Ralph Breaks the Internet appears in an aspect ratio of approximately 2.39:1 on this 4K UHD Disc. As expected, the movie delivered excellent visuals.
At all times, the film showed terrific delineation. No instances of softness arose, so the image remained tight and well-defined.
I witnessed no jagged edges or shimmering, and edge haloes were absent. Of course, no print flaws popped up, so this remained a clean presentation.
Colors excelled. Given all the imaginative situations, the film boasted a broad, lively palette, and the hues came across with great vivacity. The 4K’s HDR capabilities added tremendous impact and made the colors leap off the screen.
Blacks appeared dark and deep, and shadows seemed smooth and concise. The HDR helped give whites and contrast great impact as well. Everything about the image satisfied.
I also felt pleased with the film’s Dolby Atmos soundtrack. Downconverted to Dolby TrueHD 7.1, parts of the audio stayed with general sense of the various situations, but more than a few action scenes resulted.
The livelier sequences displayed nice range and involvement, and the rest of the material also managed to place us in the locations well. The track used the different channels to convey a lot of subtle but engaging information.
Audio quality satisfied. Speech remained natural and distinctive, while music appeared peppy and clear.
Effects showed nice dynamics, with crisp highs and warm lows. I thought the soundtrack added zest to the proceedings.
How did the 4K UHD compare to the Blu-ray version? The Atmos audio added some involvement and zing, while visuals got a bump from the 4K UHD’s capabilities.
In particular, the disc’s HDR became the main beneficiary, as the 4K UHD’s colors easily topped those of the Blu-ray. Sharpness also demonstrated improvements, but it was the hues that really elevated the presentation. Those alone made the 4K UHD an obvious upgrade.
No extras appear on the 4K UHD itself, but the included Blu-ray copy comes with some materials. Surfing for Easter Eggs runs three minutes, 36 seconds and reveals some of the many hidden Disney references in the movie. It’s incomplete but fun.
With The Music, we get a 10-minute, 18-second reel with notes from producer Clark Spencer, executive music producer Tom MacDougall, composer Henry Jackman, and directors Phil Johnston and Rich Moore, songwriter Alan Menken, singer Julia Michaels, musicians Imagine Dragons and actor Sarah Silverman. The program gives us basics about the movie’s score/songs and becomes a pleasant examination of the subject.
BuzzzTube Cats lasts one minute, 47 seconds and depicts cat videos the animators made to populate the film’s background. The compilation seems watchable but forgettable.
The disc’s most substantial feature, How We Broke the Internet goes for 32 minutes, 57 seconds and brings notes from Johnston, Moore, Spencer, story supervisor Jason Hand, story artist Natalie Nourigat, head of story Josie Trinidad, co-writer Pamela Ribon, art director for characters Ami Thompson, production designer Cory Loftis, lighting director of cinematography Brian Leach, layout director of cinematography Nathan Warner, heads of animation Kira Lehtomaki and Renato Dos Anjos, technical supervisor Ernest Petti, visual effects supervisor Scott Kersavage, crowd supervisor Moe El-Ali, head of effects Cesar Velazquez, and head of characters and technical animation Dave Komorowksi.
“How” discusses the movie’s depiction of the Internet, and that means it covers a variety of character, design, cast/performances and animation subjects. We get lot of fine insights in this brisk, informative documentary.
Five Deleted Scenes span a total of 19 minutes, two seconds. We find “Into the Internet” (4:54), “Opposites” (3:17), “Domestic Hell” (2:43), “Bubble of One” (5:56) and “Recruiting Grandman” (2:15). (Note that the times include Johnston/Moore introductions.)
These tend toward additional character information and some alternate themes/plotlines that don’t appear in the final film. They’re usually pretty entertaining.
Two Music Videos appear as well: “Zero” by Imagine Dragons and “In This Place” by Julia Michaels. Of the two, “Zero” fares best, as it integrates the movie’s arcade setting in a clever way. “Place” offers a less creative clip, but it’s still decent.
The disc opens with ads for Toy Story 4, Aladdin (2019) and Dumbo (2019). No trailer for Breaks appears here.
With a wide array of potentially imaginative situations, Ralph Breaks the Internet occasionally springs to life. However, the movie lacks a lot of inspiration, so it winds up as an enjoyable but unremarkable effort. The 4K UHD brings excellent visuals as well as very good audio and a decent array of bonus materials. Like the first film, Breaks becomes a “B”-level Disney flick, though the 4K UHD makes it look and sound pretty great.
To rate this film, visit the prior review of RALPH BREAKS THE INTERNET