US Blu-ray, see caps
Arrow has done additional cleanup work removing nearly all the damage in the transfer. They have massaged the color timing and HDR to try and improve what they could. The Capelight may have better encoding but it does not have these improvements. The Arrow encoding is solid and in motion there are no issues whatsoever. The Kino release has the damage and other issues plus frequent noise due to the lesser encoding.
Some scenes in the Arrow transfer are better, some better in the Capelight.
Original matrixed Dolby Stereo: Arrow 4K Blu-ray or Image Entertainment LaserDisc
(Arrow is a port of the LD track, see spectrograms) This track has the best fidelity of any release but does have some channel bleeding baked in. The 2017 2.0 on the Arrow and Shout BDs was the Dolby Stereo original mix without channel bleeding but that had heavy noise reduction resulting in a very flat and underwhelming presentation. The surround winds up being lessened as well due to the processing. It's a tough choice between the two but the Image LD audio wins out because it hasn't been messed with and the impact is so unrestrained that no other version hits in the same way.
Capelight and old Arrow BD included the original stereo mix, but with excessive noise reduction rendering it much less detailed. Kino only included a painfully defective 2.0 track sourced from somewhere with limited fidelity, volume spikes and screechy high end which frequently ruins the music. The 5.1 remix on most modern release is a processed version that does not sound as good as it once did.
The best and most accurate of the 5.1 mixes is the original version from the 2003 Special Edition DVD in lossy AC3 form.
Director: Simon Wincer
Kino Lorber Blu-ray
4K is defective with color space issues and poor encoding, disc replacement program for the 4K disc has been setup to correct the color space issue. The UHD has visible artifacts from the bad encoding. The HDR is overdone and the Paramount 4K master has grain management.
The new Kino Blu-ray has none of the UHD's problems and is superior to the UHD in every way though it still uses the same Paramount master.
DVD 5.1 or LaserDisc 5.1 AC3, LD PCM 2.0 for the matrix stereo version. The LD and DVD seem to be the theatrical audio mix untouched with plenty of low end. This low end like a number of 90's Paramount titles was mixed out or tamed on subsequent releases.
The Lionsgate BD and Paramount BD share the same lackluster HD master with DNR and image distortion. The Lionsgate is much better encoded but has a 7.1 remix which messed up the original mix design by lessening all the great Foley work in favor of the score. The Paramount BD had a 5.1 lossless version of the original mix but it's a new version where the bass has been tamed so the track has lost its punch. The Kino Lorber UHD and Blu-ray recycle this same lesser 5.1 mastering. The original mix can still be heard on LD and DVD. The 2.0 stereo on the Kino is matrixed but also does not sound as good as the 2.0 matrix audio on DVD or LD.
Kino has announced a replacement program for the defective UHD but it is highly likely all the other problems will go unaddressed. The Billy Zane interview on the Kino BD has technical issues in the editing and clip quality used.
Director: Simon Wincer
Kino Lorber Blu-ray
4K is defective with color space issues and poor encoding, disc replacement program for the 4K disc has been setup to correct the color space issue. The UHD has visible artifacts from the bad encoding. The HDR is overdone and the Paramount 4K master has grain management.
The new Kino Blu-ray has none of the UHD's problems and is superior to the UHD in every way though it still uses the same Paramount master.
DVD 5.1 or LaserDisc 5.1 AC3, LD PCM 2.0 for the matrix stereo version. The LD and DVD seem to be the theatrical audio mix untouched with plenty of low end. This low end like a number of 90's Paramount titles was mixed out or tamed on subsequent releases.
The Lionsgate BD and Paramount BD share the same lackluster HD master with DNR and image distortion. The Lionsgate is much better encoded but has a 7.1 remix which messed up the original mix design by lessening all the great Foley work in favor of the score. The Paramount BD had a 5.1 lossless version of the original mix but it's a new version where the bass has been tamed so the track has lost its punch. The Kino Lorber UHD and Blu-ray recycle this same lesser 5.1 mastering. The original mix can still be heard on LD and DVD. The 2.0 stereo on the Kino is matrixed but also does not sound as good as the 2.0 matrix audio on DVD or LD.
Kino has announced a replacement program for the defective UHD but it is highly likely all the other problems will go unaddressed. The Billy Zane interview on the Kino BD has technical issues in the editing and clip quality used.
Director: James Foley
Director: James Foley
Director: Simon Wincer
Director: Simon Wincer
Director: Alan Crosland
Director: Alan Crosland
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