回到未来第一集 [4K蓝光原盘] Back to the Future 1985 2160p BluRaycd HEVC TrueHD 7.1 Atmos-EATDIK 83.93GB & 88.86GB

Marty McFly, a 17-year-old high school student, is accidentally sent thirty years into the past in a time-traveling DeLorean invented by his close friend, the eccentric scientist Doc Brown.


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◎译　　名　回到未来/回到未来第一集
& z6 w1 |+ |* A2 q( u3 L◎片　　名　Back to the Future
( a1 B1 g3 C; i, o' y◎年　　代　1985
$ ]! u/ q- P: A, }; E◎产　　地　美国
: Y0 L7 b; \& M  a* G* v◎类　　别　喜剧/科幻/冒险
◎语　　言　英语
9 z, O/ `6 v3 N0 r◎上映日期　1985-07-03(美国)
# L) V4 w8 A0 Y+ `9 u◎IMDb评分  8.5/10 from 1,059,306 users
◎IMDb链接  https://www.imdb.com/title/tt0088763/
◎豆瓣评分　8.7/10 from 157,739 users
/ y7 t. p0 r) u" i◎豆瓣链接　https://movie.douban.com/subject/1300555/
, S5 U; H/ m+ w$ E, x/ F◎文件格式　x265 + TrueHD
% X9 z! `2 e7 P$ h: o◎视频尺寸　3840 x 2160
) l/ r7 J, j8 x$ d  {◎文件大小　1DVD 83.93 GiB & 88.86 GiB
◎片　　长　1:56:02.288 (h:m:s.ms)
◎导　　演　罗伯特·泽米吉斯 Robert Zemeckis
8 I/ Z/ k4 A: u9 p4 v◎编　　剧　罗伯特·泽米吉斯 Robert Zemeckis
: \! C0 ]0 {) p* S4 p+ Z8 y: p' B8 L　　　　  　鲍勃·盖尔 Bob Gale
◎主　　演　迈克尔·J·福克斯 Michael J. Fox
　　　　  　克里斯托弗·洛伊德 Christopher Lloyd
　　　　  　莉·汤普森 Lea Thompson
0 ~" n- E/ @3 w  |4 D　　　　  　克里斯平·格洛弗 Crispin Glover
; Y. |; K- H$ Q$ C1 {( E1 G　　　　  　托马斯·F·威尔森 Thomas F. Wilson
　　　　  　克劳迪娅·韦尔斯 Claudia Wells
4 t  U" U' l' \8 U" S5 r, Z8 C+ F　　　　  　马克·麦克卢尔 Marc McClure
　　　　  　温迪·乔·斯佩博 Wendie Jo Sperber
7 G  T% s) L% X8 `# ]( Q  m　　　　  　乔治·第桑佐 George DiCenzo
　　　　  　弗兰西斯·李·麦克凯恩 Frances Lee McCain
　　　　  　詹姆斯·托根 James Tolkan
　　　　  　J·J·科恩 J.J. Cohen
　　　　  　凯西·希玛兹科 Casey Siemaszko
　　　　  　比利·赞恩 Billy Zane
　　　　  　小哈利·沃特斯 Harry Waters Jr.
  |8 u. G* b( [* ^! `/ k　　　　  　唐纳德·富利洛夫 Donald Fullilove
　　　　  　丽萨·弗里曼 Lisa Freeman
! D1 Y/ V/ {4 Z　　　　  　克里斯滕·考夫曼 Cristen Kauffman
　　　　  　萨奇·帕克 Sachi Parker
　　　　  　玛丽·艾伦·特雷纳 Mary Ellen Trainor
- Z1 u+ }6 m3 P+ Y* }　　　　  　麦娅·布鲁顿 Maia Brewton
　　　　  　加里·莱利 Gary Riley
　　　　  　艾尔莎·瑞雯 Elsa Raven
　　　　  　休易·路易斯 Huey Lewis
　　　　  　Tiger
  g7 q% _$ N: }2 O/ \% Y' _5 L　　　　  　德博拉·哈蒙 Deborah Harmon
　　　　  　诺曼·阿尔登 Norman Alden
　　　　  　考特尼·盖恩斯 Courtney Gains
　　　　  　乔治·“巴克”·弗劳尔 George 'Buck' Flower
　　　　  　艾薇·贝瑟恩 Ivy Bethune
# X+ \% H- I7 E, L; z% B( r) i8 n) a　　　　  　罗伯特·克兰茨 Robert Krantz
　　　　  　Tom Willett
( C6 b. v; t) h　　　　  　查尔斯·L·坎贝尔 Charles L. Campbell
0 C- v9 X+ {0 Y4 M. O/ f　　　　  　贾森·赫维 Jason Hervey
5 j( L1 P7 z8 u4 g: \- v　　　　  　Jeff O'Haco
! N- ^0 z; u* d1 G7 g  M　　　　  　Will Hare
　　　　  　Tom Tangen
7 A6 a! k* K$ _! S　　　　  　Jason Marin
8 m! j5 e& O! l, e2 T" E; m8 {　　　　  　Tommy Thomas
　　　　  　Read Morgan
2 @- n" b  |- A9 w- K; p/ D　　　　  　Karen Petrasek

