Overall | The Omen | Damien: Omen II | Omen III: The Final Conflict
The Omen Trilogy boxed set is a collection of the three films that are considered canon in the story started in 1976 by The Omen, presented in a gatefold with the same carbon slip cover as was used for the limited editions of Fight Club and The Rocky Horror Picture Show. In contrast to a lot of other boxed sets of this variety, the two sequels, Damien: Omen II and Omen III: The Final Conflict, are not available separately. This is something of a nuisance, as I would have preferred to buy them in Transparent Amarays, but the $99.95 price point of this boxed set represents a saving of about $10.90 compared to the presumed cost of buying all three films separately.
In contrast to the Region 1 version, the frankly
appalling telemovie Omen IV: The Awakening is not available
in the Region 4 version of this boxed set. If you decide that you must
buy this telemovie (which is not available separately even in Region 1),
you're really only buying an expensive coaster, because said film is bad
enough to make a grown man cry profusely. Overall, if you're looking for
a classic horror saga with excellent presentation, then The Omen
Trilogy Boxed Set is difficult to ignore. Granted, the films are
incredibly dated, and the two sequels have more plot holes than you can
shake a lengthy cylindrical object at, but the horror fan is in for a real
treat with this boxed set. Grab a box of popcorn, your favourite religious
trinkets, turn the lights out completely, and be prepared for horror films
that work more on the psychological level than the visual one.
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This review is sponsored by
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| Category | Horror | Main Menu Introduction
Main Menu Audio & Animation Audio Commentary - Richard Donner (Director) & Stuart Baird (Editor) Featurette - 666: The Omen Revealed Featurette - Curse Or Coincidence Featurette - Jerry Goldsmith on The Omen Score Theatrical Trailer |
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| Year Released | 1976 | ||
| Running Time | 106:26 Minutes | ||
| RSDL/Flipper | RSDL (49:33) |
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| Start Up | Menu | ||
| Region | 2,4 | Director | Richard Donner |
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Distributor |
Fox Home Entertainment |
Starring | Gregory Peck
Lee Remick David Warner Billie Whitelaw Harvey Stephens Patrick Troughton |
| Case | Transparent Amaray | ||
| RPI | Individual Disc - $36.95
Boxed Set - $99.95 |
Music | Jerry Goldsmith |
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| Pan & Scan/Full Frame | None | English (Dolby Digital 2.0  ,
192Kb/s)
English Audio Commentary (Dolby Digital 2.0 mono, 96Kb/s) |
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| Widescreen Aspect Ratio | 2.35:1 | ||
| 16x9 Enhancement |
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| Original Aspect Ratio | 2.35:1 |
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| Macrovision | Yes | Smoking | No |
| Subtitles | Czech
Danish English for the Hearing Impaired Finnish Hebrew Hungarian Icelandic Norwegian Polish Portuguese Swedish |
Annoying Product Placement | Yes |
| Action In or After Credits | No | ||
The story begins on the sixth of June, at the hour of six in the morning, in the year 1966, with Robert Thorn (Gregory Peck), an industrial mogul, travelling to the local hospital where his wife, Katherine (Lee Remick), is about to give birth. Unfortunately, the delivery does not go at all well, with Katherine passing out during labour, and the baby being stillborn, at least according to the doctor. Father Spiletto (Martin Benson) comes to Robert, stating that another baby has been born whose mother did not survive the birth, and he suggests the idea that Robert raise the young orphan as his own son, with Katherine none the wiser. Shortly thereafter, Robert Thorn accepts the position of ambassador to England, requiring him to move to London, which he does in earnest (as I would do if I had the money he is portrayed as having).
All goes well for a while, with the young Damien (Harvey Stephens, who has never made a film since) slotting nicely into place as the heir to the massive Thorn empire. However, things take a turn for the ugly when the Thorns hire a young nanny (Holly Palance) to assist in caring for Damien, which ends with the nanny proceeding to kill herself at Damien's fifth birthday party. She is soon replaced by a much more creepy, elder nanny known as Missus Baylock (Billie Whitelaw), who is enough of a cow (figuratively, I mean) to bring out the beast lurking within any male child. As animals also begin reacting unfavourably to Damien, Robert is contacted by the slightly unhinged Father Brennan (Patrick Troughton), who warns that Damien is the Antichrist and that Robert should seek out the archaeologist priest called Bugenhagen (Leo McKern, who is uncredited in both of the Omen films he appears in). At first, Robert dismisses Brennan's warnings, but shots taken by a photographer named Jennings (David Warner in a show-stealing performance) reveal awful warnings that precipitate some extremely nasty deaths. These photographs, among other things, help convince Robert that the warnings he originally dismissed as lunacy are actually the truth, and he sets to find out more about Damien's natural parents.
