Captain America: The Winter Soldier

Steve Rogers struggles to embrace its role in the modern world and battle a new threat from an old story: the Soviet agent known as the Winter Soldier.
After the cataclysmic events in New York with The Avengers, Marvel of "Captain America: The Winter Soldier", stated Steve Rogers, aka Captain America, lived quietly in Washington, DC and trying to adapt to the modern world. But when S.H.I.E.L.D. colleague comes under attack, Steve was involved in a web of intrigue that threatens to put the world at risk.

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The Hobbit: There and back

Warner Bros. present the release of The Hobbit: There and back will be pushed back with the final film of Bilbo Baggins adventure "might premiere at Comic-Con in July 2015 a new date for worldwide release is 29 July, 2015
Dwarves, Bilbo Baggins with Gandalf the Grey and to continue their quest to reclaim Erebor, their homeland from Smaug. Bilbo Baggins is in possession of a mysterious and magical ring.

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The Hunger Games: Catching Fire

The Hunger Games: Catching Fire is presented on Blu-ray courtesy of Lionsgate Films with an AVC encoded 1080p transfer in 1.78:1 (for the Hunger Games sequences) and 2.40:1 (for all other sequences). This is perhaps appropriately an even darker, moodier experience than the first film, with deep, shaded scenes making up the bulk of the film. Contrast is very strong and shadow detail remains strong throughout the film. Colors have been graded fairly aggressively throughout the film. A lot of the District 12 sequences are bathed in a slate gray or ice cold blue color, with flesh tones and other pops of primaries intentionally desaturated. While this is an understandable stylistic decision, it does tend to slightly mitigate fine detail at times. Once or twice, Francis Lawrence and cinematographer Jo Willems suddenly offer a completely natural, robust looking palette (a scene in a field between Katniss and Gale or the opening of the Games—shown in the first screenshot— are notable examples), and these segments pop incredibly well. The Hunger Games themselves are in a sort of semi-tropical environment, and the greens are lushly presented, though, again, several key sequences take place in the dark. This transfer shows absolutely no signs of artificial sharpening or other digital tweaking and recreates the original theatrical experience exceedingly well.

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Redline's

Redline's 1080p transfer nicely handles the colorful material presented to it. Anchor Bay's 1.85:1-framed image yields all of the film's uncountable shades with brilliant accuracy, from the brightest red hearts and flashiest green hairs, all the way down to the more bland earthen tones that contrast the veritable rainbow of colors seen on hair, clothes, and vehicles. The eye-popping array of colors are nicely offset by balanced black levels that nicely define the film's darker corners. Meanwhile, fine detail proves quite good. The 1080p imagery captures many of the more subtle nuances around the frame, like the texture of the walls in JP's hospital room as seen early in the movie. The transfer cleanly and crisply delivers the fast-moving action and the more static scenes with equal precision. Lines remain smooth and clean, but background banding -- both subtle and egregious -- does interfere with many shots. The banding notwithstanding, this is a quality, good-looking transfer that suits the material well.

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Thor: The Dark World's

It's time for an intervention. Beginning with the theatrical release of Thor in 2011, Marvel Studios has diligently, almost stubbornly produced every MCU film in 3D. Which would be great, if the resulting 3D post-conversions weren't so decidedly average. (With The Avengers being as close to an exception as there is.) So let's play a rousing round of Good News, Bad News. Good news first. Thor: The Dark World's 1080p/MVC-encoded 3D experience is notably better than the less-than-impressive 3D presentation that dragged down the 2011 3D Blu-ray release of Thor. When the sun is high in the Asgardian skies, the 3D version of the film is at its best. The Dark Elves' initial attack features some of the best 3D scenes in the bunch, followed by London sequences and prison visits with Loki. There are even shots with a good deal of 3D pop; the one pictured above, for instance, and many a similar, well-lit close-up. Several battles also fare reasonably well -- specifically the opening Vanaheim campaign and the climactic London assault -- even if crucial encounters on Svartalfheim, other Realms and in the midst of the Aether underwhelm.

So with that said, on to the Bad News portion of the review. The bulk of the 3D experience is serviceable but wholly unremarkable, without any dazzling examples of 3D to speak of. The Dark World is precisely that: an aesthetically dark film, with oppressive shadows, bleak exteriors and even bleaker interiors, and bottomless swaths of black. The subsequent conversion and 3D image is often flat and even, on occasion, devoid of life. Depth? Dimensionality? Just north of decent, sometimes shy of decent; all the sort that will earn a shoulder shrug on the whole. There isn't anything technically wrong with the presentation per se. Aliasing isn't an issue, crosstalk isn't much of a factor (on displays that are prone to ghosting anyway) and the 3D presentation shares all of the color, contrast and clarity qualities of its 2D counterpart. The 3D is just so... average. (There's that word again.)

Fortunately, things improve dramatically when viewing The Dark World in 2D. Taylor's London is overcast and rather colorless, but Asgard and the Nine Realms are teeming with dusky, golden hues, piercing primaries, beautifully saturated skintones, and fittingly unforgiving comic-ink blacks. Contrast doesn't falter either (although it does come on a tad strong), nor is crush really a significant issue, despite the dank, impenetrable depths of locales like Malekith's command ship. And detail? Detail wows at every turn, with crisp edges free of ringing, exceedingly well-resolved fine textures unhindered by aberrant noise, and excellent delineation (given the appropriately dark circumstances). Scenes set on Malekith's homeworld, Svartalfheim, are desolate and a touch murky, yes. A hint of softness even creeps in. But it's all in keeping with Taylor and cinematographer Kramer Morgenthau's intentions and the visual tone the filmmakers bring to the war-torn Realm. And with a pristine AVC MPEG-4 encode that isn't subject to macroblocking, banding or any other anomalies that might prove distracting, The Dark World delivers yet another Marvel Cinematic Universe Blu-ray presentation worthy of high praise. In 2D at least...

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