Welcome to my August 2026 Blu-ray Bounty, where I’ll be testing some of the latest 4K releases of the month. If you’re new to the Blu-ray Bounty, you can check out previous editions of these roundups by clicking the link above.

This series is where I test the picture and audio quality of select new 4K discs from each month. I personally use 4K Blu-ray all the time when I’m testing the best TVs and best soundbars, and have become somewhat of a collector myself.

In last month’s July 2026 Blu-ray Bounty, I looked at four discs: The Super Mario Galaxy Movie (which has now entered my testing rotation), To Live and Die in L.A., Alice in Wonderland (1951) and Hairspray (1988).

I’ll be using our usual setup to test this month’s seven discs, which includes one of 2026’s best OLED TVs the LG G6, the Panasonic DP-UB820, the best 4K Blu-ray player on the market and the Samsung HW-Q990C, an older-but-excellent 11.1.4 soundbar system. As always, I won’t be reviewing any of the movies here: just the picture and audio.

Project Hail Mary (Amazon MGM)

Based on the Andy Weir (author of The Martian) novel of the same name, Project Hail Mary follows schoolteacher Ryland Grace (Ryan Gosling), who awakens on a spaceship with no memory of how he got there. He soon discovers he must stop a substance from killing the Earth’s Sun.

From the offset, this is a breathtaking disc. As grace awakens and explores the ship, black tones are rich and deep, and there’s plenty of strong contrast between the dark recesses of the various hallways and the lights around the ship. It’s the same with scenes of space, as the disc renders the blackness of space with real accuracy, while still showing every individual star. There are scenes with plenty of strong shadows as well, and within these scenes there is excellent shadow detail, with details maintained in the dark areas on screen.

With Dolby Vision supported, colors are both punchy and accurate. Grace’s yellow coat is vibrant and true-to-life. There are even more spectacular colors later on in the film, such as ‘Adrian’ (a planet Grace studies), which really pops on screen but keeps that nice, realistic look that is present with colors throughout the movie. Any brighter colors really dazzle on screen, aided by Dolby Vision.

This disc’s Dolby Atmos soundtrack is fantastic. The sound is accurate with a fantastic balance, demonstrated in scenes where Grace frantically explores the ship. As he grips onto surfaces and moves through space, the sound of his rubber suit is clear and detailed, mapped to the rear speakers. This balances nicely with the ethereal score during the movie’s more curious moments, such as the first meeting with Rocky. There’s plenty of thumping bass too, with any impacts during the movie’s tense moments generating some solid punch from the subwoofer.

Michael (Universal Pictures)

A biopic of the legendary ‘King of Pop’ Michael Jackson, Michael covers the singer’s life from his early days in the Jackson 5, culminating in the late 1980s during the Bad World Tour. Jackson’s real-life nephew Jaafar Jackson takes the role of his uncle.

Obviously, we’ll start with audio. The disc has a Dolby Atmos soundtrack and the most impressive sequences are the live concerts and recording sessions. There’s a terrific balance between instruments and the crowd, which utilizes all the space within a surround system, such as the Samsung soundbar I used. When Jackson first records 'Don’t Stop Til You Get Enough' , the Atmox mix is superb, with Jackson’s vocals crystal clear at the front, a tightly controlled drum and bass line, as well as detailed strings and guitars, all given room to breathe.

Picture-wise, this is a crisp, polished presentation as you’d expect from a modern, high-budget movie. Colors have plenty of punch and vibrancy, but also look true-to-life, and the clothing looks accurate and detailed for the time. The peacocks on the lawn of the Encino mansion in particular show what Dolby Vision's color reproduction is capable of. There’s also good contrast throughout during night time sequences and when Jackson is on stage, particularly during his live performance of Billie Jean.

Troy (Arrow Video)

Troy follows the story of Paris, Prince of Troy (Orlando Bloom), who falls in love with Helen (Diane Kruger) and convinces her to leave her husband King Menelaus (Brendan Gleeson). Menelaus declares war on Troy and sends an army led by Achilles (Brad Pitt) to take the city. The movie is loosely based on Homer’s Iliad, focusing on the Trojan War.

This 4K restoration presented by Arrow Video is brilliant. Textures such as skin look lifelike with a 3D-level of detail, and the detail within objects such as armor and weapons is intricate and clean. Colors are bold and vibrant, such as the lush greens of the trees in the opening fight scene, as well as the blues of the sky above. Landscapes look superb thanks to fantastic cinematography, and again really demonstrate the excellent quality of this restoration.

Gold detail within the armor shines and is a showcase for TVs with good HDR highlights, like the G6 I used. There’s also plenty of strong contrast, with dark tones balancing the light, such as the dark walls of the palaces balancing with the fire torches on the walls. There’s some good film grain still present too, despite how clean textures look now.

There’s no Dolby Atmos soundtrack supported here, but there is a DTS-HD 5.1 MA soundtrack that more than lives up to the task. During battle scenes, the sounds of arrows and spears whipping through the air is clear through the rear channels, creating a sense of height despite the lack of channels, while the front channels handle the clanging swords and more visceral sounds as people are slain. There’s plenty of strong bass too, as horses and chariots take part in battle.

West Side Story (1961) (Capelight Pictures)

Inspired by Shakespeare’s Romeo and Juliet, West Side Story follows Tony, a former member of the Jets gang, who falls for Maria, a girl whose brother is a lead figure in the rival Sharks’ gang. Set in 1950s Manhattan, New York, it is one of the most well-known musicals in cinematic history.

Starting with audio, the 4K disc has a DTS-HD 5.1 MA soundtrack, restored from 70mm 6-channel master, and its quality shows. There’s a lovely balance between the backing score and vocals, all of which have been made into a natural-sounding, clean surround mix that makes use of all the space it's granted.

Vocals are consistently clear and instruments sound detailed throughout. Even more subtle effects, such as the shuffling of feet during dances, sound refined and well-defined within the mix.

Visually, this is an impressive restoration. The colorful clothes and locales around the New York neighbourhoods really pop on screen. During the opening sequences, the reds of the walls and various gang member’s clothing are both vivid and true-to-life, and this carries on throughout the movie, with the vibrant 1950s clothing looking bright and vivid.

Textures have been given a nice uplift, with skin in particular benefitting from the 4K restoration, giving people a 3D-like appearance that makes the movie feel much more contemporary than its 1961 release date. There’s also some demonstrations of strong contrast during the movie’s night sequences, with stage spotlights overhead creating strong shadows, while still maintaining rich black tones.

Bill & Ted’s Bogus Journey (Arrow Video)

A sequel to the beloved Bill & Ted’s Excellent Adventure, Bill & Ted’s Bogus Journey sees the duo Bill (Alex Winter) and Ted (Keanu Reeves) end up in the afterlife, after a pair of evil doppelganger robots is sent back in time to stop them from ever becoming famous musicians and creating a utopia.

This is another excellent (pun intended) 4K restoration from Arrow. From the get-go, colors are bold, vibrant and engaging. The neon clothing of the people in the future explodes on screen, but in the 1980s, people’s clothes really shine too, particularly Ted’s red jacket. Colors still look true-to-life at the same time.

