为所应为/不做错事 [4K蓝光原盘] Do the Right Thing 1989 2160p BluRaycd HEVC DTS-X 7.1-EATDIK 87.47GB

- p1 Q' \7 w, @, N9 I& e" {5 K- o◎译　　名　为所应为/循规蹈矩/不作亏心事(港)/不做错事
◎片　　名　Do the Right Thing
◎年　　代　1989
" h% j2 u8 k9 _" K3 ~) w◎产　　地　美国
3 M2 U5 ~; s7 ]9 u) p' p% ^( n! x( G◎类　　别　剧情/喜剧
◎语　　言　英语/意大利语/西班牙语
$ A3 t) l1 F% O; |' l2 M7 J' D◎上映日期　1989-05-19(戛纳电影节)/1989-06-14(法国)
◎IMDb评分  8.0/10 from 90,397 users
) K* k1 ?# G; P' z9 p( E) z8 S◎IMDb链接  https://www.imdb.com/title/tt0097216/
7 t& o# t* y9 u" E8 U/ Z( ?◎豆瓣评分　8.1/10 from 10,432 users
◎豆瓣链接　https://movie.douban.com/subject/1293958/
+ D+ v0 q7 Q1 {$ @; P9 X  o◎文件格式　x265 + DTS
◎视频尺寸　3840 x 2160
◎文件大小　1DVD 87.47 GiB
* y2 ^# V& M+ m: j3 r+ ?* Q◎片　　长　1:59:48.514 (h:m:s.ms)
/ |( ?1 n- ~0 u3 x◎导　　演　斯派克·李 Spike Lee
# u" M5 _+ _$ T◎编　　剧　斯派克·李 Spike Lee
$ T2 y$ L( n2 q& u2 x◎主　　演　丹尼·爱罗 Danny Aiello
　　　　  　奥西·戴维斯 Ossie Davis
2 V2 Y, L) W( d% l　　　　  　露比·迪 Ruby Dee
! y8 _; L7 I( {! b: L# Q% Y　　　　  　理查德·埃德森 Richard Edson
: f# C! V$ Q5 F: r, \　　　　  　吉安卡罗·埃斯波西托 Giancarlo Esposito
　　　　  　斯派克·李 Spike Lee
9 m, f+ J0 V9 W- N- u　　　　  　比尔·努恩 Bill Nunn
　　　　  　约翰·特托罗 John Turturro
# C# g9 h/ }8 x7 a　　　　  　保罗·本杰明 Paul Benjamin
- V( ]2 @$ a0 P) ~0 J# A2 O　　　　  　弗兰基·费森 Frankie Faison
8 M% z2 M& `8 {0 F# ]2 B　　　　  　罗宾·哈里斯 Robin Harris
7 j6 d+ z1 f) S3 ^; _1 b　　　　  　茹瓦·李 Joie Lee
1 z6 L% ?/ J1 ?　　　　  　米盖尔·桑多瓦尔 Miguel Sandoval
! L% m- h, ]- B- d　　　　  　里克·埃罗 Rick Aiello
$ a' S# f. g) d( Q! H$ J+ Y  C　　　　  　约翰·萨维奇 John Savage
* q7 y' V2 I# \# E　　　　  　塞缪尔·杰克逊 Samuel L. Jackson
　　　　  　罗茜·佩雷兹 Rosie Perez
/ @+ _8 G: a) q9 y! |; l- E　　　　  　罗杰·格午埃文·史密斯 Roger Guenveur Smith
4 q: ]9 w0 s! N  W" _　　　　  　史蒂夫·怀特 Steve White
　　　　  　马丁·劳伦斯 Martin Lawrence
4 u: a) v4 n0 ]8 h' I9 Z! ~6 [. T　　　　  　伦纳德·L·托马斯 Leonard L. Thomas
　　　　  　弗兰克·文森特 Frank Vincent
　　　　  　理查德·哈伯森 Richard Habersham
" f8 p3 L+ H  U3 K7 X0 z, ^8 h　　　　  　斯蒂夫·朴 Steve Park
3 k) y4 ]# V* Z; O- E) c" K, D　　　　  　金妮·杨 Ginny Yang
" s- H( |4 J" B+ g- N* x4 i/ z　　　　  　肖恩·埃利奥特 Shawn Elliott
: D5 R6 r' ~2 k6 y! a  n　　　　  　埃里克·德拉姆斯 Erik Dellums
　　　　  　加里·帕斯托雷 Garry Pastore
　　　　  　尼古拉斯·特图罗 Nicholas Turturro
& W8 y! F' F0 U4 |% H　　　　  　路易斯·安东尼奥·拉莫斯 Luis Antonio Ramos
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9 ?2 ^7 |8 T  I  }. W$ L  R' q$ l◎标　　签　美国 | 种族 | 1989 | 剧情 | 黑人 | 独立电影 | 1980s | 喜剧