I'll be brutally honest with you and tell you that this film has not aged as well as it would have with a tighter script and some better acting. David Warner steals the show because he plays his role absolutely straight, with the kind of sincerity that I normally only deliver when I scream abuse at the elders of one of those sects you hear about on current affairs shows. He also gets decapitated from several angles in one of the most sadistic death scenes ever committed to celluloid, even comparing well to those that feature eleven years later in both the theatrical and uncensored versions of RoboCop. Perhaps the most interesting quote of all about the film, however, is that attributed to screenwriter Brian Seltzer: "I did it strictly for the money. I was flat broke. What does frighten me is how many people actually believe all this silliness."
The transfer is presented in the original aspect ratio of 2.35:1, and it is 16x9 Enhanced.
The transfer is very sharp most of the time, but there seems to be a definite mid-seventies haze in a lot of the shots. The shadow detail ranges from poor to average, with a lot of the night-time shots being just barely clear enough to make out what is supposed to be happening. Low-level noise is not a problem, but film grain is occasionally intrusive, especially during a close-up of a gun muzzle at 102:10.
The colours in the picture are always very dull and muted, with even the outdoor environments seeming to have little or no life to them. This is more a fault of the methods by which the film was photographed, rather than the transfer. One specific artefact occurred at 35:23, when a trail of colour bleeding extended up from the top of one man's hat. I'm hoping that this was merely a fault of the source material, because it is quite unusual to see colours extend this far past their normal position on DVD-Video.
MPEG artefacts are not a problem at all for this transfer. Film-to-video artefacts, however, consisted of frequent aliasing. While the aliasing was mostly quite minor, there were the occasional big ones such as at 37:18, which was mildly distracting. Film artefacts were slightly problematic during the end sequence, with vertical scratches making frequent appearances from 103:49 onwards, but the rest of the film is remarkably clean where film artefacts are concerned.
This disc is RSDL formatted, with the layer change taking place during Chapter 10, at 49:33. The pause is very brief, and the location could not be better in light of that.
The dialogue is mostly clear and easy to understand, although there were some utterances at times that were a little difficult to make out. This is probably a fault with the original recording techniques, and it isn't as though the words spoken at these times were particularly important or emphasized, anyway. Some of the dialogue is spoken in Italian, but it is pretty easy to guess what these lines mean from their context. There were no discernible problems with audio sync.
The music in this film is credited to Jerry Goldsmith, and it makes a great lesson in how to overstate a theme to the point where even a simple one sounds like a deathly crescendo. Much of the score consists of a bold theme on piano and strings, with a huge choir repeating a few words in Latin, such that they were just begging for the hilarious send-up they received in one episode of South Park. I simply can't listen to these choir movements without the phrase "Cheesy Poofs" coming to mind at the end of every three Latin words, and I doubt that anyone else who has seen that episode of South Park will be able to, either. All things considered, the score is quite effective at its aims.
The surround channels are occasionally used to support the music and a handful of sound effects, such as the wheels of a tricycle. Considering that the film was originally presented in mono, this is not terribly surprising, but it does make the soundtrack somewhat less immersive than one could expect from a film of this ilk. One could be forgiven for thinking that the surrounds decided to go and have a cup of coffee during most of the film, although most of the film doesn't really have much for the surrounds to get worked up about, anyway. The subwoofer was not particularly used during this film, either, only taking the occasional redirected signal during such moments as the ringing of bells, the infamous beheading, or the graveyard sequence.
The video transfer is average.
The audio transfer is average.
The extras are interesting.
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© Dean McIntosh
(111)
May 8, 2001.