Black tones are rich and deep as well, including the deep black during the tunnels in hell and of Death’s cloak. Textures have been upscaled nicely too, cleaning up skin and objects throughout the movie, while maintaining a good amount of grain.

The disc comes with a DTS-HD 5.1 MA soundtrack that delivers a surprising amount of detail. Various effects throughout really use every channel, such as the crackle of the time-travelling phone booth coming through clear in the rear channels, while speech is clear in the front channels. More subtle effects are also clear, such as the creaking of the Colonel's leather boots as he tells Bill and Ted to do infinity pushups. Musical scenes also sound great as well, with punchy drums and bass and detailed guitars.

Hunt For The Wilderpeople (Visions Home Video)

Hunt For The Wilderpeople tells the story of Ricky (Julain Dennison), a young orphan who ends up running from his foster home with his foster uncle Hector (Sam Neill) into the New Zealand wilderness. As a manhunt ensues, the two must work together to avoid the law. This was one of Taika Waititi's first movies.

The showcase visual aspect of this disc is of course the gorgeous New Zealand wilderness. The greens of the fields and trees are beautiful, looking both vibrant and accurate in equal measure. Any bolder colors, such as Ricky’s bright red jacket and yellow hoodie, also pop on screen whilst also looking true-to-life. Textures are crisp and realistic, with the detail in nature, such as leaves and roots, adding some nice depth to the image.

The DTS-HD 5.1 MA soundtrack sounds great here. As Hector and Ricky move through the wilderness, the sound of birds tweeting and the crackle of twigs and leaves underfoot is nicely detailed, with the birdsong demonstrating some accurate mapping as it quietly comes through the rear channels. Speech is clear throughout the movie, balancing well with the other aspects of the soundtrack. There’s even some nice directionality as well, with the sound of a travelling bullet moving around the rear channels behind me.

Mars Attacks! (Warner Bros.)

From Tim Burton, Mars Attacks! follows a group of aliens who land on Earth, and after meeting with US President Dale (Jack Nicholson) under peaceful circumstances, begin to attack cities across the globe. The movie has an ensemble cast including Annette Benning, Glenn Close, Jack Black and Michael J Fox.

Colors are the 4K disc’s real highlight here, with the gaudy aesthetic of Las Vegas, both the casinos and the people’s outfits, really popping on screen. The silk shirts a lot of the characters wear are extremely vivid, but never look oversaturated. Textures have been cleaned up well, giving the overall picture a refresh, particularly in people’s skin. During darker scenes, black tones are deep and there’s strong contrast on show, particularly during any night scenes on the Vegas strip.

The 4K disc’s Dolby Atmos soundtrack is engaging and detailed throughout. Explosions deliver plenty of meaty bass that's also well controlled through the right subwoofer. The sound of the alien’s ray guns is accurately mapped to the action on screen, demonstrating some brilliant, refined detail. As spacecraft fly overhead, Atmos is in full effect, demonstrating an effective use of height channels.

• The Magnetar Ultima is a new 4K Blu-ray player for reference-quality playback
• Blu-Ray, DVD, SACD, DVD-A, CD and digital support — but no DAC: all-digital output to your system
• Costs a cool $12,000 (about £8,895 / AU$16,687)

We've written many times about the benefits of Blu-ray over streaming, but many hardware firms have stopped making players as the format's popularity has declined. So it's nice to see the announcement of a new player for those who are still invested in the future of 4K Blu-ray… and it's one that's also an impressive audiophile music player.

The new player comes from Magnetar, and it's called the Ultima. And because it's being unveiled in the US at CEDIA 2026, the show where sound systems with supercar price tags are exhibited, it's clear that this reference system is aimed at the more affluent end of the market. (You might also get a hint from its price tag of $12,000.)

Magnetar Ultima: key features and pricing

The Ultima is built on Magnetar's MKII player platform, supporting 4K Blu-ray, Blu-ray, SACD, DVD, CD, DVD-A (remember that?), DSD/DoP, USB and network playback. That means a huge range of premium formats are covered, including external digital files, in a single system.

The Ultima adapts the existing MKII platform by moving to an external DC power supply instead of a more traditional internal AC setup, which why it has two distinct units. It features dedicated lithium-based power stages designed to isolate the transport, clock and signal paths from any noise, fluctuating voltage and other potential issues that might interfere with pristine digital data transmission.

Interestingly, the power stages are made by Chinese firm BYD, whose electric cars are currently selling like hot cakes in Europe. BYD is at the forefront of battery, charging and electrical tech so seeing a car firm here is less surprising than it might appear at first glance.

The Ultima runs a synchronized master clock system based around a unified 10MHz reference clock for precise timing across the device, but there's no audio DAC: this is a reference device whose job is to deliver the most precise audio data to the rest of your system, so it's expected that you'll connect it to a setup that can handle its audio.

As you'd expect, there are extensive connectivity options including two HDMIs, one of which is audio-only, and there's also gigabit Ethernet, USB 3.0, AES/EBU and coax S/PDIF connections too.

It's a hugely impressive specification, which is why it comes with that impressive price tag. It's available now through Magnetar's dealer network, but if that price is a bit steep you might want to check out our guide to the best Blu-ray players for something slightly cheaper.

Still, we're just happy to see something new arrive onto the market — Blu-ray might be growing in popularity again, but the hardware hasn't had all that much love.

Visiting Hisense's booth at IFA is always good for some future-gazing technology — the company often shows off product concepts that it's aiming to actually launch, but often only in China. So obviously, I like to go, find the best ones, and then write articles like this to persuade the company to release them more widely.

And here we are, in one of these articles, because I just saw the world's first micro-LED 3D TV (according to Hisense), and I thought it looked incredible.

The reason why is super-simple: micro-LED's giant brightness levels. Hisense's system uses active-shutter glasses, meaning that the TV shows alternating frames that should be seen by your left and right eyes, and you wear glasses that literally close off the vision of each eye, so that only the correct eye sees the correct frame on the TV.

But these lenses reduce the brightness even when the lens is 'open', and having only half the time to see each frame per eye also reduces perceived brightness, since less light reaches you.

This is the same technique used in the better examples of the old 3D TVs, but it meant that 3D always looked a bit dull.

But that doesn't matter if the TV is ridiculously bright to start with. Hisense's micro-LED model is capable of 10,000 nits of peak brightness, which means that when you're watching through the glasses, the 'dimmed' version of the video still looks like just a normal TV among the best TVs available today.

Colors look super-rich in 3D, and the 3D is super-sharp and detailed because you're getting native 4K resolution because of the active-shutter tech, and the crispness of the 3D effect is super-impressive. In the video I watched, there was no ghosting or stuttering of the image.

The motion looked really smooth and true to what you want from a TV, especially when combined with colors that actually feel rich and like you're getting HDR.

The amount of depth was really impressive, as well — the foreground truly looked like it was jutting out of the screen towards me, and the background felt like there was some real distance to it.

