Guillermo del Toro’s Pinocchio appears in an aspect ratio of 1.85:1 on this 4K UHD Disc. Expect a terrific Dolby Vision presentation.
Virtually no softness impacted the image. At all times, the movie remained precise and well-defined.
I saw no signs of jagged edges or shimmering, and edge haloes remained absent. No print flaws materialized either.
In terms of palette, Pinocchio usually favored a golden amber vibe, though the flick offered instances of reds and blues as well. The disc offered vivid, vibrant hues, and HDR gave them extra life and punch.
Blacks felt deep and dense, while shadows appeared smooth and concise. HDR brought added range and impact to whites and contrast. The movie consistently looked terrific.
Though not as impressive, the film’s Dolby Atmos audio also fared well. Downconverted to Dolby TrueHD 7.1, the movie came with a largely engaging soundscape.
Occasional scenes featured action elements like planes, gunfire and explosions. Those became the most involving, as they used the spectrum in a compelling manner.
Most of the film opted for more subdued material, though the mix always maintained a nice sense of place and atmosphere. Score and songs also delivered solid stereo presence.
Audio quality appeared solid, with speech that seemed natural and concise. Music felt warm and full.
Effects displayed strong range and impact, with tight highs and deep lows. While not quite “A”-level, this nonetheless wound up as a very appealing mix.
How did the 4K UHD compare to the Blu-ray version? Both offered identical Atmos audio.
The 4K’s Dolby Vision image worked better, though, as it showed superior delineation and colors. While the BD looked great, the 4K became a step up in quality.
No extras appear on the 4K disc, but we get a bunch on the included Blu-ray copy, where we open with a documentary called Handcarved Cinema. It spans 44 minutes, 42 seconds and offers info from co-writer/director Gullermo del Toro, director Mark Gustafson, character art and technical director Georgina Hayns, Shadowmachine producers Corey Campodonico and Alex Bulkley, production manager Sara Crowley, puppet development creative supervisors Ian Mackinnon and Peter Saunders, co-production designers Guy Davis and Curt Enderle, character sculpt lead Toby Froud, puppet production manager Jennifer Hammontree, lead facial animator Kim Slate, animation supervisor Brian Leif Hanson, lead animator Chuck Duke, editor Holly Klein, character designer Gris Grimsley, 1st AD and scheduler Jared Bumgarner, art director Robert DeSue, look development and lead landscape artist Caitlin Pashalek, landscape artist/set dresser Samantha Levy, scenic artist/set dresser Gillian Hunt, director of photography Frank Passingham, executive music supervisor Alexandre Desplat, music supervisor Steve Gizicki, and actors Cate Blanchett, Tilda Swinton, Christoph Waltz, David Bradley, and Gregory Mann.
“Cinema” covers the source and its adaptation, story/characters, puppet design/creation and animation, visual/set design, cinematography, cast and performances, music, and general thoughts. We find a little too much self-praise, but “Cinema” nonetheless packs a lot of good insights related to the technical choices and challenges.
Directing Stop-Motion spans 25 minutes, 43 seconds. It delivers notes from del Toro and Gustafson.
They discuss their youthful experiences with stop-motion animation as well as elements related to the movie’s puppets/animation and the work of the directors on projects of this sort. We find another good look at the challenges involved with the format.
For a glimpse of the movie’s pre-production, we go to Eight Rules of Animation. In this six-minute, 47-second clip, we see online footage of collaborations on the film. We get a fun glimpse of the hands-on work.
Next comes a chat between co-writer/director Guillermo del Toro and critic Farran Smith Nehme. Their conversation goes for 20 minutes, eight seconds.
This piece examines del Toro’s connection to the Pinocchio tale and his take on it. We find a fairly deep look at del Toro’s work and how it connects to his filmography.
Crafting Pinocchio for MOMA lasts seven minutes, 39 seconds. It features Museum of Modern Art curator Ron Magliozzi.
Here we get info about how the MOMA Pinocchio exhibit came together. The topic itself doesn’t seem fascinating, but we do get to see a lot of images of the movie’s work, so that gives it purpose.
In addition to the film’s trailer, we find two separate Q&As. Moderated by Nail Gaiman, a 2022 panel spans 29 minutes, 22 seconds and involves del Toro and Gustafson.
From 2023, the second piece uses James Cameron as moderator. It fills 38 minutes, 10 seconds and includes del Toro, Gustafson, Davis, Desplat, and supervising sound editor/sound designer Scott Martin Gershin.
In the Gaiman Q&A, we hear about story, characters and themes, design choices, cast and performances, animation, and related areas. The Cameron piece covers co-direction, the animation crew, period details, story domains and development, music and sound, and themes.
Both programs work well, but the Cameron chat seems stronger, mainly because it expands the participants. While we get some material that repeats from elsewhere, the Q&As nonetheless add lots of good fresh info.
Finally, a booklet includes art, credits and essays from critic Matt Zoller Seitz and author Cornelia Funke. It adds value to the set.
Though it fails to make me forget the Disney version, Guillermo del Toro’s Pinocchio offers a fairly charming take on the tale. While not all aspects of it work, it still musters a likable fable. The 4K UHD delivers excellent visuals, very good audio and a mix of bonus materials. Expect an enjoyable update on a classic.
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