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| DVD | Toshiba SD-2109, using S-video output |
| Display | Samsung CS-823AMF (80 cm) in 16:9 and 4:3 modes, calibrated using the NTSC DVD version of Video Essentials. |
| Audio Decoder | Built In (Amplifier) |
| Amplification | Sony STR-DE835, calibrated using the NTSC DVD version of Video Essentials. |
| Speakers | Yamaha NS-45 Front Speakers, Yamaha NS-90 Rear Speakers, Yamaha NS-C120 Centre Speaker, JBL Digital 10 Active Subwoofer |
This review is sponsored by
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| Category | Horror | Audio Commentary - Harvey Bernhard
(Producer/Writer)
Theatrical Trailer Trailer - The Omen Trailer - Omen III: The Final Conflict |
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| Rating |  |
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| Year Released | 1978 | ||
| Running Time | 102:29 Minutes | ||
| RSDL/Flipper | RSDL (56:53) |
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| Start Up | Menu | ||
| Region | 2,4 | Director | Don Taylor |
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Distributor |
Fox Home Entertainment |
Starring | William Holden
Lee Grant Jonathan Scott-Taylor Robert Foxworth Nicholas Pryor Lew Ayres |
| Case | Gatefold | ||
| RPI | Boxed Set - $99.95 | Music | Jerry Goldsmith |
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| Pan & Scan/Full Frame | None | English (Dolby Digital 2.0 ,
192Kb/s)
English Audio Commentary (Dolby Digital 2.0 ,
96Kb/s) |
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| Widescreen Aspect Ratio | 2.35:1 | ||
| 16x9 Enhancement |
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| Original Aspect Ratio | 2.35:1 |
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| Macrovision | Yes | Smoking | Yes, occasionally |
| Subtitles | Czech
Danish English for the Hearing Impaired Finnish Hebrew Hungarian Icelandic Norwegian Polish Portuguese Swedish |
Annoying Product Placement | Yes, mildly |
| Action In or After Credits | No | ||
Damien: Omen II picks up just after the death of industrial mogul Robert Thorn, with the archaeologist Bugenhagen (Leo McKern) meeting with a man named Michael (Ian Hendry). Bugenhagen shows Michael a newspaper article in which the face of the young Damien Thorn is prominently featured, claiming that the five-year-old in the newspaper article is the Antichrist. Michael, naturally, is rather sceptical while Bugenhagen gives him a case containing the seven daggers of Meggido and a letter explaining Damien's true origins, so Bugenhagen insists that Michael come with him to see Yigael's wall, a relic that was painted by the saint Yigael when he had visions of what the Antichrist would look like. Just as Michael gets to see that Bugenhagen is not having a lend of him, and that Damien is indeed the Antichrist, the tunnel begins to cave in on them, and they are buried alive.
The film then fast-forwards seven years in order to catch up with an adolescent Damien Thorn (Jonathan Scott-Taylor), who is now living with the late Robert Thorn's brother, Richard (William Holden), Richard's second wife Ann (Lee Grant), and his son Mark (Lucas Donat). Damien and Mark are about to leave for military school while Richard's sister, Marion (Sylvia Sydney) has come for a visit. Marion is suspicious of Damien and believes him to be a bad influence upon Mark, so she demands that Richard take the boys out of the military academy they attend and place them in separate schools, or else she will donate her share of the Thorn empire to charity. As Ann and Richard decide they no longer want her around, Marion is visited in the night by a raven that watches as she has a heart attack and dies. This sets one interesting trend in Damien: Omen II with regards to the people who investigate the title character's true origins, in that anyone who discovers or talks about them with another character dies within five minutes.
Meanwhile, at the Davidson Military Academy, anti-Thorn sentiment runs high because of the family's almost royal-like reputation there, and Damien initially reacts to this with some displays of his knowledge and power. A sergeant at the academy known only as Neff (Lance Henriksen) takes Damien aside and tells him to consult the Book of Revelation in order to discover why corpses pile up around him. Two questions are raised by this particular tangent, with the first being what to make of all the moments in the original Omen where the five-year-old Damien seemed to have a somewhat instinctive knowledge of his true heritage. The second question is why the idea of Damien struggling to come to terms with his position as the AntiChrist could not have been explored with a little more depth, rather than starting and stopping with his screams of "why me?" at the evening sky.