Hisense says that the TV will be able to convert from 2D to 3D in real-time with anything you watch, using a powerful AI-based system, with all the processing handled on the TV itself.

Of course, I'm more interested in breaking out my still-saved 3D Blu-rays of the movies I genuinely loved watching in the format, which were truly filmed with it in mind: Hugo, Pacific Rim, Gravity. I have never watched Avatar at home, because I know it would be a way weaker experience — but I'd watch it on this TV.

And while the dimming problem is the main issue with 3D glasses, I know that for many people the glasses themselves are the problem, and this TV won't solve that.

But man, if I were speccing out a high-end home theater setup (Hisense said the TV would cost over $200,00), I'd absolutely want this in it.

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Since I started my monthly Blu-ray Bounty column in November 2024, I’ve tested more than 100 4K Blu-rays. In that time, as well as finding that a lot of highly anticipated discs — such as Fight Club — lived up to the hype, there have also been some pleasant surprises, including the reference-quality Speed Racer and the spectacularThe Super Mario Galaxy Movie. The latter two are now part of the selection of discs I use to test the best TVs and best soundbars.

While I haven’t managed to test every disc I’ve wanted to (and certainly not every 4K disc released), one has remained frustratingly elusive: Hard Boiled. One of John Woo’s most iconic films, it's a cornerstone of Hong Kong action cinema, and I'd been keen to get my hands on the 4K release.

After failing to snag the Limited Edition, released in March 2026 in the UK, and every subsequent restock, I was starting to wonder if a Hard Boiled was destined to stay on my testing wishlist. July saw the arrival of a standard edition — and it shot to the top of my July 2026 most anticipated 4K list. After yet more courier delays, Hard Boiled finally made it into our testing lab — so, at long last, I was able to give it a spin to see whether the 4K disc is worth all the hype.

Awesome Atmos audio

There are three soundtrack options on this disc: Cantonese Mono, Cantonese Dolby Atmos, and English Mono. I primarily used the Cantonese Dolby Atmos, to see how effective the upscaled audio track would be, although I was impressed by the clarity of the Cantonese Mono.

There're no shortage of action-packed scenes in Hard Boiled, in particular a number of gunfights, and the disc's Dolby Atmos soundtrack makes the most of them. During testing, I used a Samsung HW-Q990C 11.1.4 channel soundbar system, and the Atmos mix really came alive. As bullets tear through the room, ricocheting bullets can be heard bouncing off walls with impressive detail and precision. In the opening gunfight, as sprays of bullets from sub-machine guns fly, the trajectory of these bullets was precisely mapped to the rear channels, and as the camera moved around the room, the sound of the bullets moved with it.

While bullets generate impact, it’s the big explosions that deliver the meaty bass. While these explosions didn’t always resonate from the Q990C’s subwoofer (down to the older mix), there was still plenty of oomph to each one. The Atmos soundtrack also displays great balance and range. As Tequila and Ah Long are caught in a shootout with one another, the sound of bullet casings hitting the floor is audible in the loud gunfire, which is in turn well balanced with raised voices and the often-lively score.

4K picture wins again

Arrow Video’s 4K discs are among the strongest when it comes to restoration, and this remains true with Hard Boiled. Textures have been finely restored, with details such as skin taking on a remarkably natural, almost 3D quality. In some scenes, the movie looks like it could have been shot only a few years ago rather than in 1992. Close-up shots reveal an impressive level of refinement, too, from the texture of a gun to the tiny details of a bullet. Having recently visited Silver Salt Restoration, which occasionally works with Arrow Video, I know just how much hard work goes into restoring films to such a standard.

Elsewhere, this 4K disc showcases bold, vibrant colors that really pop off the screen. The neon signs of downtown Hong Kong have a gorgeous richness to them, while restaurant interiors benefit from punchy yet natural-looking hues – such as a vivid green door in the opening gunfight. And then there's the blood — of which there is plenty in Hard Boiled — that displays real vibrancy, but in some scenes, also appears deep, rich and convincingly realistic. It really highlights the disc’s color reproduction.

Throughout the movie, there are plenty of scenes that, displayed on the right TV, really highlight the 4K disc’s excellent contrast. In the dimly lit jazz club during the opening credits, the dim surroundings contrast well with the wall and stage lights. A later scene of a parade of motorcyclists escorting a car along the docks also show deep black tones, which balance nicely with the headlamps from the vehicles.

Finally, there are plenty of moments that can give a good TV a chance to shine, too. Throughout the movie, bright sparks fly from car collisions, showers of bullets and explosions, and on the LG G6 I used for testing, they really showed off the G6’s strong HDR highlights. The film grain has also been cleaned up. There’s still enough to satisfy cinephiles, but the clean-up job gives Hard Boiled a more contemporary look without stripping away any character.

My 4K Blu-ray love grows

I’ve written plenty about how much I love what 4K Blu-ray can do for more classic movies, with titles such as 1938’s Captain Blood, 1944’s Double Indemnity and 1950’s Sunset Boulevard from Hollywood’s Golden Age all given a new lease of life. Even "more recent" thrillers such as To Live and Die in L.A. — also from Arrow Video — have received stunning 4K makeovers, while remaining crucially faithful to the original, filmmaker-intended look.

Hard Boiled is just the latest in a series of titles I’ve tested that showcase just what 4K Blu-ray can do. It retains the movie’s iconic look, both of early-'90s Hong Kong cinema and John Woo’s distinctive style, while also giving the movie a new coat of paint. The superb new Atmos soundtrack adds another layer, bringing out a wealth of intricate detail and making the explosive action even more immersive. It's yet another fantastic 4K Blu-ray release that I’ll be adding to my now bursting 4K Blu-ray shelves.

• Sony unveils cheaper Bravia 6 OLED TV, available in sizes from 48 inches to 83 inches
• It has four HDMI 2.1 ports, Dolby Vision and Dolby Atmos
• Prices start from $1,300 / AU$2,599 (about £957), putting it against Samsung and LG's mid-range model, but its unclear if performance will match

Sony has launched a new mid-range OLED TV, the Bravia 6. As the numbering suggests, it sits below the Bravia 8 and Bravia 8 II OLED TVs and the Bravia 7 II and Bravia 9 II RGB LED TVs in Sony's 2026 TV range.

The Bravia 6 comes in five sizes, ranging from 48 to 83 inches, and includes the MediaTek Pentonic 800 chip, which means it has four HDMI 2.1 ports that support 4K 120Hz and variable refresh rate — unlike Sony's higher-end TVs, which only have two HDMI 2.1 ports each due to a quirk of chip choices. The Bravia 6 also supports Dolby Vision, Dolby Atmos, DTS:X, auto low latency mode and HDMI eARC.

The strapline for Sony's marketing is "OLED essentials, now within reach", and with prices ranging from $1,300 to $4,000 in the US / AU$2,599 to AU$6,999 in Australia (UK pricing is coming soon) the Bravia 6 is priced to fight it out with the LG C6 and the Samsung S90H. So how do they compare?

