Mission: Impossible: III appears in both an aspect ratio of approximately 2.35:1 on this Blu-ray Disc. Finished as a 2K product, the image looked fairly good.
I thought sharpness appeared solid most of the time. Occasional slightly soft spots occurred, usually during interiors, but most of the movie seemed concise and accurate.
Jagged edges and moiré effects weren’t an issue, and I noticed no edge haloes. Print flaws created no problems, though, as the movie suffered from no signs of source defects.
Much of the time, M:I III featured a fairly desaturated image. It preferred a somewhat blown-out look, with an emphasis on a chilly blue tint much of the time.
Livelier colors still crept through at times, though, and the palette design came out well for the material. The disc appeared to present the colors as intended, and they worked fine in that realm.
Black levels looked dark and dense, while shadow detail was appropriately opaque but not too thick. Low-light sequences were clear and distinct. Nothing about the image dazzled, but it satisfied.
When I examined the Dolby TrueHD 5.1 soundtrack of Mission: Impossible III, I found it to work well. The soundfield presented an active and lively piece that almost constantly engaged the five main speakers. The film showed distinctive imagery throughout the movie that placed different auditory elements accurately within the spectrum and meshed them together nicely.
Music provided strong stereo imaging, and effects popped up from the appropriate locations. Quieter scenes displayed natural ambience, while the many action pieces involved engrossing and vibrant imaging. It became tough to pick a favorite sequence, but the Bay Bridge attack probably remained my favorite due to the sheer impact of its chaos.
Audio quality also seemed positive. Speech consistently appeared natural and crisp, and I noticed no issues related to edginess or intelligibility. Music sounded bright and dynamic as the disc neatly replicated the score.
Effects packed a nice wallop when necessary, as these elements seemed clean and distinct at all times. Bass response came across as deep and tight, and the low-end added a good layer of depth and oomph to the package. I thought this was a consistently solid soundtrack.
How did the 4K UHD compare to the Blu-ray from 2006? Audio got a boost from the lossless TrueHD mix, as the BD only went with lossy material. This meant improved quality.
As noted earlier, the film was finished 2K, and that limited the potential growth from the Blu-ray. Still, the 4K UHD seemed better defined and had deeper blacks. The HDR capabilities also boosted colors. This wasn’t the best-looking film in the series, but the 4K UHD offered an upgrade.
No extras appear on the UHD disc itself, but the included Blu-ray copy adds a bunch of components. On Blu-ray One, we get an audio commentary with writer/director JJ Abrams and producer/actor Tom Cruise.
Both sit together for this running, screen-specific chat. They discuss the opening sequence, sets and locations, cast, characters and acting choices, story issues and cut scenes, visual effects, stunts and action bits, and general production topics.
Can you feel the love tonight? You will if you screen this commentary. Although some reasonably interesting notes emerge along the way, pure praise dominates this piece. Cruise and Abrams constantly talk about how much they love this or how good that is.
I can tolerate a little of this, but the tendency toward happy talk is off the charts here. Granted, this trend declines a bit as the movie progresses, so matters improve as they go. Nonetheless, the ridiculous amount of praise makes this commentary less than satisfying.
Blu-ray Two starts with The Making of the Mission, a 28-minute, 42-second show that presents Abrams, Cruise, co-producer Arthur Anderson, co-screenwriters Alex Kurtzman and Roberto Orci, action unit director Vic Armstrong, costume designer Colleen Atwood, special effects supervisor Dan Sudick, special effects foreman Gintar Repecka, special effects – Italian unit Daniel Acon, art director – Italian unit Stefano Ortolani, visual effects supervisor Roger Guyett, production designer Scott Chambliss, visual effects producer Tom Peitzman, assistant stunt coordinator Joey Box, Spider Cam operator Todd “Hammer” Semmes, flight control/rigging Ben “Panda” Britten Smith, Chinese unit 1st AD Sylvia Liu Ching Yi, producer Paula Wagner, and actors Jonathan Rhys-Meyers, Maggie Q, Keri Russell, Michelle Monaghan, and Philip Seymour Hoffman.
We get some quick notes on how Abrams came onto the project, staging various stunts and practical effects pieces, location shoots and sets, costumes, visual effects, various camera techniques, and general thoughts on the flick. Don’t expect a terribly coherent view of the production from “Making”. It flits from subject to subject with abandon, so it doesn’t follow the flick in a very logical and smooth manner.