- Y$ W( v, l) I* s" H( E, B) i9 i◎标　　签　科幻 | 美国 | 经典 | 喜剧 | 回到未来 | 1985 | 美国电影 | 穿越
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' {2 p$ g' ]; E' l7 r( y( S# f◎简　　介

6 g0 G: r. p' Q# d　　布朗博士（克里斯托弗·洛伊德 Christopher Lloyd 饰）总是有些稀奇古怪的发明。在一次试验他发明的时光机器时，他找来了忘年交高中生马丁（迈克尔·J·福克斯 Michael J. Fox 饰）。岂料实验过程中博士被歹徒杀害了，马丁慌乱中架着时光机逃跑，回到了30年前。
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6 v' D. I1 H% T; ]1 c$ B( e　　马丁遇到了30年前的父亲乔治（克利斯丁·格拉夫 Crispin Glover 饰）和母亲洛莲（莉·汤普森 Lea Thompson 饰）。马丁一边找寻30年前的布朗博士，好让自己回到未来；一边尽力撮合乔治和洛莲，以免自己在以后消失了。但乔治为人懦弱，马丁在撮合过程中弄巧成拙让洛莲爱上了自己。还有令人讨厌的贝夫从中作梗，令马丁恼怒不已。
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/ ?: J/ Z. F- p' L" f, P　　马丁周旋在他的双亲之间，还要尽快找到博士，想办法回到未来……

　　When teenager Marty McFly is blasted to 1955 in the DeLorean time machine created by the eccentric Doc Brown, he finds himself mixed up in a time-shattering chain reaction that could vaporize his future - and leave him trapped in the past.

◎获奖情况
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% D) l3 A& X! C: A) c; [& j　　第58届奥斯卡金像奖 (1986)
, I3 P7 \5 D% @! i　　最佳原创剧本(提名) 鲍勃·盖尔/罗伯特·泽米吉斯
: K$ f8 x( k  H　　最佳音效剪辑 查尔斯·L·坎贝尔/罗伯特·拉特利奇
　　最佳音响(提名) 威廉·B·卡普兰/B·丁尼生·塞巴斯蒂安二世/比尔·瓦尼/罗伯特·瑟尔威尔
' r& ^0 K0 ~% x$ ~  S2 F- `" V0 m' t　　最佳原创歌曲(提名) 休易·路易斯/克里斯·海耶斯/约翰尼·科拉
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Back.to.the.Future.1985.COMPLETE.4K.UHD.BluRayCD.HEVC.TrueHD.7.1.Atmos-MassModz 88.86 GB

/ E! u/ e" Q* r' X% e! Y- R) ~' wGeneral
+ T" {$ f7 ~' E& T# b7 ]5 zFormat: BDAV
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File size: 78.2 GiB
Duration: 1 h 56 min
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" K7 u: g; S& r! O! ^6 EOverall bit rate: 96.5 Mb/s
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! b: t4 E& O% @4 M$ R  u4 b* a% y3 ^Frame rate: 23.976 FPS
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3 A9 X2 T  Q  q/ v+ y  W) ^; r( o+ nVideo #1
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5 B$ x5 b6 R- z! D3 t7 V# jFormat/Info: High Efficiency Video Coding
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( h( |! i4 m6 I3 |7 [! T- _, _Codec ID: 36
- W, y, |2 q5 Y3 @( }; \5 M$ BDuration: 1 h 56 min
Width: 3840 pixels
! i, ?* H0 @/ SHeight: 2160 pixels
Display aspect ratio: 16:9
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4 y. p# a# v1 yChroma subsampling: 4:2:0 (Type 2)
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9 K0 v) V8 Y- `9 m9 KTransfer characteristics: PQ
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4 X3 J7 B* t) u1 oMastering display color primaries: Display P3
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, C  v# V1 K" SMaximum Content Light Level: 1000 cd/m2
- V. U3 K% z. F# K% h& b  ]Maximum Frame-Average Light Level: 755 cd/m2