Sony Bravia 6 vs LG C6 vs Samsung S90H: key features

As you'd expect from a new Sony, the Bravia 6 runs Google TV. LG has its webOS system, and the Samsung runs Tizen. There's essentially universal disagreement in the TV community over which of these is better, but they all support every major streaming service.

The Bravia 6 will come in five sizes: 48, 55, 65, 77 and 83 inches. The LG C6 and Samsung S90H are both available in six: 42, 48, 55, 65, 77 and 83 inches.

Samsung's model has HDR 10+ while the Sony and LG have HDR 10 and Dolby Vision; all three have Dolby Atmos audio but the Sony also has DTS:X.

For gamers, the Sony has variable refresh rate based on the standard HDMI 2.1 spec; the LG has HDMI-spec VRR, plus, Nvidia G-Sync and AMD FreeSync Premium; and the Samsung has HDMI-spec VRR, G-Sync and FreeSync Premium Pro.

All three TVs support at least 120Hz 4K, but this is where it gets interesting. The Sony only supports 120Hz at 4K, while the LG and Samsung both support 4K 165Hz maximum.

This suggests that the Sony is using a different panel to the other models, despite being the same kind of price. We don't have official confirmation yet, but multiple outlets are have reported that the Bravia 6 uses the new, more affordable OLED SE panel, which is also used in the LG B6.

But what's odd is that the OLED SE panel is capable of hitting 144Hz, so the Sony being limited to 120Hz doesn't actually confirm anything about its panel either way.

If it is using the OLED SE panel, the LG C6 and Samsung S90H have a clear advantage in terms of the brightness and color reproduction of the panel itself. We loved the performance of the LG C6, and our first impressions of the Samsung S90H were that its display came very close to the C6, though our full review is coming soon.

TV enthusiasts will be very interested in Sony's processing, however, rather than just the panel. Sony's built a reputation for offering extremely good motion handling and upscaling, and producing fantastic levels of accuracy in its pictures. However, this often comes with a dimmer-looking picture than the competition even when using the same panel, and Sony might be using a dimmer panel to start with here…

At $1,300 / AU$2,599, the 48-inch Sony Bravia 6 is priced to compete with the LG C6, which has fallen to a regular price of $1,299 / AU$2,399, while the Samsung S90H is available for $1,199 / AU$1,799 at the time of writing.

The 48-inch version of the LG B6 is available for just $799 / AU$1,999 at the time of writing, and if the Sony TV does use the same panel, that's quite a start difference.

The mid-range OLED market is going to be a tough one for Sony to crack — the company is pretty cautious about discounting, but LG and Samsung are very aggressive with it. If the Bravia 6 has the performance to match the price, then it could be the cinephile's choice — but it could all depend on that panel.

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In my opinion, 4K Blu-ray is easily the best way to view a movie at home. It delivers unmatched picture quality that will give the best TVs a chance to shine, along with uncompressed audio that, when played through one of the best soundbars or a full surround system, is unbeatable.

Since I started testing 4K Blu-ray for TechRadar back in November 2024 as part of the Blu-ray Bounty (where we test the latest 4K releases from each month), I’ve come to appreciate the format even more, and I've even become a fan and collector during that time. 4K Blu-ray is also a staple of my AV testing, as it uses that exceptional picture and audio I mentioned to really push AV equipment to its limits.

I’ve spoken before about my favorite discs of classic movies, as I believe 4K Blu-ray has worked wonders for some older titles. But in recent months, there’s been a few new discs that have impressed me in one area in particular: color. I’ve tested two discs in the last few weeks alone that have entered my testing disc rotation, so I thought I’d pick my top five 4K Blu-rays for color that I’ve tried out as part of the Blu-ray Bounty.

Speed Racer (2008) (Warner Bros.)

Based on the 1967 animated TV show of the same name, Speed Racer follows the story of a young man called Speed Racer (Emile Hersch), a racecar driver who follows his deceased older brother’s career and vies to become a champion. After he chooses to stay with his family’s racer company, Racer Motors, instead of joining the Royalton Industries team, he becomes a target. The movie also stars John Goodman, Susan Sarandon and Christina Ricci.

From the moment I fired up Speed Racer, I was amazed by the sheer brilliance of its colors, which practically explode on screen. Throughout the movie, there’s plenty of bold, vibrant tones that really show off your TV’s color reproduction. As the Racer family eat breakfast after the opening race, the bright orange walls, green furnishings and pink details all pop on screen. Even people’s clothes have an almost oversaturated, bright look to them than when I watched on the LG G6, one of 2026’s best OLED TVs, showing real vibrancy.

Of course, there’s the colors around the racetrack itself too. From the bright, neon advertisements to the candy-colored outfits and car decor, if your TV has good HDR peak brightness, you’ll be rewarded with punchy highlights that really dazzle on screen. The disc supports Dolby Vision, and if your TV supports it, you’ll enjoy even more vibrant colors. This really is a reference quality disc.

The Super Mario Galaxy Movie (Universal Pictures)

Sequel to 2023’s The Super Mario Bros Movie, The Super Mario Galaxy Movie follows Mario, Luigi, Peach, Yoshi and Toad as they attempt to rescue Princess Rosalina from the clutches of Bowser Jr. The voice cast includes Chris Pratt, Anya-Taylor Joy, Charlie Day and Jack Black.

Animated movies often deliver striking, eye-catching colors, but I was floored by how good The Super Mario Galaxy Movie’s colors were. It starts in the very opening scene with the Lumas. As the Lumas themselves are all a variety of vivid colors, including red, green, blue and gold, they really show the 4K disc’s superb clarity from the get-go.

There’s plenty of natural color too, particularly in Mario and Luigi’s overalls, which are the most toned down, lifelike colors throughout the movie. Scenes of space show gorgeous pink, purple and blue hues that balance that are both nicely saturated and rich, and even fire has plenty of dazzle that, on the right screen, can also look realistic. It helps that the movie has crisp textures and details, but the color is what really shows off this disc.

Wicked (Universal Pictures)

Wicked, based on the musical of the same name, is a re-imagining of the events of The Wizard of Oz. It follows the story of how Elphaba (the Wicked Witch of the West), played by Cynthia Erivo, and Glinda (the Good Witch of the North), played by Ariana Grande, strike up an unlikely friendship while at the Shiz academy.

When I first tested this disc as part of the March 2025 Blu-ray Bounty, I was impressed with its color reproduction. While I expected dynamic, lively colors, due to the setting of Oz, I was pleasantly surprised by how well the 4K disc struck the balance between vivid and true-to-life. Elphaba’s green skin, although not in itself ‘realistic’, looks believable and lifelike. Glinda’s bright, pink outfits really pop on screen, but again look natural.

One scene I frequently use in my TV testing is where Elphaba stands under a tree with pink flowers. On the right TV, this scene can really show off a TV’s colors, thanks to the vibrant pink flowers, Elphaba’s green skin and even the blue detail on the decor of the school walls. Even if a TV doesn’t have the strongest color reproduction, the scene can still look good: it just won’t have that wow-factor that does the 4K disc justice.