However, it boasts enough good information and footage from the set to make it worthwhile. I especially like the view of how all the elements combine for the Bay Bridge sequence. I’d have preferred something a little clearer, but we get some good pieces here.
Five Deleted Scenes fill a total of five minutes, 21 seconds. These include “Ethan Fight At the Top of the Stairs” (0:49), “Zhen Fight In Computer Room” (0:39), “Musgrave Cemetery Conversation” (1:31), “Lindsey Graduates” (0:38) and “Vatican Entry Extended” (1:43).
“Musgrave” offers an intriguing character twist, and “Graduates” presents a mildly interesting glimpse of Lindsey’s relationship with Ethan. The rest are forgettable.
Excellence in Film is a nine-minute, 15-second compilation of clips from Cruise movie’s created to precede his receipt of an award. This comes across as self-congratulatory on a disc of this sort, and it never proves especially interesting.
Inside the IMF lasts 21 minutes, 15-seconds and includes notes from Cruise, Abrams, Maggie Q, Rhys-Meyers, Wagner, Kurtzman, Orci, Hoffman, Russell, Atwood, Monaghan and actors Laurence Fishburne, Ving Rhames, Simon Pegg and Billy Crudup.
The show looks at casting, story and characters. No real depth occurs here, as the program concentrates on minor tidbits and favors praise for all involved.
It does little more than tell us the plot and make sure we applaud the actors. It rarely gives us much of value.
For the 25-minute, 39-second Mission Action: Inside the Action Unit, we hear from Abrams, Armstrong, Cruise, Wagner, Box, Russell, Kurtzman, Orci, utility stuntman Scott Armstrong, and stuntman Buster Reeves.
As implied by the title, we learn about the creation of the movie’s action sequences. The program goes through various fights, stunts and other set pieces.
There’s still too much praise to be found here, but at least we learn something along the way. We get a nice view of how they execute various challenges, and the copious amounts of behind the scenes footage helps make this a useful show despite all the happy talk.
Visualizing the Mission goes for 10 minutes, 40 seconds and features Cruise, Abrams, Wagner, Guyett, Peitzman, Vic Armstrong, pre-visualization supervisor David Dozoretz, and 1st AD Tommy Gormley.
We get info about computer-generated pre-vis techniques and their use in the film. This is a fun and informative featurette, especially when we get to compare pre-vis shots to those in the final flick.
Next comes Mission: Metamorphosis. This eight-minute, nine-second piece offers remarks from Abrams, Cruise, Hoffman, Wagner, Guyett, visual futurist Syd Mead, ILM digital composers David Hisanaga and Tia Marshall, and prop master Steven B. Melton.
This program investigates the design and execution of the movie’s mask-making machine. We learn what the filmmakers wanted to deliver with that item and how it was created. We get nice notes about this side of the flick during this fine piece.
We take a look at the movie’s music during Scoring the Mission. It fills four minutes, 59 seconds with comments from Cruise, Abrams, and composer Michael Giacchino.
We find a few remarks about some specific cues, and Giacchino lets us know how he chose where to use the famous theme. There’s not much meat here, though, as the featurette is too brief to really dig into the material.
To get a chat between the film’s main creative partners, we head to the eight-minute, three-second Moviefone Unscripted: Tom Cruise/JJ Abrams. They interview each other and ask questions submitted by viewers.
The pair discuss why Abrams decided to work on the project and comparisons to his TV material, the movie’s stunts, their working relationship, and other impressions of the film. Ala the commentary, this program ends up as fluffy and not very informative. Expect lots of praise and too little concrete material.
For the final featurette, we get Launching the Mission. This offers five segments that let us see five different locations for movie premieres. In total, they run 14 minutes, four seconds.
We visit New York, Rome, Paris, London and Japan. All of this feels self-aggrandizing and not very interesting.
A few other elements fill out the disc, as we find four Trailers and six TV Spots. A Photo Gallery features 98 shots, most of which seem forgettable.
With Mission: Impossible III, the third time is the charm. Both of the first two movies were good, but this one takes things to another level and proves more satisfying in almost every possible way. The 4K UHD brings us very good picture and audio along with a long but erratic set of supplements. This remains arguably the best of the franchise.
To rate this film, visit the DVD review of MISSION: IMPOSSIBLE III