3 {' ?; t# ]2 v6 i1 L) XVideo #2 (Dolby Vision)
7 s% c( ?! r- i* g. aID: 4117 (0x1015)
7 T( k. }/ u. t, C: n' D0 fMenu ID: 1 (0x1)
8 @& ]& M9 `' _6 DFormat: HEVC
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/ i3 B1 Z/ C% x7 @) ]$ f$ E: M" SFormat profile: Main 10@L5.1@High
HDR format: SMPTE ST 2086, HDR10 compatible
5 I" \! j5 `' LCodec ID: 36
Duration: 1 h 56 min
Width: 1920 pixels
3 {4 `) L- u0 b8 ^$ UHeight: 1080 pixels
8 w" E2 h) e+ Y- WDisplay aspect ratio: 16:9
Frame rate: 23.976 (24000/1001) FPS
; |! d) h0 F  ?. `' ~* dColor space: YUV
Chroma subsampling: 4:2:0 (Type 2)
7 i) Z% F- x3 r( E5 ZBit depth: 10 bits
; @% ^$ ?5 G; z( ?8 `* cColor range: Limited
Color primaries: BT.2020
Transfer characteristics: PQ
Matrix coefficients: BT.2020 non-constant
! o. D+ h  R' R1 H& f! J- N5 YMastering display color primaries: Display P3
* X# S) c) X3 PMastering display luminance: min: 0.0050 cd/m2, max: 4000 cd/m2

. [: h$ q2 A7 E! i, T  RAudio #1
ID: 4352 (0x1100)
Menu ID: 1 (0x1)
Format: MLP FBA AC-3 16-ch
Format/Info: Meridian Lossless Packing FBA with 16-channel presentation
6 H( C  L  c  b2 yCommercial name: Dolby TrueHD with Dolby Atmos
( @" n1 I8 D' m* C0 V6 WMuxing mode: Stream extension
- I5 F3 J' U: @/ G& h( vCodec ID: 131
) {4 V0 l* I3 B& b, HDuration: 1 h 56 min
Bit rate mode: Variable
Bit rate: 448 kb/s
! Y9 x. F" ^! T& Z; E9 o- H) dMaximum bit rate: 7 626 kb/s
Channel(s): 8 channels
Channel layout: L R C LFE Ls Rs Lb Rb
Sampling rate: 48.0 kHz
" X0 q) e) z+ p3 T: Q. t& mFrame rate: 31.250 FPS (1536 SPF)
Compression mode: Lossless
Stream size: 372 MiB (0%)
- l/ X( Y( l5 `* o- n& E% zService kind: Complete Main
Number of dynamic objects: 11
Bed channel count: 1 channel
  N  h1 P$ L# `, R: {Bed channel configuration: LFE

Subtitles: English, German, Italian, Spanish, Portuguese, Turkish
Audio Channels: English Dolby TrueHD 7.1 (9216 Kb/s), English Dolby Digital 5.1 (448 Kb/s), German Dolby, TrueHD 7.1 9216 Kb/s, German Dolby Digital 5.1 (448 Kb/s), Italian DTS 5.1 (768 Kb/s), Spanish DTS 5.1 (768 Kb/s), Portuguese DTS 5.1 (768 Kb/s), Turkish DTS 5.1 (768 Kb/s)
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4 N, |7 x5 c. }% I3 @! DIMPORTANT INFO: THIS IS THE FULL 4K UHD BLU-RAY DISC. IT HAS DOLBY ATMOS AND DOLBY VISION INCLUDED.

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3. Disc Title:     Back.to.the.Future.1985.2160p.BluRaycd.HEVC.TrueHD.7.1.Atmos-EATDIK
   
4. Disc Size:      90,100,752,254 bytes
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Back to the Future 4K Blu-ray, Video Quality   
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8 l8 c  T# ~1 k# lThe included screenshots are sourced from the newly remastered 1080p Blu-ray disc.

