Hypocrites (1915)
Drama • 52m
Overview
The story of St. Gabriel, who was killed by an ignorant mob for making a nude statue representing Purity, who is also represented by a ghostly naked girl that flits through the film.
Director: Lois Weber
Directors: Lois Weber & Phillips Smalley
No comparison available, three options:
Kino Lorber Pioneers: First Women Filmmakers Blu-ray
Flicker Alley Early Women Filmmakers: An International Anthology Blu-ray
Directors: Lois Weber & Phillips Smalley
No comparison available, three options:
Kino Lorber Pioneers: First Women Filmmakers Blu-ray
Flicker Alley Early Women Filmmakers: An International Anthology Blu-ray
Directors: Lois Weber & Phillips Smalley
Kino Lorber Pioneers: First Women Filmmakers Blu-ray
Kino Lorber Pioneers: First Women Filmmakers Blu-ray
Directors: Lois Weber & Phillips Smalley
Kino Lorber Pioneers: First Women Filmmakers Blu-ray
Kino Lorber Pioneers: First Women Filmmakers Blu-ray
Director: Lois Weber
Director: Lois Weber
Director: Ivan Reitman
Plaion German 4K Blu-ray > US Kino Lorber see comparison and caps
Kino Lorber has an exceedingly poor encode, only slightly improved by the DV layer.
Original matrixed Dolby Stereo: Universal US Blu-ray
Dolby Atmos remix: Plaion DE 4K Blu-ray
Universal's BD uses the same transfer as the old LaserDisc and sounds a bit better than Plaion's, which has worse dynamics.
Plaion's Atmos remix is tastefully done and preserves the original mix's characteristics, the 5.1 track on Kino's release is overly aggressive and unbalanced.
Director: Ivan Reitman
Plaion German 4K Blu-ray > US Kino Lorber see comparison and caps
Kino Lorber has an exceedingly poor encode, only slightly improved by the DV layer.
Original matrixed Dolby Stereo: Universal US Blu-ray
Dolby Atmos remix: Plaion DE 4K Blu-ray
Universal's BD uses the same transfer as the old LaserDisc and sounds a bit better than Plaion's, which has worse dynamics.
Plaion's Atmos remix is tastefully done and preserves the original mix's characteristics, the 5.1 track on Kino's release is overly aggressive and unbalanced.
Director: Guy Hamilton
Director: Guy Hamilton
Director: Sidney Lumet
1.85:1: Kino Lorber 4K / Capelight 4K
1.66:1: Criterion 4K but low pass filtered
Comparison between the 4Ks, Criterion on the AR choice
Criterion Blu-ray/4K Blu-ray
Other discs have unnecessary filtering and sound worse, the difference isn't substantial but audible
Director: Sidney Lumet
1.85:1: Kino Lorber 4K / Capelight 4K
1.66:1: Criterion 4K but low pass filtered
Comparison between the 4Ks, Criterion on the AR choice
Criterion Blu-ray/4K Blu-ray
Other discs have unnecessary filtering and sound worse, the difference isn't substantial but audible
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: Bert Stern
Director: Bert Stern
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: Maurice Cloche
Director: Maurice Cloche
Director: Michael Gordon
Director: Michael Gordon
More Drama on Blu-ray
Director: Mervyn LeRoy
Warner Bros 2011 Blu-ray
The older track sounds significantly more natural. The WAC BD uses a new mastering which sounds much worse. A lot of the dialogue sounds off, sort of echoey, garbled or even artifacted. Its overzealous click removal also erased some sounds. Its only positive is a new EQ that brings out the bass more making some of the score more effective.
It seems that the new mastering likely uses AI "enhancement" or some other form of aggressive filtering, resulting in extended peaks despite losing real high end detail (most pronounced on sample 3).
Samples (WAC is mislabeled as UHD)
Commentary is mono on the Blu-rays and panned stereo on NTSC DVD (different channels for each speaker).
Director: Mervyn LeRoy
Warner Bros 2011 Blu-ray
The older track sounds significantly more natural. The WAC BD uses a new mastering which sounds much worse. A lot of the dialogue sounds off, sort of echoey, garbled or even artifacted. Its overzealous click removal also erased some sounds. Its only positive is a new EQ that brings out the bass more making some of the score more effective.
It seems that the new mastering likely uses AI "enhancement" or some other form of aggressive filtering, resulting in extended peaks despite losing real high end detail (most pronounced on sample 3).
Samples (WAC is mislabeled as UHD)
Commentary is mono on the Blu-rays and panned stereo on NTSC DVD (different channels for each speaker).
Director: Bertrand Blier
The older Studio Canal disc has incorrect pitch - 0.7 semitones lower than it should be. As their PAL DVD release was pitched correctly despite running at 25 FPS, it's likely they just took that master and slowed it down without accounting for that.
Director: Bertrand Blier
The older Studio Canal disc has incorrect pitch - 0.7 semitones lower than it should be. As their PAL DVD release was pitched correctly despite running at 25 FPS, it's likely they just took that master and slowed it down without accounting for that.
Director: Richard Linklater
Criterion has English subtitles burned in for the entire film, stylized to look like an old film print.
Director: Richard Linklater
Criterion has English subtitles burned in for the entire film, stylized to look like an old film print.
Directors: Jerome Robbins & Robert Wise
Capelight's 5.1 is sourced from the original 6-track. The fidelity is comparable to the 4.0 from the 4-track available on previous BDs.
