PG: Psycho Goreman appears in an aspect ratio of approximately 2.35:1 on this Blu-ray Disc. Though much of the movie looked fine, the image came with some odd anomalies.
In particular, sharpness varied. While most of the flick showed appealing accuracy, plenty of shots suffered from perplexing examples of softness.
These cropped up nearly at random and never made any sense to me. These didn’t become a fatal flaw for the presentation, but they created many more distractions than I expect from a circa 2020 movie.
No issues with jagged edges or moiré effects materialized, and I saw no edge haloes. Print flaws also failed to appear.
Colors leaned toward some teal and amber, but we got a mix of other tones as well. Although these could veer a little heavy at times, they usually delivered fairly good vivacity.
Blacks were reasonably dense, but shadows could lean a little too thick at times. Mostly the strange instances of softness became the main issue, and those left this as a “C+” presentation.
In addition, the movie’s DTS-HD MA 5.1 came with some problems, largely related to the soundfield. While the flick came with a lively soundfield, localization seemed less than stellar.
Music blended across all the five channels in a manner that made the score lack spatial definition, and effects often followed suit. Although some of those elements popped up in the proper spots, a lot just seemed to exist in a vague, blobby realm that didn’t specify where they needed to be.
This became a disappointment because the soundscape came with so much information. However, without appropriate localization, the sonic fireworks failed to really engage.
Audio quality mostly worked fine, though the movie used the LFE channel too actively. By that I mean that the track engaged the subwoofer through too much of the film, as it rumbled almost all the time, even when it made little sense to turn into a factor/
Bass response was tight, at least, and the rest of the audio worked fine. Speech seemed concise and natural, without edginess or other concerns.
Music was bold and full, and effects showed good clarity and accuracy. If the soundfield simply offered better localization, this would’ve been a fine mix, but the mushy soundscape left it as a “C+”.
We find a slew of supplements here, and these begin with an audio commentary from writer/director Steven Kostanski. He presents a running, screen-specific look at story/characters, inspirations and influences, cast and performances, sets and locations, creature design and various effects, music, photography and related domains.
Kostanski makes this both an informative and an enjoyable chat. He covers a good array of topics and does so in manner that this into a fine look at his movie.
A slew of video programs follow, and One-on-One lasts 14 minutes, 40 seconds. It provides an interview with Kostanski in which he looks at the project’s origins and inspirations, the title, story and characters, design and effects, cast and performances,
Inevitably, Kostanski repeats a fair amount of material from the commentary. Nonetheless, he makes this a tight little overview.
A collection of Interviews with the Cast span six minutes, 24 seconds and involve actors Matthew Ninaber, Nita-Josee Hanna, Owen Myre, Adam Brooks and Alexis Hancey.
They discuss their casting, characters and performances. This becomes a fairly banal piece, though Ninaber brings interesting thoughts about the challenges of acting in a suit.
An Interview with Actor Adam Brooks goes for four minutes, 20 seconds and delivers an expansion of the session seen in the prior featurette. Brooks offers decent notes, though the format seems odd, as for reasons unknown, Brooks pretends to be interviewed by a small stuffed panda.
Kortex: A Konversation fills five minutes, 58 seconds with actor Matthew Kennedy in character. He makes this a moderately amusing piece.
Next comes The Music of PG, a five-minute, 23-second chat with composers Blitz//Berlin. Unsurprisingly, they talk about the film’s score and songs. We get some nice insights.
Fight Choreography spans three minutes, 50 seconds and features fight choreographer Alex Chung. He tells us about this work and turns this into a worthwhile little piece.
With Fight Pre-Viz, we locate a six-minute, five-second reel that shows the stunt crew as they rehearse action beats. It becomes a fun addition to the set.
Filming the Paladin Fight runs seven minutes, 14 seconds and brings footage from the set. As expected, we view the shoot through the scene in question. It offers another cool look at the production.
After this we go to PG vs. Pandora, a three-minute, 28-second featurette that includes comments from Chung, SFX artist Mike Hamilton and cinematographer Andrew Appelle. This offers a short but informative view of this particular fight scene.
Miniature Magic lasts two minutes, 59 seconds and features Appelle and 2nd unit cinematographer Pierce Derks. They give us a quick look at the movie’s miniature sets. Expect another tight little show.
Up next we move to Inside the Creature Shop, a four-minute, 36-second featurette that lets is see the crew at work. This seems interesting, though it suffers from an absence of commentary.
Two Galleries appear: “Concept Art” (23 images) and “Behind the Scenes” (13). Both include good elements but they’re awfully brief.
We also get some video Trading Cards. These just give us publicity shots of six characters, so they’re not interesting.
The disc opens with ads for Spree, WolfCop, The Man Who Killed Hitler and Then the Bigfoot and Arizona. and Mayhem. No trailer for PG appears here.
A mix of 80s/90s family movie and graphic horror flick, PG: Psycho Goreman throws out enough weird energy to entertain at times. However, it doesn’t connect consistently. The Blu-ray brings erratic picture and audio with a good collection of bonus materials. The film keeps us with it but doesn’t quite click.