If fans were hoping that Universal would use the occasion of Back to the Future's 35th anniversary to overhaul the movie for high definition, to move past the studio's previously acceptable, but ultimately lackluster, Blu-ray effort, then those fans are going to be delighted. "History is going to change," Marty says in the movie, and indeed Back to the Future now looks stunning. Gone is the filtered and flatter appearance that was best suited for standard definition DVD. Universal has overhauled the film to give it a very natural, unabashedly filmic appearance. Grain is intact, complimentary and somewhere between fine and dense but always organic. It does have a slightly noisier appearance in lower light interiors: the first sequence in Marty's home, for example, when Biff confronts George. Later in chapter 11 when Marty and Doc roam the high school halls serves as another example. The picture struggles most during Biff's tussles with Marty and George late in the film when he's making his moves on Loraine in the parking lot; the picture here deals with the noisiest looking grain and definition falters here as well, almost looking like video rather than film. But overall the picture bears the fruit of a healthy, filmic texture which serves the movie well, and it probably looks better than it did projected in theaters decades ago.

Clarity is excellent on close-ups of Brown's doodads and gizmos, like the date readouts on the DeLorean dashboard or the remote control with which he controls the car in the mall parking lot. Clothing textures delight. Look at Loraine's sweater out in daylight after the skateboard chase though the town square. The definition is just striking. Everything is sturdy and high yield. Faces are naturally complex, environmental elements at the mall, around the 1950s town square, or on the dance floor late in the film are simply stunning. There's no shortage of high clarity finesse in play, and chances are longtime fans might even spot a couple of things that might have been missed in previous versions, like that the keys to the DeLorean when Marty starts the car in the mall parking lot have a little tag with Brown's name and contact information written on it. This is a treat.

The film is presented with Dolby Vision color grading which is largely a boon for the picture. Longtime fans will immediately note that the picture is a bit darker, skin tones appear more flush, whites look crisper, and blacks present with previously unmatched depth. Look at the parking lot sequence at Twin Pines Mall around the 20+ minute mark. The nighttime black density is perfect, the wet pavement has a quality sheen and depth about it, and there's very little crush, seen mostly in shots sourced from a camera mounted on the DeLorean as it travels back in time. Tones around 1950s Hill Valley out in daylight delight with bold greens, intense clothing tones (Loraine's sweater again), and all of the vintage signage around town benefit from improved accuracy and contrast. The warmer tones in Doc's 50s home couldn't be more inviting. The Dolby Vision grading even allows for fans to catch some small details that others versions really couldn't show with the contrast and color accuracy to see clearly, like the fact that Goldie Wilson's campaign poster, seen on a van plastered them, shows him with a single gold tooth. The image is free of any serious print faults or encode problems. What a delight!

4 T6 p6 @0 p! |Back to the Future 4K Blu-ray, Audio Quality   

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; p7 u: W6 D- p  _! HBack to the Future's UHD presentation features a Dolby Atmos soundtrack which is exclusive to this disc. It's a fine listen that adds space and clarity, bringing the movie's iconic sounds and score to newfound life; it's the perfect compliment to the practically perfect UHD picture. There are some good examples of the overhead channels not necessarily overriding everything else but certainly adding some quality spacial depth. Two examples come in the opening scene with Marty in Doc's home. First, when he's blown back by the amp, a bookshelf falls behind him with a pleasant feel for the falling materials coming down on top of him. A few moments later all of the clocks go off with resounding, aggressive presence spilling from every channel. When Marty and Jennifer arrive at school, voices echo through the otherwise empty hallways. It's a little dense but the effect is quite good overall. Later in the film, insect ambience outside Doc's 1955 home when Marty first arrives seems to position some of those elements above as well as around, creating a full, impressive sense of place. Music is one of the critical elements in play and it does not disappoint. "Power of Love" blasts through the speakers with phenomenal detail and full-stage spread. "Johnny B. Goode" has never enjoyed such richness, detail in every note and lyric, and full immersion throughout the stage. Alan Silvestri's timeless score flows from the speakers with utmost precision to both spacing and fidelity. As with other elements, it's not discreetly above but the supports from those channels, as well as the surround-back speakers, only allows for fuller immersion into the music. Big action effects delight, particularly as the DeLorean zips down streets as it approaches 88 miles per hour. Some gunshots hit hard, punches land with authority, and even when Marty's head hits concrete the effect proves as squeamishly authentic as ever. Dialogue is clear, well prioritized, and center focused. It's a dream!

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