But even the seeming simplicity of the opening dressing room scene presents plenty to appreciate.
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The city that never sleeps is depicted as full of light and dark, the subway often providing great examples of dirty detail beyond the short reach of the overhead fluorescent lights. Dolby Vision displays this anarchistic pallet with charismatic theatricality and lurid dissonance while retaining an affecting realism. There's Arthur’s signature russet suit, mustard waistcoat and teal shirt combo the sodium street lamps filling Gotham’s gutters with golden pools of light, and even the vivid cerulean blue of the early evening sky. The faded, cinematic spirit of New York in all its gritty, bankrupt glory is evoked in everything from the use of a vintage lens that creates a dreamy blooming effect on highlights, to the generally sombre, earthy colour palette and, let’s face it, any shot of a brown car.īut despite the rusty melancholia, throughout the film there are unapologetic pops of saturated colour. The film is an evocative examination of his descent into psychosis, anti-vigilantism and crime through his flamboyant alter ego, the Joker. Set in 1970s Gotham City, Joker tells the story of delusional and troubled comedian Arthur Fleck who, having been cruelly dismissed by society, becomes a loner whose only real company is his ailing mother, with whom he lives and has to care for. Watch Aquaman in SDR on Netflix Joker (2019)
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Stream Aquaman in Dolby Vision on Apple TV Dolby Vision helps to create a vivid extravaganza of colour and mythology while tethering every shot with authenticity.
The following moment, sub-titled ‘somewhere in the North Sea’, is one of many set pieces in the film where the image opens up to the 1.85:1 IMAX ratio, filling the entire screen, first with darkness as we focus in on David Kane's aggrieved expression sat on his Manta-Sub and then flooding it with light as the surrounding water froths with cyan, amethyst and co-ordinated Atlantean soldiers. In the night time dock side scene where Amber Heard's Mera tries to persuade Aquaman to come to Atlantis, the texture of the character's skin, hair and costumes are superbly tactile in the dark while the pops of neon-coloured lamps flicker away in the background. And whether it's delicate shafts of light or the detailed debris around explosions, the underwater world feels as real and tangible as dry land.īut above ground looks pretty great too. Black levels are appropriately deep at the bottom of the ocean but the image never becomes murky. One of the film’s great feats is balancing a fantastical colour palette with intense undersea darkness. Even at its most bonkers and baroque, the technical prowess of the visuals ties together the locations and conceit of what would otherwise be an unwieldy story, employing vivid CGI, hyper unrealism and an unabashed sense of spectacle. Whatever your opinions on laboured plots, awkward sub plots and a frankly excessive number of primary characters, there’s no denying that the film is stunning to watch.
To defeat his brother, Aquaman has to (among other things) retrieve the Trident of Atlan and embrace his destiny. And not just any old Atlantean, he's the heir to the subterranean throne of what was once the most advanced civilisation on Earth, now controlled by his megalomaniac half brother. The film covers the origin of Aquaman, who is born on dry land and thinks he's just regular guy Arthur Curry who happens to have a way with fish, until discovering that he is in fact half-human, half-Atlantean. DC Comics’ Aquaman somehow manages to be both and as a result its reception when it was released was divisive. Superhero films sometimes seem to fall into two categories: overly sincere and ludicrously tongue in cheek.