The Sound of Music (Disney)

One of cinema’s most iconic musicals, The Sound of Music, based on the 1959 stage musical of the same name, tells the story of a nun Maria (Julie Andrews) who is assigned as the nanny for the Von Trapp family children during wartime Austria. The movie won five Academy Awards, including Best Picture.

I’ve always been amazed about what 4K Blu-ray can do for older movies, and The Sound of Music is one of my chosen showcases for this. Not only is the restored detail exceptional, but the movie’s colors are a sight to behold. My reference scene from this disc is when Maria and the children are at a market. In front of them are various fruits, mainly yellow, orange and red, that on the 4K disc practically shimmer on screen. But like Wicked, these colors also appear natural at the same time.

Throughout the movie, many scenes of the Austrian landscape also really showcase the bold, engaging color profile that the 4K disc can show on the right screen. The green grass, gorgeous blue sky and the white snow-capped mountains all pop, and if your TV can replicate the finest details, individual shades within these large colorful areas look exceptional. This is one of the best 4K discs of an older movie I’ve seen, and its colors are a big reason for that.

The Wild Robot (Universal Pictures)

Based on the 2016 novel of the same name, The Wild Robot follows Roz, a robot sent to gather data on wildlife. Roz, who is abandoned, must adapt to her surroundings, where she becomes the surprise adopter of a wild goose. The movie stars Luipta Nyong’o, Pedro Pascal, Bill Nighy, Kit Connor and Mark Hammil among its all-star cast.

While a lot of animation, such as The Super Mario Galaxy Movie higher up this list, can opt for vibrant, saturated colors, some animated movies go for a more natural color profile. The Wild Robot is one of the best examples I’ve seen of this. Using a beautiful animation style, which looks like a watercolor painting, the 4K disc is truly stunning. Colors are vibrant, but also true to the watercolor aesthetic of the movie and really do look like a real-life painting.

There are tons of scenes to choose from here, but the opening sequences where Roz first encounters nature are the best. The green trees and fields look superb, appearing both realistic and bright, and as Roz touches a group of yellow butterflies, the screen is filled with beautiful, vivid color that can really glisten on the right TVs. There’s even excellent detail within the colors of different creature’s fur, with different shades appearing nuanced and refined. I’ve seen numerous animated 4K Blu-rays, and this is one of the very best looking around.

• Dolby confirms that Dolby Vision 2 Max is intended to be the replacement for Dolby Vision 1 in more premium TVs
• Standard Dolby Vision 2 is intended to come to budget TVs that wouldn't have included DV1, and will be cheaper as a result
• More chips that support Dolby Vision 2 are coming to help make this happen, likely for use in 2027's models

Dolby Vision 2 is a next-gen HDR standard that comes in two flavors. Dolby Vision 2 Max is designed for premium TVs, taking takes full advantage of their higher-spec hardware to add in extra features — and it's arriving on its first TVs this month.

Meanwhile standard Dolby Vision 2 is designed to be simpler and more affordable for more budget sets, with the goal being to bring Dolby Vision 2 to TVs that previously went without it due to licensing costs, according to Dolby's experts.

I've been taking a deep dive into the technology with Dolby Laboratories' vice-president of home devices, Chris Turkstra, and director of business strategy, Jonas Klittmark — we've already discussed the ins and outs of Dolby Vision 2 coming to 4K Blu-ray, and how conversion to Dolby Vision 2 can be automated to ensure that lots of movies and shows are available in the new format. And according to Turkstra and Klittmark, the new Dolby Vision 2 technology may be the cheapest way for TV firms to deliver better picture quality on a budget.

As Turkstra explains, the decision to make a more affordable and less demanding version of the Dolby Vision 2 technology was made with affordable TVs in mind, a market infamous for razor-thin profit margins. "When it comes to improving picture quality, this is the cheapest bang for the buck for a TV [manufacturer] compared to a panel [upgrade], compared to a new backlighting technology, compared to anything else," he says. "This is way less expensive than those things."

He continues: "When we do [Dolby Vision 2] demos, the one that is the most impactful is the demo we have on two $300 TVs that show the difference between Dolby Vision 1 on one TV and Dolby Vision 2... it is surprisingly effective at increasing accuracy and pulling detail out."

Turkstra suggests that panel hardware upgrades to deliver similar improvements would be significantly more expensive than the cost of licensing Dolby Vision 2. I've seen the kind of comparison demo of Dolby Vision 2 on cheap TVs that Turkstra is referring to, and it's significant — though obviously I can't speak to whether Dolby's system would really be the cheapest way to a quality upgrade.

What are the differences between budget Dolby Vision 2 and the full-fat Dolby Vision 2 Max?

"As we were developing Dolby Vision 2, we found that it does amazing things on premium TVs," Turkstra told me. "It does a great job on the new TVs that are very bright, have a wide color gamut and have a lot of capabilities that we didn't have 10 years ago [when releasing Dolby Vision 1]. But it also brings a lot of benefit to mainstream users with TVs that are not as premium. So we split the product into two [versions].

"Dolby Vision 2 Max is the version that we believe will basically replace Dolby Vision… we think it will move into the premium position Dolby Vision has today. And we think that the standard version, Dolby Vision 2, will be in new TVs that don't have Dolby Vision today."

That doesn't mean the absolutely cheapest bargain-basement TVs, however. "We won't allow Full HD TVs," Turkstra says. "There is a set of requirements that the TVs have to meet. But Dolby Vision 2 will be on a lot more TVs than Dolby Vision is on today."

One of the things that will enable that is a new generation of TV processing chips that include the hardware upgrade necessary for Dolby Vision 2. At the moment, there's only one chip, the MediaTek Pentonic 800, but Turkstra confirmed that more are coming, and that the Pentonic 800 will spread from the upper-mid-range and premium TVs it's in now to more affordable models.

"We're seeing the Pentonic 800 being deployed [more widely], partly because it supports Dolby Vision 2," he says. "At the same time, there are new chips that we can't talk about, but we're working very closely with our silicon partners on that. They will be targeted more towards the mainstream TVs that will become compatible."

He continues: "Our launch partner is MediaTek, but our intent is to expand to have every TV SoC [system on a ship] supplier support Dolby Vision 2. There's a lot of that in the works… there will be continued support for the Pentonic 800, and there will be more for sure."

I expect that CES 2027 is when we can expect to start seeing the effect of that — including new brands support Dolby Vision 2 as well as more models. We know TCL, Hisense and Philips TVs (in Europe) will get support this year, but it seems like next year may be when we know whether it's really going widespread.

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4K Blu-ray is a big part of my work at TechRadar. Not only is it my staple source for testing the best TVs and best soundbars, but thanks to its superior picture and audio quality over 4K streaming, the movies themselves have now become one of my main areas of coverage.

As a big fan of 4K Blu-ray, both as a user in AV testing and as a collector, I helped start our Blu-ray Bounty series, where we review the latest 4K releases from each month, scrutinizing their picture and audio quality, back in 2024.

While the 4K Blu-ray market (and the market for physical media in general) has been a volatile one in recent years, the Blu-ray fan base has always been a passionate one. As I’ve been testing more 4K releases, I’ve come to appreciate what the format can do for older titles and general at-home watching even more, and I now include myself in that passionate fanbase.

