|Year Of Production||1987|
|Running Time||107:31 (Case: 112)|
|RSDL / Flipper||RSDL (58:11)||Cast & Crew|
|Start Up||Language Select Then Menu|
|Region Coding||2,4||Directed By||Garry Marshall|
Twentieth Century Fox
|Pan & Scan/Full Frame||None||
English Dolby Digital 2.0 (192Kb/s)
German Dolby Digital 2.0 (192Kb/s)
French Dolby Digital 2.0 (192Kb/s)
Italian Dolby Digital 2.0 (192Kb/s)
Spanish Dolby Digital 2.0 (192Kb/s)
|Widescreen Aspect Ratio||1.85:1|
|Video Format||576i (PAL)|
|Original Aspect Ratio||1.85:1||Miscellaneous|
English for the Hearing Impaired
German for the Hearing Impaired
|Annoying Product Placement||No|
|Action In or After Credits||No|
††† After the job is completed, Joanne finds fault with the job and says she wonít pay for it and kicks, err... make that pushes, Dean and his tools overboard.
††† As fate would have it, later that evening Joanne falls Overboard and is picked up by another passing boat, which just happens to be a garbage scow (how fitting!). Joanne is taken to the local hospital with amnesia. Dean gets to hear about a mysterious woman found out at sea who has amnesia and when he finds out who it is, he spots an opportunity to get some payback and recoup some of the money she owes him - by putting her to work around his house. So, Dean goes to the hospital and pretends Joanne is his wife, Annie Profitt.
††† As you can imagine, Dean isnít very kind to her and basically treats her like a slave (which is not very PC). But, as time goes by they start acting more and more like a family...but will it last?
††† The transfer is presented in an aspect ratio of 1.85:1 and is not 16x9 enhanced.
††† Picture sharpness varies from acceptable to good. There would have been a lot more detail in the picture if it weren't for the grain. Shadow detail is good. No low level noise, edge enhancement or edge bleeding was noticed.
††† The colour is good, but is lacking sparkle, so it comes across as unremarkable and flat for most of the film. The colour looks quite decent in a couple of the night-time sequences, but unfortunately most of this movie takes place during the daytime.
††† Grain is terrible. From the very opening scene to the end of the film it is everywhere. It strongly affects both the foreground and background picture for almost the entire film and is really noticeable, which ruins this transfer. There are a couple of scenes that escape the grain, but they don't last very long.
††† No MPEG artefacts were noticed. There are many instances of aliasing and moire artefacts, but generally these aren't too strong. Examples can be found at 4:00 - 4:12, 6:40, 8:12, 8:23, 8:50, 41:10, 88:27 and 95:05. The lack of 16x9 enhancement certainly added to this problem. Interlacing artefacts are another bothersome area for this transfer, and even though there aren't too many instances, they are distracting when they occur.
††† Overall the film artefacts arenít too bad, but they could have been much better. There is a generous sprinkling of minor non-disruptive film artefacts, but there is also a goodly number of distracting medium-sized artefacts too, especially towards the end of the film.
††† This disc is an RSDL disc, with the layer change occurring in Chapter 19, at 58:11. The only real indication of the layer change is a short pause in the light background music, which is very easy to miss. Thus I must say that the layer change is very well placed and is not disruptive to the flow of the movie at all.
††† Dialogue was clear and easy to understand throughout with only one minor instance where the dialogue was out of sync due to an instance of dialogue replacement (at 53:53).
††† The musical score is by Alan Silvestri.
††† For most of the movie the sound comes from the centre channel, with only limited and light surround channel use - pretty normal for the genre and age of film. There are a couple of scenes where the rear speakers are used effectively and noticeably, such as at 70:03, but these instances were rare.
††† The subwoofer is only lightly used throughout the movie, adding a nice bottom end to the sound, but there are no instances of deep floor-rattling bass, which again should not be expected from this genre of film.
|Surround Channel Use|
NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
††† The video quality is poor, the main cause being excessive grain which plagues the picture from start to finish.
††† The audio quality is good, with no transfer-induced faults. There isn't a lot of good surround channel use, but this is hardly surprising from this type of film.
††† The extras are extremely limited.
|DVD||Sony DVP-725, using Component output|
|Display||Sony Projector VPH-G70 (No Line Doubler), Technics Da-Lite matt screen with gain of 1.0 (229cm). Calibrated with Video Essentials. This display device is 16x9 capable.|
|Audio Decoder||Built in to amplifier/receiver. Calibrated with Video Essentials.|
|Speakers||Fronts: Energy RVS-1 (3), Rears: Energy RVSS-1 (2), Subwoofer: Energy EPS-150 (1)|