STACK #140 Jun 2016

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Contributors

Founder Nic Short Editor-in-Chief Paul Jones Film & DVD Editor Scott Hocking Music Editor Zoë Radas JuniorWriter Alesha Kolbe

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Issue 140 JUNE 2016

Creative Director Justin Buxton DVD Consultant Michelle Black Games Consultant Andre Eivik Music Consultants Mike Glynn, Fleur Parker Tech Consultant Chris Allen Chief Contributors Bob Jones , Amy Flower Contributors John Ferguson, Graham Reid, Michael Dwyer, Jeff Jenkins, Emily Kelly, Simon Lukic, Chris Murray, Billy Pinnell, Denise Hylands, Simon Winkler, Gill Pringle, Ryan Huff, John Roebuck, Judy Ewens Social Media Manager Sally Carlier-Hull Photographer Chip Mooney Production Manager Craig Patterson Accounts Coordinator Tracy Kingman

WELCOME My wife calls me a Blu-ray snob because I prefer to watch my films on that format. I disagree. I do watch DVDs – the majority of advance press screeners that we receive from studios for review are on this format (not to mention heavily watermarked). But for blockbusters, or a classic from Hollywood’s illustrious past, there’s only one way to watch it – on Blu. A cinemaphile for as long as I can remember, it’s not just the High-Def visual and audio experience that draws me to Blu-ray, it’s all the extras that I obsessively scrutinise for every detail of information I can find about the film I’ve just seen. Blu-ray now has a monopoly on bonus features like director commentaries, behind-the-scenes documentaries and deleted scenes, which makes recent fan favourites like Deadpool and Star Wars: The Force Awakens all the more essential on Blu. Moreover, the collectable nature of the format makes it the perfect fit for limited edition Steelbook packaging on selected releases, which you’ll only find in JB stores. Until the uptake and range of 4K UHD titles increases, Blu-ray remains the benchmark for High-Def home entertainment. Paul Jones, Editor-in-Chief

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