So, when I was invited to visit Silver Salt Restoration, a company whose work ranges from audio restoration, data archiving and restoration and transfer of movies to Blu-ray restoration (including 4K), I jumped at the chance. The company has some big-name clients, having worked with Hammer, Arrow Video, Disney, Paramount, Universal and Criterion, among others. All of those brand’s 4Ks have been featured in Blu-ray Bounty, so I was excited to see how the magic happens.

A meticulous process

Silver Salt Restoration was founded in 2017 by a team of restoration artists, before being acquired in 2024 by John Gore Studios, another company dedicated to the preservation and restoration of classic titles, especially British cinema. Some of Silversalt’s biggest projects include The Deer Hunter, The Wicker Man, The Dollars Trilogy, The Curse of Frankenstein and the upcoming release of Dracula (the iconic Hammer horror classic starring Christopher Lee and Peter Cushing).

I was taken on a tour of Silver Salt's studio in Hammersmith, led by Managing Director Mark Bonnici, during which I was shown everything that goes into the meticulous process of restoring a movie.

My journey begins at the film inspection table, where Marie Fieldman, Silver Salt's resident film inspector, is hard at work inspecting an old film reel for damage, including visible scratches, marks, wear and tear, degradation, and even mould on each individual frame, before crafting a detailed report for the respective client. “Some of these haven’t been looked at by a human for a very long time,” Fieldman says, as she shows me an older report she did for 1954’s Men of Sherwood Forest. Here, she’s labelled every single defect she can find, noting the level of damage and the best course of action.

She tells me about what fixes can be implemented, such as the cleaning of mould and even using a blank frame in place of a damaged one, which won’t be noticeable in the final movie, noting that deep scratches can be particularly problematic.

Once she is happy with the state of the film reel, it’s taken over to a cleaning machine. The reel is mounted and travels between Dacron rollers where surface dirt is gently removed with a film-safe solvent. Marie warns, “In some cases the film may need to be hand cleaned, for example if the film has a wax coating”. Once the film is clean, it’s ready for scanning.

Scanning

Next, Bonnici shows us the two scanning machines Silver Salt uses. The first is the Arriscan XT. The Arriscan XT can use a wet-gate system, where the film is immersed in a Kodika, a special liquid which optically minimises scratches and marks as the film is digitised into a digital image sequence, known as a DPX file. The film is scanned in at 6K resolution, before being downgraded to 4K for 4K Blu-ray. “The Arriscan XT was originally designed for new film stock, but was later revised to handle archive/legacy film too,” Bonnici says.

He then shows us a more advanced film scanner, the Laser Graphics Director scanner. This scanner is specifically designed for archival footage which also uses an infrared light to detect marks and scratches on colour film and makes corrections during the scanning process. The Director scans up to 13.5K resolution and can handle 8mm to 35mm film.

Restoration

Once cleaning and scanning are completed, the DPX files are sent to the restoration artists, who work their magic to restore the uploaded film reel by correcting image instability, removing superfluous scratches and marks that the scanner has picked up from the original film, removing excess film grain, and generally tidying up the image.

The digitised frames are saved to file storage and then the digital restoration work begins. The frames are analysed for film dirt and the results are presented to the restoration artists, they can review these in a red mode, which highlights the differences between the results and the original version and any falsely removed part of the image reinstated. “We spend most of our time putting detail back in that’s been incorrectly removed,” restoration artist Anthony Badger tells me. “The system can sometimes struggle to distinguish between dirt and other textures within the film, like snow.”The artists perform other tasks such as stabilisation, deflicker, scratch removal etc. Anthony shows us various examples of larger fixes performed by the artists.

One of the clips I’m shown shows the red filter picking up what it thinks are marks and scratches. However, it also highlights a section of a character’s trouser leg and attempts to remove it, mistaking it for a scratch, and this in turn takes an odd chunk out of the leg. This is where Badger and the other restoration artists will add detail back in.

During the restoration process, artists will carefully check each frame in quarters, zooming in to see if there are any other areas where the picture can be cleaned up. When it comes to film grain, it can be tricky. “It can be a bit of an ethical dilemma on how much we intervene,” Badger tells me, “but we need to consider if an extreme problem will take you out of the story.” The team’s philosophy is to deliver a great-looking restoration that preserves as much of the original, authentic look of the film as possible which is accessible to the expectations of modern audiences, without reinventing it.

I’m shown another example, from Don’t Look Now, the 1973 thriller starring Donald Sutherland and Julie Christie. As Sutherland arrives in Venice for the first time, Badger points out a large yellow stain that appears on screen. “This appears to be a film lab processing error that would have been in the original negative and all previous releases,” he says. He goes on to say that the client requested that this be toned down as much as possible. With some magic work by the Silver Salt team, involving background replacement, layering and even some rotoscoping, going as far as using an extra in the scene traversing the frame as a wipe to make the transition seamless, the yellow staining is significantly reduced and the picture is beautifully restored.

Grading

Once the DPX files have been restored and the team are happy, the film is then sent off for grading, including HDR (if relevant). As Mark takes us up to one of the grading suites, he recalls Silver Salt’s first 4K HDR Dolby Vision grading project. “It was The Deer Hunter, which was a significant milestone for us and set the standard for future releases,” he says. He particularly remembers the opening scenes in the steel mill, with molten iron serving as an excellent showcase for 4K and HDR grading. “If you can ooze more detail out of it, why not?” he says.

Next, he takes us into another grading suite, where we meet Ray King, Head of Film at Silver Salt, and one of the main graders. As we enter, King is working on Dracula, the iconic 1973 Hammer flick starring Christpoher Lee and Peter Cushing. He talks about his process, and what type of film he prefers working with. “You’ve got to get a feel for the film,” he says, emphasising the importance of experimenting with color grading and detail to get the best results. “It helps bring the movie to life when you have the original elements,” he adds, saying he prefers to have the original film available.

As King works on a few scenes, he explains some of the details he works on, including skin tones and primaries, and points to a scene in which Cushing’s skin takes on a red hue. “Because of the old stage makeup and lighting they used in some older movies, when you’re changing the color grade, skin can take on this red tone.”

With a few quick adjustments, King reduces the red tone in the skin without compromising on the superb color he’s brought out in the surroundings, with vibrant, gorgeous reds in the velvet curtains being one particular highlight. Suddenly, there’s a wonderful richness and depth to the picture, with accurate colors and crisp textures that give this horror classic the distinctive '4K treatment' look that I’ve seen in so many great Blu-ray releases. “Once we’re done, some of these movies look like they could have been filmed last week,” King says proudly.

As he shows me his grading work on Dracula, he highlights that the original negative has faded over time, some colours more than others. To illustrate this fading, Ray showed us the red green and blue waveforms in the individual colour channels in his grading system and with the final results after his corrections on the grading monitor, the result I’m seeing is excellent. “Night time scenes can be very difficult to do,” King adds, pointing to a scene with a dark, shadowed forest that could easily show signs of black crush if not graded correctly. Ray mentions that he can use soft edges to remove black crush and again, the results I’m seeing are superb.