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7 Q  b* H# q) H- j' P6 L9 z* i2 W　　纽约布鲁克林黑人社区生活着各个族群的人：黑人、意大利移民、韩国人.....意大利移民Sal（丹尼·爱罗 Danny Aiello 饰）和他的两个儿子在这里经营一家比萨店很久了，Mookie（斯派克·李 Spike Lee 饰）在店里负责送外卖，经常和Sal的儿子闹矛盾。 Radio Raheem（Bill Nunn 饰）是一个喜欢提着一个收音机大声放着音乐到处走的年轻人。炎热的一天，黑人小伙Buggin' Out（吉安卡罗·埃斯波西托 Giancarlo Esposito 饰）发现比萨店墙上挂着的名人照片里没有一个黑人，十分不满；而Radio来到比萨店，却被Sal要求关掉收音机。心怀不满的Buggin' Out和Radio决定找Sal讨个说法，三人在争执中，Sal把Radio的收音机砸烂了。Radio大怒，便和Sal打了起来。警察赶来了，围观的人也越来越多，一场种族间的暴乱即将到来......

; F8 U- V5 E1 }" d5 `% d　　本片被提名62届奥斯卡最佳男配角、最佳改编剧本，本片的成功使黑人导演斯派克李在好莱坞大放异彩。

5 D  a5 {6 L1 z  Z9 F* j　　On the hottest day of the year on a street in the Bedford-Stuyvesant section of Brooklyn, everyone's hate and bigotry smolders and builds until it explodes into violence.

◎获奖情况

$ M5 Q" w0 C1 j　　第62届奥斯卡金像奖 (1990)
　　最佳男配角(提名) 丹尼·爱罗
　　最佳原创剧本(提名) 斯派克·李
7 T8 S  t0 f) Q" O, k　　
　　第42届戛纳电影节 (1989)
　　主竞赛单元金棕榈奖(提名) 斯派克·李

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1. DISC INFO:
   
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3. Disc Title:     Do.the.Right.Thing.1989.2160p.BluRayCD.HEVC.DTS-X.7.1-EATDIK
   
4. Disc Size:      93,904,983,166 bytes
   
5. Protection:     AACS2
   
6. Extras:         Ultra HD, BD-Java
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7. BDInfo:         0.7.5.9 (compatible layout created by DVDFab 12.0.1.8)
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12. Length:                 1:59:48.514 (h:m:s.ms)
    
13. Size:                   80,230,465,536 bytes
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14. Total Bitrate:          89.29 Mbps
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20. MPEG-H HEVC Video       77666 kbps          2160p / 23.976 fps / 16:9 / Main 10 @ Level 5.1 @ High / 4:2:0 / 10 bits / 1000nits / HDR10 / BT.2020
    
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26. DTS:X Master Audio              English         5330 kbps       7.1-X / 48 kHz / 5330 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
    
27. DTS Audio                       Spanish         768 kbps        5.1 / 48 kHz / 768 kbps / 24-bit
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28. DTS Audio                       French          768 kbps        5.1 / 48 kHz / 768 kbps / 24-bit
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29. Dolby Digital Audio             English         192 kbps        2.0 / 48 kHz / 192 kbps / Dolby Surround
    
30. Dolby Digital Audio             English         192 kbps        2.0 / 48 kHz / 192 kbps
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39. Presentation Graphics           Spanish         1.011 kbps                     
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40. Presentation Graphics           French          1.098 kbps

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Do the Right Thing 4K Blu-ray, Video Quality   

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5 d/ {& _' A' v% l( wThe included screenshots are sourced from a 1080p Blu-ray disc.