However, we're getting a little ahead of ourselves on that one, as the five-minutes-after-blabbing death trend is kept up by a journalist by the name of Joan Hart (Elizabeth Shepherd), who happens to be an old colleague of Jennings, the photographer who was memorably decapitated in the original film. Within minutes of trying to warn Richard and Ann, Joan glimpses Damien's face, and is shocked to discover that it perfectly resembles one of those painted on Yigael's wall. She is then promptly eliminated by the pet raven, and a very large truck that seems rather out-of-place upon a deserted highway. Meanwhile, after more corpses pile up around Damien, Richard starts to grow suspicious of who Damien really is, and does some investigating of his own. This is where I'll leave the plot summary so you can make up your own mind about whether or not this sequel represents an adequate continuation of the story. If I could sum up the plot quality in one sentence, it would be something like: I quite enjoy Damien: Omen II, others don't, so let's dive right in.
The transfer is presented in the original aspect ratio of 2.35:1, and is 16x9 Enhanced.
The transfer is very sharp - not quite as sharp as some contemporary transfers, but sharp enough to impress anyone who is familiar with what other formats can do to films of this age. The shadow detail is just a little tiny bit better than that of the previous film, but still not particularly good because of the film stocks that were used in shooting. There is no low-level noise, and the transfer is less grainy in appearance than is the case with the previous film.
The colour saturation of this transfer is pretty muted and dull, in at least the same way that most films from around this era are. The only problems I noted with regard to colour were some frames late in the film that took on a slightly yellow tinge compared to the other frames. This effect was only found during a couple of seconds in the film, and served to remind me that the colour saturation could have been a lot worse considering the film's age.
MPEG artefacts were not a problem in this transfer, with the video material having plenty of space to breathe. This might explain the increase in sharpness that this transfer of Damien: Omen II exhibits over its predecessor, which was compressed just a couple of notches more tightly in order to accommodate a few more extras. Film-to-video artefacts consisted of some aliasing, which was usually quite minor and inconspicuous in the overall picture. However, I did note three quite large aliasing artefacts; at 31:45 on the steps in front of the Thorn Museum; at 60:01 during a panning shot towards the entrance of a Thorn-owned factory; and finally at the same entrance to the Thorn Museum at 71:04. These aliasing artefacts were more distracting than the others, but more tolerable because they weren't there for very long. Film artefacts consisted of some nicks and scratches on the picture that were acceptable within the limits of a twenty-two year old film.
This disc is RSDL formatted, with the layer change taking place in the middle of Chapter 10, during the bugle music at 56:53. This placement is a little suspect, as it is quite conspicuous in comparison to some points a matter of minutes earlier or later that the layer change could have been placed.
Again, we have been presented with two soundtracks on this DVD: the original English dialogue in Dolby Digital 2.0 with surround-encoding and a bitrate of 192 kilobits per second, and an English Audio Commentary in Dolby Digital 2.0 with surround-encoding and a bitrate of 96 kilobits per second. I listened to both soundtracks just to be a completist.
The dialogue is clear and easy to understand at almost all times, although the integration between the dialogue and the sound effects is a little unnatural, as you might expect from a film of this age. Leo McKern's rambling at the start of the film, I won't say exactly when because I don't want to spoil the plot, was a little hard to make out, and words such as Yigael may have you scratching your head, but the dialogue is otherwise perfect. There were no discernible problems with audio sync.
The music in this film is also credited to Jerry Goldsmith, and it is just as hard to take seriously in this instalment as it was in the last. Just for good measure, the people responsible for this score decided to add some sounds in certain themes that remind me of frogs mating, which makes the whole score even harder to take seriously. Again, this score is about as subtle as the idea of driving a fur-coated jeep through a crowd of environmentalists, but this makes it strangely fitting to the needs of the film. Jerry Goldsmith, however, did not win another award for this effort, which can be explained by the fact that the score in this sequel is largely recycled from the original.
The surround channels were sparingly used to support the occasional directional sound effect and the music, but for all intents and purposes, this really can be considered a monaural soundtrack with some occasional stereo elements. Considering that the film was originally presented in mono, this is probably better than we can really expect, but it is still a little disappointing compared to some of the miracles of remixing that we've received on DVD lately. Some elements of the score music, usually the frog-like sounds, came across as being distorted, but there was enough of a gain in the fidelity over any monaural presentation to justify the surround remix. The subwoofer was used to support the music and the occasional sound effect, such as that nasty little elevator death, but there was no real deep bass to speak of in the soundtrack. The subwoofer could have been turned off and nobody would have been the wiser, really.
The video transfer is very good.
The audio transfer is good, but not great.
The extras are basic.
