The 6th Day

Cast View all

	Arnold Schwarzenegger	Adam Gibson
	Michael Rapaport	Hank Morgan
	Tony Goldwyn	Michael Drucker
	Michael Rooker	Robert Marshall
	Sarah Wynter	Talia Elsworth
	Wendy Crewson	Natalie Gibson
	Rodney Rowland	Wiley
	Terry Crews	Vincent
	Ken Pogue	Speaker Day
	Colin Cunningham	Tripp
	Robert Duvall	Dr. Griffin Weir
	Wanda Cannon	Katherine Weir
	Taylor Anne Reid	Clara Gibson
	Jennifer Gareis	Virtual Girlfriend
	Don McManus	RePet Salesman
	Steve Bacic	Johnny Phoenix
	Christopher Lawford	Police Lieutenant
	Mark Brandon	RePet Spokesman
	Ellie Harvie	Rosie
	Don S. Davis	Cardinal de la Jolla
	Jennifer Sterling	Virtual Attorney
	Walter von Huene	Virtual Psychiatrist
	Chris Cound	Snowboarder #1
	Ben Bass	Bodyguard
	Robert Clarke	Zealot

Crew View all

Director	Roger Spottiswoode
Writer	Cormac Wibberley, Marianne Wibberley
Producer	David Coatsworth, Jon Davison, David Latham, Mike Medavoy, Daniel Petrie Jr., Arnold Schwarzenegger
Musician	Trevor Rabin
Photography	Pierre Mignot

Trailer

Edition details

Personal

Notes

WSR Narrative Review

Story Synopsis:
Known as The 6th Day law, a global decree has been passed that bans all human cloning worldwide. Cloning pets is okay, cloning plants, fruits and vegetables is okay. But not people. However, top-notch pilot Adam Gibson (Schwarzenegger) suddenly finds himself looking at himself when he thought to have been killed on a mission but in reality returns safely. Unable to share life with his family (because “he’s” already there), Adam sets out to expose those practicing the illegal cloning and get his life back. But, since he saw the clone, the bad guys are out to kill him. The reason why this movie fails to be believeable is because in one of the first scenes, we see a football game on Adam’s “television” which turns out to be an XFL football league contest. Now, we all know that this league will not be around after 2001. (Laurie Sevano)

DVD Picture:
The anamorphically enhanced 2.40:1 DVD picture is sharp and defined, with excellent contrast and shadow delineation. Colors are rich and well balanced, with accurate fleshtones, rich hues and generally deep blacks. There is little edge enhancement apparent, and the picture is smooth, with no distracting pixelization. Contrast and shadow delineation are well balanced, with an accurate gradation of visual information in the darker scenes. While the visual effects seem a bit questionable at times, the transfer is right on. (Suzanne Hodges)

Soundtrack:
The sonic presentation is awesome, with excellent fidelity and judicious, effective utilization of dimension. The Dolby® Digital 5.1-channel discrete soundtrack was released theatrically in 8 Channel SDDS and has an impressively expansive, engulfing presence throughout with an abundance of intense moments where the soundstage is dramatically energized with aggressive split surround activity and a prodigious low-end that is partially due to ample engagement of the .1 LFE channel. Overall volume level seems a bit lower than expected, likely attributable to the somewhat higher than usual dialnorm setting at –6dB (usually at –4dB). The recording quality of this soundtrack is as refined as the best currently offered. The tonality of the audio overall is perceptibly neutral and therefore obviating of the need for re-equalization. Deep bass is delivered with poignancy and impressive depth, consisting of mood-setting rumbles and distinct impact, along with sub-30Hz extension and presence that can be intense at times. If you’re into lively, directional sound effects, there’s definitely lots to dig your teeth into with this sound mix, one prominent example being the fly-bys of the Double X Charter helicopter/airplanes in Chapter 4. There’s also lots of shootout scenes with laser guns being fired all around you. By extracting phantom surround imaging, using the SMART® Devices CS-3X, Jr. or equivalent, a subtle yet noticeable enhancement in terms of spaciousness can be realized. In the POV sequences, there’s not only a dramatic change in terms of cinematography but also with the soundfield, which shifts from a screen-favored balanced to a subtle yet noticeable holosonic presence with the soundfield encircling the listener, both for effects and music. In Chapter 17, you can clearly notice the transitions into and out of one of these POV sequences. The dialogue production is excellent, with clear, natural-sounding voices having exemplary consistency with the visuals. The Trevor Rabin music score recording is also notable, with impressive fidelity and and a fairly expansive soundstage presence that somewhat favors the screen channels. This is certainly an aggressive, very well-produced soundtrack that fully exploits the virtues of multichannel surround sound to its advantage. (Perry Sun)



This Disc Contains The Following WSR-Rated Superb Qualities:
Reference Quality
Superb Sound Effects Recording Quality

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