An even bigger fan

The above really is just an overview of the fantastic work Silver Salt Restorations does — the process of restoring a film is so intricate and laborious that it takes these talented artists and technicians countless hours of careful work to bring new life to a movie on 4K Blu-ray, especially the older, classic titles from studios like Hammer.

As a 4K Blu-ray collector and fan, it was such a great experience to see the hard work — and, frankly, wizardry — that the Silver Salt team can perform. While I’ve always marvelled at how good 4K Blu-rays can look, now that I’ve seen the restoration process in action, albeit briefly, I appreciate the format even more — and I especially appreciate the amount of work that goes into making many of our favorite movies look so good.

• Dolby says that Dolby Vision HDR movies can be upgraded to Dolby Vision 2 using an automated process based on the existing mastering information
• This means support may be more widespread than expected, since apparently it will be relatively low-effort for streamers to achieve
• The Authentic Motion and Precision Black features will be excluded from this, because Dolby says they they require human judgment to get right

If you're wondering where all the Dolby Vision 2 media is going to come from, we've got good news: it's already here, at least partly. Dolby Laboratories told me that it's created a process that can upgrade existing Dolby Vision media to add most features of the new HDR standard using an automated process based on the existing mastering data — and there are only two key features that are excluded, because they're areas that depend on new input from creators.

With Dolby Vision 2 arriving on TVs from this month, I caught up with Dolby Laboratories' director of business strategy, Jonas Klittmark, to find out the details: what it could do for 4K Blu-rays, what benefits it'll bring to streaming and most importantly of all, what to watch.

One of the biggest concerns with Dolby Vision 2 is that creators just won't be inclined to master video for it when it doesn't have widespread support — but it's unlikely to get widespread support if there's no content. But it turns out that existing Dolby Vision masters can be adapted to use many of its features without being reworked.

"There is a bunch of new features in Dolby Vision 2 that don't rely on new content at all," Turkstra told me. "Because you already have all the Dolby Vision content in the world... the streaming providers will have more to say about this later, but the existing Dolby Vision library will start to get converted and the new metadata for Dolby Vision 2 will be added."

Klittmark estimates that there are around 33,000 movies and TV show episodes available in Dolby Vision. "There's no realistic chance that all that content is going to get remastered from scratch," he says.

"The cost of doing that is just astronomical. So what we're offering instead is a semi-automated way of doing it where we're using modern techniques such as machine learning to assist in the creation of the additional metadata that's needed to make the most of Dolby Vision 2."

He elaborated that "many of the features, including the image engine, including the new version of LightSense, the intensity control, the pro settings, and sports optimization, all of those features can work through a combination of existing metadata."

That metadata is based on existing mastering data, and as will all of Dolby Vision 2, the next-gen data is in addition to the existing data; it doesn't replace it, so the automation won't affect the visuals of, or compatibility with, TVs that have the first generation of Dolby Vision but not the second.

What Dolby Vision 2 features can arrive automatically – and what ones can't

The two exceptions to the automated upgrade are Authentic Motion, which enables creators to control how strong your TV's motion processing is applied on a moment-to-moment basis, and Precision Black, which is designed to address dark scenes that looked great in the creators' mastering suite but appear too dark on TVs.

Klittmark said: "Authentic Motion is an example of a feature where it's just too sensitive. I don't know if you've been following the fairly polarized debate about motion that has been playing out over the years, with Tom Cruise making public service announcements, and things like that. That feature is so sensitive that we don't generate that metadata, it has to be manually authored."

I've seen Dolby Vision 2's Authentic Motion in action, and I think it's a great addition — it means that judder can be removed in scenes that need it, but motion smoothing can be deactivated in scenes that don't. I suspect that actually it probably could be automated to good effect, but as Klittmark says, I don't thing anyone would really trust that, so it's best that Dolby is leaving that to humans.

When it comes to Precision Black, Klittmark says this can't be automated because in order to get it right you need to know all about the creator's environment: "how dark was their ambient light, what kind of reference monitor were they using, et cetera... that cannot be speculated about or generated, so that needs to come manually from the creative."

When is Dolby Vision 2 not Dolby Vision 2?

I asked if this meant that movies might be labelled as supporting different Dolby Vision 2 features, but Klittmark says the firm doesn't want to make things complicated in that way.

"We've taken the simplest possible approach for consumers' benefit, which is that all the content is going to be Dolby Vision. There is no asterisk. There's no 'Dolby Vision 2' content, for example. There's no 'Dolby Vision 2 Max' content or anything like that. It's just all Dolby Vision content," he says. "And that way, it's very simple for a consumer to know what to look for. If you see that the content is in Dolby Vision, then you are getting the best experience you can get with that particular movie or whatever it is you're looking for."

I think this makes sense — your TV will be labelled as Dolby Vision 2 or Dolby Vision 2 Max, and potentially could tell you which features of the format are active, but when it comes to browsing the library, it makes sense to simply use the Dolby Vision logo to indicate that you're getting as many advanced features as the service has added, regardless of what they are.

Klittmark pointed out that this would be new to Dolby Vision 2, either. "The original version of Dolby Vision had tons of features in it, and not all creatives chose to use all of them all of the time. And there was no way to know that. And that's essentially a choice up to the creative. Which of the Dolby tools do they need do they feel like they need to use for which content? We leave that decision to the creative," he said.

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Another month, another stacked list of 4K Blu-rays. August 2026 looks to have some big releases coming, but I’ve decided to narrow it down to my top four picks, all of which I’ll be hoping to get in to test as part of our monthly Blu-ray Bounty feature. This is where we test the best 4K releases from each month, looking at each disc’s picture and audio quality to see how it can give your home theater a chance to flex its muscles.

4K Blu-ray is my most used source for testing the best TVs and best soundbars. It offers uncompressed audio and a higher bitrate over 4K streaming, resulting in better picture quality. Not only that, but I’m a collector myself and I’m always adding new discs to my personal collection.

Last month, in my July 2026 most anticipated list, I picked Hard Boiled, The Super Mario Galaxy Movie, Alice in Wonderland (1951) and Hairspray (1988) as my most anticipated discs. I got to test three of these in the July 2026 Blu-ray Bounty, and they all proved to be excellent, with special mention for The Super Mario Galaxy Movie which is in my opinion reference-level quality. Unfortunately, Hard Boiled was delayed in arriving, but I’ll be sure to give it a try and let you know what it’s like!

As I’m based in the UK, the following picks are based on 4K Blu-rays set for release in August 2026 here. Just in case the disc is already out in your region, or yet to be released!

Project Hail Mary (Amazon MGM Studios)

An adaptation of Andy Weir’s novel of the same name, Project Hail Mary follows the story of middle school science teacher Ryland Grace (Ryan Gosling), who wakes up on an interstellar spacecraft with no memory of how he got there. The movie is directed by Phil Lord and Christopher Miller, who also directed The Lego Movie and Cloudy With A Chance of Meatballs, and were both involved in the production of the Into the Spider-Verse movies.

