Picture
quality handily recreates the film's 2D theatrical presentation, with deep
blacks and good
shadow detail, which is especially important for a film with a generally dim look and a number of low - lit interiors and nighttime exteriors.
Blacks could be a bit richer and
shadow delineation falls just short of perfection, but the overall
quality of this visual presentation is very impressive.
Moving through the galleries, there is Mark Rothko's Light Cloud, Dark Cloud, 1957; Philip Guston's The Light, 1964; the essential light / dark dichotomy in Callum Innes's Exposed Painting Mars
Black, 2002; the red flashing light in Robert Rauschenberg's Whistle Stop (Spread), 1977; Dan Flavin's Diagonal of May 25, 1963, 1963; Robert Irwin's use of light to create the
shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective
quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 — 01.