. \  |# v- I3 }3 w7 i* dThe picture quality is terrific. The 2160p resolution brings about a drastic improvement over the studio's older Blu-ray. Here, the picture is perfectly filmic and holds to a steady, natural grain structure which is organic in density and brings a seriously pleasing cinematic feel to the proceedings. The picture's newfound textural richness brings Lee's Brooklyn to life with unflappable screen command. The absolute improvements to sharpness and clarity next to the aged Blu-ray are stunning, to say the least, and A-B comparisons of every scene reveal a monumental improvement. But even after just perusing the Blu-ray for a few minutes and turning over to watch the UHD renders any further comparison unnecessary. The UHD trounces it, plainly, in every way. This is a fine example of just how far UHD can elevate a picture. Street exteriors are a major source of fine texturing improvements for details on pavement, brick facades, and storefronts. Inside the pizzeria, there's no questioning the UHD's ability to reveal countertops, ovens, booths, and the pictures on the wall, which are collectively a vital plot device, with definition far beyond the Blu-ray's reach. Skin details are obviously a highlight, too, in intimate shots. It's a spectacular image and far and away superior to the Blu-ray.

Lee and Cinematographer Ernest Dickerson shoot the film hot to help convey the very literal, and the very figurative, temperature in the movie. The film's contrast and color temperature are deliberately pushed hard and the HDR color grading only reinforces the dominance of warm yellows, hot oranges, and intense reds. Interiors are often exceedingly warm yet far more naturally so compared to the Blu-ray, which is comparatively lifeless. Tones across the board reflect the vital structural grading and HDR surely only amplifies the effect, though without fundamentally altering the movie's feel of any given tone's essential presentation. But there are major adds to color depth and brilliance. Blue skies, red brick walks, and all variety of flesh tones enjoy critical color adjustments that bring more life, authenticity, and visual reinforcement to the story. Black levels are terrific and even whites are excellent, though often rendered less than intense by effect in order to accentuate the larger color scheme; Mookie's white Jackie Robinson jersey is a great example.

% k' Z: a* I$ }: h  w" gUniversal's UHD is also free of any signs of print deterioration. There are no speckles or pops or stray lines or fibers. Compression is flawless, too, and there are absolutely no encode flubs to be found. This is UHD approaching its peak and fans of this film, and the cinematic medium in general, will be ecstatic with this presentation. It's sublime.

; H+ l, a" ^- T$ EDo the Right Thing 4K Blu-ray, Audio Quality   
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Universal does right by Do the Right Thing and its new DTS:X soundtrack. The presentation is sterling, just like the new picture quality. It's quite loud, sometimes frenetic, but always in expert balance. Whether intense musical beats or undercurrent ambience inside Sal's, the track is always dialed into the right sonic temperament to perfectly suit any scene's needs and the movie's total mood. The soundtrack proves dynamic from the opening segments as the song blares from the speakers with impressive theater fill, terrific lyrical clarity, a strong subwoofer output, and plenty of range throughout the stage, including a prominent surround envelopment. Music is the film's lifeblood, underscoring a number of key moments and scenes and themes. One of the best comes at the 33-minute mark. Not only is music prodigious and powerful, detailed and dynamic, it's a great example of the track's discrete, multidirectional, and stage flood capabilities all in one stop. As competing beats are volume adjusted for dominance, the amplifying sounds present with exceptionally good depth and detail even at peak output and from anywhere and everywhere in the listening area. It's a dynamic reference moment in one of the best soundtracks out there. Another great moment, and maybe the best usage of the overhead speakers, is when water rushes from a fire hydrant around the 28-minute mark with a wonderful feel for force and stage saturation (literally!) as the water seems to flow through every speaker and even above the listener when it's being aimed into a convertible car. Environmental ambience out on the street is presented with superb fidelity and location immersion. Even light elements like pedestrians, chirping birds, and passing traffic – even just a car here or there – subtly but effectively and critically draw the listener into the movie. Dialogue is clear and precise with firm front-center placement and easy prioritization, though certainly some shouts play deliberately underneath blaring music (particularly in one of the key heated exchanges in the third act). The movie couldn't sound any better.
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