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| Audio | |
| Extras | |
| Plot | |
| Overall | |
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| DVD | Toshiba SD-2109, using S-video output |
| Display | Samsung CS-823AMF (80 cm) in 16:9 and 4:3 modes, calibrated using the NTSC DVD version of Video Essentials. |
| Audio Decoder | Built In (Amplifier) |
| Amplification | Sony STR-DE835, calibrated using the NTSC DVD version of Video Essentials. |
| Speakers | Yamaha NS-45 Front Speakers, Yamaha NS-90 Rear Speakers, Yamaha NS-C120 Centre Speaker, JBL Digital 10 Active Subwoofer |
This review is sponsored by
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| Category | Horror | Audio Commentary - Graham Baker
(Director)
Theatrical Trailer Trailer - The Omen Trailer - Damien: Omen II |
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| Year Released | 1981 | ||
| Running Time | 103:52 Minutes | ||
| RSDL/Flipper | RSDL (57:41) |
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| Start Up | Menu | ||
| Region | 2,4 | Director | Graham Baker |
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Distributor |
Fox Home Entertainment |
Starring | Sam Neill
Rossano Brazzi Don Gordon Lisa Harrow Barnaby Holm Mason Adams |
| Case | Gatefold | ||
| RPI | Boxed Set - $99.95 | Music | Jerry Goldsmith |
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| Pan & Scan/Full Frame | None | English (Dolby Digital 2.0 ,
192Kb/s)
English Audio Commentary (Dolby Digital 2.0 ,
96Kb/s) |
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| Widescreen Aspect Ratio | 2.35:1 | ||
| 16x9 Enhancement |
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| Original Aspect Ratio | 2.35:1 |
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| Macrovision | Yes | Smoking | No |
| Subtitles | Czech
Danish English for the Hearing Impaired Finnish Hebrew Hungarian Icelandic Norwegian Polish Portuguese Swedish |
Annoying Product Placement | No |
| Action In or After Credits | No | ||
The world has changed a lot from the period depicted in Damien: Omen II, with the Thorn Industries conglomerate extending its tentacles all over the world, with interests in food production being central to the plot. A salvage operation in Chicago to recover the artefacts that survived the destruction of the Thorn Museum collects the seven daggers of Megiddo, which change hands repeatedly until being bought in an auction. There, they are distributed to a group of seven monks, led by Father DeCarlo (Rossano Brazzi), who embark upon a mission to rid the world of Damien Thorn (Sam Neill). Damien, meanwhile, is flexing his political muscle, using his intimate knowledge of biblical prophecy to predict that he will soon be offered the position of Ambassador to England, or Ambassador to the court of Saint James as the title actually goes. The current Ambassador (Robert Arden) proves to be something of an obstacle until he is hypnotized by a Rottweiler into shooting himself, giving us a sequence that earns this film the R rating by itself.
When the President of the United States (Mason Adams), who is never known by any other name during this film, offers the position of Ambassador to Damien, Damien makes it clear that he intends to run for a position in the United States Senate in 1984, which he states as being two years from the date depicted in the film. If Damien is thirty-two and wants to run for the Senate two years after being made an Ambassador in 1982, we're retrospectively placing his birth in the 1950s, which destroys continuity with the first Omen, which in turn clearly stated his birth date as six in the morning on June the sixth, 1966. If he were running for the Senate at the age of thirty-four, then he would have to be doing this in at least the year 2000 (Hillary Clinton might well be the AntiChrist, then, now that I think about it). Meanwhile, the seven monks make some hilariously ill-conceived attempts upon Damien's life, while Damien starts to court a journalist by the name of Kate Reynolds (Lisa Harrow). Meanwhile, the signs all point towards the Nazarene making his Second Coming in the British Isles, so Damien sets about eliminating him before his powers are too diminished.
[Dean's Note: Plot spoiler ahead - highlight to read] The ending of the film had me quite disappointed, really, as the description of how Damien is supposed to be killed in The Omen clearly specifies that his blood must be spilled upon a holy altar on hallowed ground. Not only that, but Bugenhagen clearly specified to Robert Thorn that the daggers have to be arranged in an outward-radiating pattern in a crucifix shape. To have Kate simply stab him in the back with one dagger before he falls down and dies in front of the Nazarene is a real letdown compared to the possibilities that the original specified method bring to mind. Perhaps it is more intriguing to portray the AntiChrist as a child rather than as an adult, after all.
