Mission: Impossible – Dead Reckoning Part One – 4K Review

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Paramount Pictures | 2023

PG13 | 2hrs 43mins | Action | Adventure | Thriller

HD | 1080P | Dolby Atmos | Dolby TrueHD 7.1

Native 4K | 2160P | HDR10 | Dolby Vision | Dolby Atmos | Dolby TrueHD 7.1

Aspect Ratio: 2.39:1

Staring: Tom Cruise | Rebecca Ferguson | Simon Pegg | Hayley Atwell | Vanessa Kirby | Pom Klementieff

Directed by: Christopher McQuarrie

Ratings & Reviews

Please see here for my comments on reviewing movies.

My ratings are simple being marked out of a maximum of 5+. My reviews are biased towards the technical production aspects of the film with brief comments about the story line. Extras, sorry, that’s just not my ‘bag’.

Not having Immersive audio yet, the 7.1 soundtrack hits reference level, and the video? Also makes reference level.

Entertainment: 5

Video: 5+

Audio: 5

Technical Review – 4K UHD HDR10

Mission: Impossible-Dead Reckoning Part One was shot digitally by cinematographer Fraser Taggart using the ARRIRAW, X-OCN XT, and ZRAW codecs (at 4K, 4.5K, and 6K) with Arri Alexa Mini LF, Sony CineAlta Venice and Z CAM E2-F6 cameras, using Panavision C-, D-, E-, and H-Series, and Zeiss Compact Prime anamorphic lenses. The entire post-production process, including visual effects, was done natively in UHD resolution to produce a 4K Digital Intermediate at the 2.39:1 aspect ratio. It was then graded for HDR for this 4K release in both Dolby Vision and HDR10. This triple-layer BD100 disc has been well authored and shows no use of noise reduction or edge sharpening, no obvious compression artifacts or excessive noise was noted. What appears to be a simulated light photochemical grain, appears throughout, lending a pleasing filmic quality. The package also contains a Blu-ray features disc and a redeemable digital code.

The image is quite stunning being very similar to the that of Top Gun: Maverick, creating a terrific reference HDR10 presentation. With the film shot in a high resolution format and visual effects executed natively in UHD, this 4K release has excellent overall image clarity with a dazzling display of crisp, razor sharp detail with refined texturing throughout. Objects, clothing, threads and facial close-ups all provide excellent detail and definition. From the Venice and Rome street and building detail to the textures of the suits, shirts, dresses and metallic guns. Facial pores, stubble, wrinkles, eyelashes, hair strands and features are all accurately rendered without any undue exaggerations. CGI and special effects integration are excellent, having realistic textures, blending well with the real action shots and never looking soft. Effects like bullet rounds, flying objects, debris, car engagements and of course the motorbike leap are well integrated into the live action with no distractions.

Contrast balance is outstanding throughout, from the brilliant uncompressed whites of the daylight exterior shots and the various dazzling specular highlights to the deep and noise free inky blacks like the Venice alley fight, chase and club sequences that showed excellent low level and shadow detail. Individual clouds, sunlight, numerous light sources, metallic objects, shot-gun blasts and rounds sparkle with a true-to-live realism. All creating a very good dynamic contrast range and enhancing visibility of objects in both exterior and interior shots, creating an excellent depth of image having an impressive three-dimensional quality at times.

This video is excellent on all fronts, providing a top notch HDR10 reference image.

Audio – Dolby TrueHD 7.1

Mission: Impossible-Dead Reckoning Part One flies, jumps and races its way into home theaters with an excellent, reference, Dolby Atmos mix that defaults to Dolby TrueHD 7.1 in my system. This is a dynamic and at times aggressive mix with plenty of atmospheric effects, very good channel separation and a solid bottom end. The rear channels being used extensively to convey the atmospheres of various rooms and outdoor environments, supporting directional and atmospheric cues alike.

The overall sound presentation is dynamic, with very good sub involvement and surround action. The soundstage is wide and surrounds are regularly active with ambience, directional cues and movement, delivering an active environment that drops the listener into both calm environments and every action-packed sonic spectacle alike. Effects placement are accurate and natural, with plenty of movement in both the rear and side surrounds, together with the general environmental and room acoustics effects consistently pulling you into the many locals and environments, from the submarine, various rooms and passages, the club and outside city open country environments, the motorcycle and street chase as tires squeal and cars drift to the Fiat’s weird battery-electric hum whistles, the Orient Express’s sounds of clattering wheels on the tracks and echoing clickity-clack of a thousand manual typewriters. Not to mention the bridge explosion and train crash. All fill the surrounds pulling you into the scene and keeping you right “in the mix”.

Sub action is excellent and wall moving, having the serious low-end that this movie deserves. Low frequency effects are plentiful. They are extended, powerful and add tremendous weight to the car crashes, impactful gunfire, hand wielded weapons, club music, rumbling desert winds, thundering hoof steps, airbag deployment and growling engines. Imaging continuously feels broad and expansive following the action as it moves on and off-screen, like the tires squeal and cars drift across the front channels and scooters clattering dispersion. Dialogue was always crystal clear and well detailed with an outstanding mid-range and solid front-center imaging and prioritization, providing good clarity and detail no matter how loud and aggressive the high action sequences became.

Flushing out the soundscape and supporting the movie throughout its entire length, the films score, composed by Lorne Balfe provides a highly supportive and well integrated mix for both the aggressive and more relaxed scenes equally well. Presenting with a solid bass line and hitting a good balance between the dialogue and effects, the score provides a light spill into the surrounds and excellent integration within the soundstage.

An excellent reference audio track that compliments the reference video in every way.

Story Overview

After the Russians create a sophisticated artificial intelligence weapon system called “The Entity”, it goes rogue, and develops the ability to infiltrate and control any security system. Control of this AI weapon can be had using a two-part key that every superpower is desperately trying to obtain. Now, Ethan Hunt (Tom Cruise) and his team; Benji (Simon Pegg), Luther (Ving Rhames), Ilsa (Rebecca Ferguson) and a mysterious master thief Grace (Hayley Atwell) are all set to embark on their most dangerous mission to date. Their mission, should they accept it, is to get the key(s) and find the location of this terrifying new weapon that threatens all of humanity before it falls into the wrong hands. As Ethan and his team travel the globe tracking the key(s) and looking for the weapons location, Ethan soon confronts an enemy from his past and discovers that there is more to this mission than he first thought, being faced with with the decision of what matters most, his friends or the mission.

My 2 Cents

The movie was action start to finish and at times I got so wrapped up with the characters, what was going on and about to happen next, my interest in the image properties wandered. So for all you die-hard Mission Impossible fans this is a very entertaining movie with all its impossible stunts and action sequences. With a reference image and sound, a good storyline and great acting, stunts and CGI, how is Part 2 going to top this?

If you’re a fan of 4K eye and ear candy, this title delivers.

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