全民超人汉考克/街头超人 [4K UHD蓝光原盘] Hancock 2008 2160p BluRaycd HEVC TrueHD 7.1 Atmos-COASTER 47.51GB

Hancock is a superhero whose ill considered behavior regularly causes damage in the millions. He changes when the person he saves helps him improve his public image.
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/ ~8 y3 t' g1 N' h4 y7 _◎译　　名　全民超人汉考克/全民超人/街头超人
9 d, ^/ r- B' U2 \0 S7 E' u◎片　　名　Hancock / Tonight, He Comes
◎年　　代　2008
4 F- k9 v' W& j5 W. r% B9 v, N◎产　　地　美国
( q; u- f+ {3 v' }  U◎类　　别　动作/犯罪/奇幻
◎语　　言　英语/日语
◎上映日期　2008-07-02(美国)
◎IMDb评分  6.4/10 from 400,719 users
2 q! V7 L. c  L  G% u1 O% Z◎IMDb链接  https://www.imdb.com/title/tt0448157/
◎豆瓣评分　6.8/10 from 135,422 users
◎豆瓣链接　https://movie.douban.com/subject/1949312/
6 u- ?) X& |& _8 d8 ]! u  Z! K' w8 J◎文件格式　x265 + TrueHD
◎视频尺寸　3840 x 2160
' D6 f3 r! J/ n. s◎文件大小　1DVD 47.51 GiB
0 x4 g4 Q* _2 m6 ?! D, B! {% A◎片　　长　1:32:12.068 (h:m:s.ms)
4 F7 e7 n8 d7 H◎导　　演　彼得·博格 Peter Berg
◎编　　剧　Vincent Ngo
　　　　　  文斯·吉里根 Vince Gilligan
, @) d! x8 q3 D3 E6 j7 H$ i◎主　　演　威尔·史密斯 Will Smith
　　　　　  查理兹·塞隆 Charlize Theron
　　　　　  杰森·贝特曼 Jason Bateman
　　　　　  杰·海德 Jae Head
+ b  t& u0 P8 A- }2 \8 \; Y6 z0 O  g　　　　　  埃迪·马森 Eddie Marsan
　　　　　  约翰尼·盖尔克奇 Johnny Galecki
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: C2 r4 f  t  m8 f5 t  J* b9 L◎简　　介     

8 I/ ^6 Z! F" q, d, t; o 　　Hancock（Will Smith饰），是刀枪不入的全民超人，犯罪分子对他闻风丧胆。然而这位全民超人每次与犯罪分子对峙都闹得惊天动地，造成严重的破坏，对市民的生命和公共财产都是巨大的威胁。这也就是虽然他有着独一无二的能力却仍然得不到大众认同的原因。他暴躁易怒又不辩解的个性更是激化了矛盾。这天公关经理Ray Embrey（Jason Bateman饰）十分倒霉，不仅他的全球爱心理念推销不出去，更在回家的途中被塞车堵在了火车轨道上，险些就被火车一碾而过。Hancock及时出现救了他一命，不可阻挡地破坏了火车和现场的交通，惹起众怒。Ray却灵光一闪，决定包装Hancock，把他塑造成为一位全民爱戴的英雄。没想到，最大的反对竟然来自他的妻子Mary（Charlize Theron饰），她坚持要Hancock离开她的家庭。事情发展下去，牵扯出令人惊讶的缠绵前缘。

# W2 a6 X0 K& p8 V; I 　　There are heroes... there are superheroes... and then there's Hancock. With great power comes great responsibility — everyone knows that — everyone, that is, but Hancock. Disgruntled, conflicted, sarcastic, and misunderstood, Hancock's well-intentioned heroics might get the job done and save countless lives, but always seem to leave jaw-dropping damage in their wake. The public has finally had enough — as grateful as they are to have their local hero, the good citizens of Los Angeles are wondering what they did to deserve this guy. Hancock isn't a man who cares what people think — until the day that he saves the life of PR executive Ray Embrey, and the unpopular superhero begins to realize that he may have a vulnerable side after all.
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1. DISC INFO:
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3. Disc Title:     Hancock.2008.2160p.BluRayCD.HEVC.TrueHD.7.1.Atmos-COASTER
   
