The shadows clinging to the vast, empty house give the film its tension, and the TVs and projectors that can dig up the finest detail and deliver subtle, deep blacks will offer the best sense of depth and drama.
Thanks to its subdued, natural-looking colour palette, Park Chan-wook’s psychological thriller Stoker is a demanding workout for any screen. You don’t always have to use the latest, flashiest, CGI-filled sci-fi films to test your kit’s picture quality. Look out for the dark details on Kenneth Branagh’s Navy overcoat, the wonderful colours as the stalled pilot comes in to land on the great wide sands and the four flagpoles on the beach at the end of chapter 1 which judder like mad unless your motion processing is right on the money.
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The costume department on Dunkirk did an amazing job with the wardrobe throughout the cast, and a good TV will give a wonderfully realistic, thick and coarse feel to the army fatigues and a genuine sense of handmade stitching to the leather. Of course, it’s the shading of the clouds and the sea that are the most obvious things to look out for but the texturing of the pilot’s outfits is a superb opportunity for your TV to shine. The best sequences to look out for are those in the Spitfires. Texture, colour, contrast, motion control, light and dark detail - this film pushes it all and, shot in IMAX, much of it fills your whole screen too with no letterbox black bars at the top or bottom. Such are the limited locations and the way that this film is cut together, that almost any chapter of this wartime epic is an excellent test picture power.
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