| Release Date |
1/18/2005 |
| Packaging |
Keep Case |
| Screen Ratio |
2.35:1 |
| Subtitles |
English; Spanish |
| Audio Tracks |
ENGLISH: Dolby Digital 5.1 [CC]
ENGLISH: Dolby Digital Stereo [CC]
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| Layers |
Single Side, Single Layer |
| No. of Disks/Tapes |
1 |
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Anamophic
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Special features include audio commentary by director David Ellis, and writers Larry Cohen and Chris Morgan; five deleted/alternate scenes; a 20-minute Calling Out featurette; a 26-minute Dialing Up Cellular making-of featurette; a 27-minute documentary about the LAPD Rampart Scandal of 1999 and how it relates to Cellular; the theatrical trailer, and bonus trailers. There is also DVD-ROM content.
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Story Synopsis:
If you think there has already been a thriller that centers around a telephone written by Larry Cohen, you are right: Phone Booth. When Jessica Martin (Basinger) is kidnapped by a man threatening to murder her family, she has to act fast. She manages to salvage a demolished telephone by piecing the wires together enough to make a call. At the other end of the line is a college student on his Cellular phone. Can Jessica convince the kid to help her before his battery-and her time-runs out? (Suzanne Hodges)
DVD Picture:
The anamorphically enhanced 2.35:1 DVD picture exhibits richly saturated colors that are well balanced, with accurate fleshtones and deep blacks. Images are satisfyingly sharp and detailed, with good contrast and shadow delineation. At times the picture can appear a bit pasty or smeared. The annoying white halos of edge enhancement are noticed in some of the higher contrast scenes, but the distraction is not always apparent. Minor pixel breakup is also evident. (Suzanne Hodges)
Soundtrack:
With surrounds used well in filling the room with audio information, this Dolby® Digital 5.1-channel soundtrack creates a very engrossing soundfield from start to finish. Pans across each loudspeaker pair sound very good, and phantom imaging occurs frequently throughout the holosonic™ soundfield. Music is represented well, with a prominent use of the LFE channel to accentuate the low end, and a very broad front soundstage for instrumentals. Even in more intimate scenes without much action, the room is still filled with the sounds of the on-screen environment. Scenes with action present a barrage of sound through each of the main loudspeakers, with an aggressive LFE channel. Late in Chapter 5 you can find a good example of action scene imaging and panning through a constant barrage of sound. (Danny Richelieu)