4. Disc Size:      51,011,229,014 bytes
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5. Protection:     AACS2
   
6. BD-Java:        Yes
   
7. Extras:         Ultra HD
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Hancock 4K Blu-ray, Video Quality

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9 v* E% Z  u& ~/ G7 z% w9 F9 _: x$ {Hancock was filmed on 35mm and, according to IMDB, it was finished at 4K, presumably the source for this 4K UHD release and, by all comparative indications, the 2008 Blu-ray as well.
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' s+ c; U. S! P2 Y% JHancock is another stunner right out of the gate from Sony.  The HDR (High Dynamic Range) image pushes fairly warm -- flesh tones can range from rosy to red (and that's not a result of the occasionally errant "red push" outlined in the article above) -- but there's a consistency to the movie's stylized palette that accentuates every color, whether flashing police sirens, red spaghetti sauce, or small accents on clothes. Detailing is terrific.  The 2160p image brings out an amazing array of fabric details, evident right off the bat on Hancock's ratty, grimy cap.  All sorts of intimate textures are clearly visible there and elsewhere, whether his shoddy, tattered clothes seen early in the movie or the shiny, form-fitting black outfit he wears later on. Skin details are incredible.  The transfer reveals fine facial pores with a tangible, intimate depth.  Facial stubble and even very fine makeup textures are clearly visible. Grain retention is welcome, even, and consistent. It's a little thicker than the very fine grain structure seen in Pineapple Express, but there's no mistaking this transfer's gorgeous cinematic texturing.
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Almost any shot will yield a good comparison between the UHD and the Blu-ray, but a few examples follow.  First, look at a shot of Hancock passed out on a bench (the first screenshot in this review).  There's actually not a serious increase in tangible resolution here.  The bench, the cap, the jacket's outer material and inner lining, the facial stubble, none of it is worlds away more textured than the Blu-ray. Colors are a bit deeper, particularly the face and the red on the hat, but there's no significant leap in either color or detail. Next, skip ahead to chapter three, which begins with a several-second-long overhead shot.  The color alteration is immediately evident, including the UHD's greater sense of warmth, but so too is the improved saturation and depth, evident on red rooftops, green grasses, fall leaves, blue swimming pools, even a bright yellow house that stands apart, seen at the top of the screen right at the end of the shot that looks more orange in UHD.  Which is more accurate to the source is anyone's guess, but there's an increased firmness and boldness to the UHD/HDR presentation to be sure.  The 21:27 mark offers a good, clear close-up of Will Smith's face. Again, raw detail isn't particularly boosted on the UHD -- pores are well pronounced on both and even a fine vertical line on his nose is very clearly delineated -- but his face definitely looks more flush and full with the HDR color scheme. Darker scenes offer refined black levels and shadow detail; a nighttime, outdoor dinner scene in chapter 10 is a terrific example of how the UHD disc offers a richer black level and shadow detail experience.

4 e; g% l" [. E1 Q, {There's no mistaking that Hancock features a gorgeous transfer.  The UHD/HDR presentation isn't so much more finely detailed as it is more punchy and warm in color and able to more finely delineate blacks and shadow detail.  But unlike San Andreas, Hancock offers a carefully tuned refinement of its color whereas Warner's disc simply looks like a change in the contrast setting. As with all of these early UHD reviews, a refinement of the review process will evolve along the way as more titles become available, the studios' patterers emerge, and greater understanding of the format, particularly HDR color, comes into focus.
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Hancock makes its UHD debut with a brand-new Dolby Atmos soundtrack, replacing the standard release's Dolby TrueHD 7.1 soundtrack. This review is based on a 7.1.4 setup, which is the "traditional" seven-channel plus subwoofer configuration with the addition of four "object" or "overhead" speakers to the mix.

There's a new reference Atmos track on the block, and it's Hancock.  Sony's remix offers a slick presentation that finds just the right balance between aggressive use of the overhead speakers and balanced use of the overhead speakers.  The movie's opening action sequence is of reference quality. A hungover Hancock blasts off from a bench with a mighty push, sending a soaring, almost majestic wave of energy into the stage.  As he flies to a freeway chase, the whoosh of flight practically pulls the listener alongside him.  Any time he flies, really, that gust of air that pushes through the soundstage is amazingly robust and full.  Around the same time in that opening action sequence, a large jet plane zooms through with one of the finest examples of sound imaging this reviewer has ever heard. Moments later, Hancock lands on top of the bad guys' car with a noticeable thud emanating from above.  Fast forward to a bank shootout midway through the movie. Gunfire pops with good authority and immersive placement.  Shots ring out from all over the stage and impact surfaces all around the listener.  A cacophony of chaos shreds the listening area and immerses with an added overhead height presence that gives the scene a wonderfully full and satisfying feel. A storm rips through the stage in chapter 12, again sending a heavy, but refined, punishing wind into the stage that, mixed with tossing and turning debris, makes for another spectacular example of the Atmos track's ability to fully immerse the listener into the movie. But the track doesn't just jump on the big effects.  In that bank robbery scene, a dialogue exchange between Hancock and the criminal offers excellent, room-filling reverberation with a clear, but finely integrated, overhead support.  Sprinklers are set off during a climactic action scene, and listeners can hear and practically feel water dripping down from the ceiling.

; m6 x. c$ b* _" n+ CThere are a couple of moments when the track could probably use a slight boost.  Dialogue can be ever so slightly muffled under the most chaotic conditions, and there are a few points where one could argue for a little more bass, particularly when train cars topple over after Hancock saves Ray early in the movie. But it's otherwise so rich and dynamic it's hard to numerically knock it, especially considering how well it handles other elements, like music. Of note in that department is a Rap song that plays when Hancock begins his prison sentence. It's wide, aggressive, and thumps.  Music in general sports wonderful clarity throughout the range and welcoming and very wide stage presence. Dialogue, save for those few muffled lines, comes through with perfect center focus, articulation, and prioritization. Overall, this is a terrific track from Sony and easily one of the best reference level Atmos mixes on the market.

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