Anyway, that little rant about the literary quality of the legend being portrayed in this film aside, this film is well worthy of your consideration if you enjoyed The Omen and Damien: Omen II. There are plenty of amusing gaffes and blunders, the two I've just rambled about being the biggest examples, but the story needed a conclusion, and this is a perfectly good one at that. I'm sure you will have no trouble ignoring the fact that an appalling telemovie was made ten years later, since most of movie-going society doesn't.
The transfer is presented in the original aspect ratio of 2.35:1, and is 16x9 Enhanced.
The transfer is quite sharp considering its age, more so than one would expect from most films of this age, in fact. The only real clue to the age of this film is its distinctly ordinary shadow detail, with blacks containing little or no discernible details most of the time. There is no low-level noise to spoil the black patches in the transfer.
The colours are still muted and drab in that distinct Days Of Our Lives style, although this is tempered by the occasional splashes of vibrant greens in the British countryside. There are no problems with bleeding, misregistration, or miscoloured frames as was apparent in maybe a second's worth of frames in the previous film.
MPEG artefacts are not a problem at all in this transfer. Film-to-video artefacts are still slightly problematic, although this transfer is an improvement over that afforded to Damien: Omen II in the film-to-video arena. Some telecine wobble is apparent during the later half of the closing credits, and aliasing is still a slight problem. Most of the instances of aliasing were very minor, but there was one bad one at 9:53 on a car that narrowly misses Robert Arden. Car chrome still shows aliasing in great quantities, but this is generally tolerable because cars don't appear as frequently in this episode of the trilogy. Film artefacts were plentiful, and sometimes a little intrusive, but they were acceptable in the context of the film's age.
Like the other two Omen DVDs, this one is RSDL formatted, with the layer change taking place during Chapter 9, when the two priests close in on Damien at 57:41. It is a noticeable layer change, but not quite as disruptive as the one in Damien: Omen II.
There are two soundtracks on this DVD: the original English dialogue in Dolby Digital 2.0 with surround-encoding and a bitrate of 192 kilobits per second, and an English Audio Commentary in Dolby Digital 2.0 with surround-encoding and a rather paltry bitrate of 96 kilobits per second. I listened to the entirety of both of these soundtracks, although I will comment more on the audio commentary later.
The dialogue is clear and easy to understand at all times, and there are no usages of words in this film that might confuse the average listener as was the case in the previous two episodes. Some of Rossano Brazzi's dialogue consists of chanting in Latin, but this was of little consequence to the overall story. Brazzi's English, as is pointed out in the commentary, is not exactly the best, but he is more than capable of getting his point across. There are no discernible problems with audio sync.
The score music in this film is credited to Jerry Goldsmith, and it is a somewhat different beast to that which is featured in the other two episodes. Although it is still about as subtle as driving an armoured personnel carrier through a school playground, the chants that begged for the send-ups they've gotten over the years are more subtly integrated into the overall musical scheme. Overall, the musical side of this film is much improved compared to its predecessors, almost taking on the narrative element common to all the Star Wars films, and it is something of a shame that we weren't given an Isolated Score with this film.
The surround channels are used to support the music, and some directional effects such as the radio-controlled helicopter. Overall, the surround channels are only subtly used, but they seem a little better integrated into the overall soundstage, as does the dialogue. Granted, it still doesn't hold a candle to the surround channel usage on more recent films, but it is the best episode in the trilogy where surround channel usage is concerned.
The subwoofer was used sparingly, taking some redirected signal to support the music and some of the sound effects used in the assassination attempts. It supported all of these things without drawing attention to itself, although this might have more to do with the lack of deep bass in the original soundtrack.
The video transfer is good.
The audio transfer is good.
The extras are basic.
| Video | |
| Audio | |
| Extras |  |
| Plot | |
| Overall | |
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| DVD | Toshiba SD-2109, using S-video output |
| Display | Samsung CS-823AMF (80 cm) in 16:9 and 4:3 modes, calibrated using the NTSC DVD version of Video Essentials. |
| Audio Decoder | Built In (Amplifier) |
| Amplification | Sony STR-DE835, calibrated using the NTSC DVD version of Video Essentials. |
| Speakers | Yamaha NS-45 Front Speakers, Yamaha NS-90 Rear Speakers, Yamaha NS-C120 Centre Speaker, JBL Digital 10 Active Subwoofer |