An alternate 5.1 mix was created for the 1999 MGM DVD / LaserDisc, It boasts better high end detail throughout, but the trade off is reduced bass.
See additional info for more detail.
West Side Story was produced as a 70mm Todd-AO presentation, with an accompanying 6-track audio mix in the following channel configuration: see diagram. 35mm presentations used a 4-track or a mono mixdown instead.
The original 6-track elements were thought to have been lost until they were recovered and restored in 2010. In 1981, for the film's 20th anniversary, a new 6-track mix was created by upmixing the available 4-track elements.
Capelight's release is sourced from original 6-track elements uncovered in 2010, but unfortunately it's not as detailed as it should be, owing to unnecessary noise reduction. It's by no means bad, but it could be better. As the Lc/Rc channels are mixed into into L/C/R, it's also essentially no different to a 4-track fold-down. This isn't exactly an issue as left/right center channels mix down to L/C/R very well, but a better way of handling this would be to use Atmos objects to position those channels where they should be, as Disney did on The Sound of Music.
The 4-track mix was included in a discrete form on MGM's previous BD, it trades blows with Capelight's 6-track-derived 5.1.
Interestingly, the 1999 MGM LaserDisc/DVD release includes a different 5.1 mix, which sounds a bit more detailed than the two other tracks. It's sound signature is on the brighter side, with a slight emphasis on the treble instead of bass like other releases. Although that accounts for some of the perceived detail, even after matching EQ there are spots where Capelight loses out. It's a slight upmix, with split surrounds and LFE. Whether it was derived from 4-track or 6-track elements is not clear, though it matters little, as the end result would have been very similar in either case. There are no booklet notes stating the source used, but it sounds very similar to the matrixed 1992 LD, which was attributed to the 6-track. Still, given that the original elements were thought to have been lost, I would assume that this refers to the 1981 mix.
Previous LaserDisc releases are similar to the discrete 1999 track. All LD releases are missing the intermission music and a brief whistling sequence.
The 7.1 upmix on MGM's Blu-ray offers little of value.
Directors: Jerome Robbins & Robert Wise
Capelight's 5.1 is sourced from the original 6-track. The fidelity is comparable to the 4.0 from the 4-track available on previous BDs.
An alternate 5.1 mix was created for the 1999 MGM DVD / LaserDisc, It boasts better high end detail throughout, but the trade off is reduced bass.
See additional info for more detail.
West Side Story was produced as a 70mm Todd-AO presentation, with an accompanying 6-track audio mix in the following channel configuration: see diagram. 35mm presentations used a 4-track or a mono mixdown instead.
The original 6-track elements were thought to have been lost until they were recovered and restored in 2010. In 1981, for the film's 20th anniversary, a new 6-track mix was created by upmixing the available 4-track elements.
Capelight's release is sourced from original 6-track elements uncovered in 2010, but unfortunately it's not as detailed as it should be, owing to unnecessary noise reduction. It's by no means bad, but it could be better. As the Lc/Rc channels are mixed into into L/C/R, it's also essentially no different to a 4-track fold-down. This isn't exactly an issue as left/right center channels mix down to L/C/R very well, but a better way of handling this would be to use Atmos objects to position those channels where they should be, as Disney did on The Sound of Music.
The 4-track mix was included in a discrete form on MGM's previous BD, it trades blows with Capelight's 6-track-derived 5.1.
Interestingly, the 1999 MGM LaserDisc/DVD release includes a different 5.1 mix, which sounds a bit more detailed than the two other tracks. It's sound signature is on the brighter side, with a slight emphasis on the treble instead of bass like other releases. Although that accounts for some of the perceived detail, even after matching EQ there are spots where Capelight loses out. It's a slight upmix, with split surrounds and LFE. Whether it was derived from 4-track or 6-track elements is not clear, though it matters little, as the end result would have been very similar in either case. There are no booklet notes stating the source used, but it sounds very similar to the matrixed 1992 LD, which was attributed to the 6-track. Still, given that the original elements were thought to have been lost, I would assume that this refers to the 1981 mix.
Previous LaserDisc releases are similar to the discrete 1999 track. All LD releases are missing the intermission music and a brief whistling sequence.
The 7.1 upmix on MGM's Blu-ray offers little of value.
Director: Morton DaCosta
Warner Archive 4K Blu-ray from 12K scan
Warner Bros NTSC DVD
For the most part, the mono track available on the BD and UHD is fine, but there's an 8 minutes long segment which sounds terrible with artificially expanded frequency range causing very audible artifacting. The 5.1 remix doesn't have that issue. Sample
Director: Morton DaCosta
Warner Archive 4K Blu-ray from 12K scan
Warner Bros NTSC DVD
For the most part, the mono track available on the BD and UHD is fine, but there's an 8 minutes long segment which sounds terrible with artificially expanded frequency range causing very audible artifacting. The 5.1 remix doesn't have that issue. Sample
Director: Mamoru Hosoda
Sony 4K Blu-ray has the original theatrical Dolby Atmos mix
Director: Mamoru Hosoda
Sony 4K Blu-ray has the original theatrical Dolby Atmos mix
Director: Martin Ritt
Director: Martin Ritt
Director: Atom Egoyan
Criterion Blu-ray: from 4K restoration but exhibits compression artifacts
Director: Atom Egoyan
Criterion Blu-ray: from 4K restoration but exhibits compression artifacts
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