LATEST ADDITIONS

I am always amused when people tell me that their ears and eyes would not be good enough to do my job as a reviewer. They are convinced that they wouldn’t hear the difference between two pairs of speakers, or see the variation in picture quality from one HD screen to another. While I am the first to highlight my 24-carat golden ears and eagle-eyed vision to anyone requiring AV equipment testing, the reality is a little different. My physical sensory faculties are really no better than most other normal healthy people, although in terms of reviewing hours they have been round the block a bit.

A key film in the development of the romantic-comedy, this 1959 vehicle for Doris Day and Rock Hudson finds them lighting up the screen as an uptight career woman and the carefree playboy she is forced into sharing her telephone line with. While this new restoration does wonders for the film’s vibrant palette, the AVC 2.35:1 1080p encode is let down slightly by DNR (most obviously on the split-screen opticals).

Those seeking the visual equivalent of fine-dining are traditionally best served at a 4K digital cinema. An eight-million pixel image, spread large and bristling with detail, is a feast for the eyes befitting the planet’s premiere cinemas. But now cineasts have another choice – they can invest in the first consumer 4K projector and have a Quad HD cinema all their own. Yet, without access to a 4K video source, is there any point in shelling out the best part of £17,000 to own one?

While Hammer only ever made one werewolf flick (1961’s The Curse of the Werewolf), it explored alternate approaches to the same concept in 1964’s The Gorgon and this 1966 movie about a woman cursed to turn into a snake-like creature. Filmed back-to-back with The Plague of the Zombies, it’s far from Hammer’s best. However, like its sibling, The Reptile is well shot and full of interesting subtexts that ensure that it's well worth a watch.