I’m expecting Project Hail Mary to look superb in 4K. There are plenty of high-contrast shots both in and outside of the Hail Mary that should demonstrate deep blacks balancing with bright highlights. There’s also scope for some seriously bold colors, as well as crisp textures, with 3D-like textures in both people and environments, such as the intricate textures of the various parts and consoles of the Hail Mary ship.

With a Dolby Atmos soundtrack included, I’m anticipating plenty of height effects in action. With the wide scope of the ship and space setting, there should be opportunities for the Dolby Atmos mix to showcase plenty of detail and texture, as well as a chance to hear some accurately mapped sound as well, as Grace moves around the Hail Mary.

Release date

• US - August 11
• UK - 10th August

Troy (2004) (Arrow Video)

Loosely based on Homer’s Iliad, Troy tells the story of the decade-long Trojan War. When Paris (Orlando Bloom) runs away with married Queen Helen (Diane Kruger), the latter’s husband and king Menelaus of Sparta (Brendan Gleeson) declares war on Troy, which is led by Hector (Eric Bana). Meneluas sends a unified Greek army, led by Achilles (Brad Pitt).

Where I think Troy will really shine is with its audio. While there’s no Dolby Atmos soundtrack on this disc, there is a DTS-HD 5.1 MA mix and I’ve been finding more fantastic-sounding 5.1 MA mixes every month. With large scale battles that should deliver plenty of detail and power, along similar lines to discs I’ve previously reviewed such as Kingdom of Heaven and Gladiator II, Troy could end up as another brilliant-sounding disc that could really push a surround sound system.

This 4K restoration is not only presented by Arrow Video, whose 4K Blu-rays are always superb, but is restored from the original 35mm and presented in Dolby Vision. There’s a lot of bold visuals in Troy, including the beautiful environments, vibrant colors and detailed costumes that should look stunning when restored in 4K.

Release date

• US - August 18
• UK - 17th August

West Side Story (1961)

Based on the 1957 stage musical of the same name, West Side Story is inspired by Shakespeare’s Romeo and Juliet, and tells the story of young lovers Tony (Richard Beymer) and Maria (Natalie Wood), who are embroiled in the gang war for the Upper West Side between the Jets (Tony’s former gang) and the Sharks (of whom Maria’s brother Bernardo is the current leader).

With Dolby Vision HDR support, this 4K disc of West Side Story should look fantastic. Not only is there the vivid colors of the 1950s aesthetic, but there’s plenty of high contrast scenes at night, where dark and bright tones create a nice dynamic range. This 4K disc is presented by Altitude, who released the Some Like It Hot 4K I tested earlier this year and if that disc is anything to go by, this 4K disc should be fantastic.

The musicals I’ve tested, such as Wicked and The Sound of Music, have often sounded excellent, especially when Dolby Atmos is supported. West Side Story also supports an Atmos soundtrack, so I’m expecting iconic songs such as ‘Maria’ and ‘Somewhere’ to sound their very best. With an Atmos soundtrack, there’s also scope for detail, such as the shuffling and movement of dancers during choreography to add that extra layer of immersion.

Release date

• US - September 11 (Import)
• UK - 31st August

Mars Attacks! (Warner Bros. Home Entertainment)

Directed by Tim Burton, Mars Attacks! follows the arrival of aliens to Earth, where they meet the President of the United States James Dale (Jack Nicholson). After a first-contact meeting goes awry, the Martians begin to attack Earth. The movie features an all-star cast including Glenn Close, Annette Benning, Pierce Brosnan, Michael J. Fox and more.

As with all of Burton’s movies, I’m expecting very vibrant colors, such as those I saw in Edward Scissorhands. Mars Attacks! has a very gaudy, almost 1960s aesthetic in places that is sure to generate some lovely pop on screen, especially as Dolby Vision is also supported. I’ll be curious to see how the CGI of the aliens holds up, but after seeing 1982’s Tron on 4K, which made the dated graphics look decent, I have high hopes.

A Dolby Atmos soundtrack is featured on the 4K disc and other than the iconic ‘Ack’ sounds the Martians make, there’s plenty of great audio throughout this movie that could sound great in Dolby Atmos. The sounds of the Martian’s ray guns should draw some nice detail, explosions should generate some hefty impact and bass and there should be nice height effects in action too.

Release date

• US - August 11
• UK - 31st August

August 2026 highlight 4K releases

Below is a select list of 4K Blu-rays set for release in August 2026. Both UK and US releases are featured, with release dates noted. Release dates may vary by region, with some titles yet to be announced for some regions, or they may already be available in others. 4K Blu-ray is region-free however, so you should be able to order from anywhere.

August 3/4

• Talladega Nights
• The People vs Larry Flint
• School on Fire
• The Devil Wears Prada 2 (UK)
• Once Upon A Thief (UK)

August 10/11

• Project Hail Mary
• Mars Attacks! (US - UK: 31st August)
• Barbarian
• Clear and Present Danger
• Michael
• JFK
• Sing Street

August 17/18

• Troy
• Bill & Ted’s Bogus Journey (UK)
• Popeye (1980)
• Flight
• Nightcrawler
• Last Tango in Paris (UK)
• Hunt for the Wilderpeople (UK)

August 25/26

• The Pink Panther (1963) (UK)
• Disclosure Day
• Star Wars: The Mandalorian & Grogu (US)
• Practical Magic

August 31

• West Side Story (1961) (UK - September 11, import)
• The Abominable Snowman

Welcome to the Blu-ray Bounty July 2026. This is where we test the latest 4K releases of each month that we think will be perfect for showing off your home theater. If you’re new to the Blu-ray Bounty, you can check out previous editions here, where we’ve reviewed over 100 discs since starting in November 2024.

4K Blu-ray is easily one of the best ways to enjoy a movie at home, especially when it’s on the best TVs and best soundbars. I personally use it as my main source for testing AV equipment, thanks to its uncompressed picture and audio quality.

In last month’s June 2026 Blu-ray Bounty, I tested seven discs, including Speed Racer (which is one of the best discs I’ve ever tested, and you can expect to see it as reference source in future reviews), EPiC: Elvis Presley In Concert, Bullet In The Head (1991), Body Heat, Avatar: Fire & Ash, Five Easy Pieces and 36 Hours.

In this month’s list, I’ll be testing 4 discs, and I’ll be using our usual setup. This consists of the LG G6, one of 2026’s best OLED TVs, the Panasonic DP-UB820, the best 4K Blu-ray player for most users on the market, and the Samsung HW-Q990C, the brand’s flagship 11.1.4 channel Dolby Atmos system from 2023.

As always, I’ll only be discussing the video and audio quality of each disc, not the movie itself.

The Super Mario Galaxy Movie (Universal Pictures)

The Super Mario Galaxy Movie, sequel to 2023's The Super Mario Bros. Movie, follows Mario, Luigi, Peach Yoshi and Toad's adventure to rescue Princess Rosalina, who's been kidnapped by Bowser Jr. The film stars Chris Pratt, Anya-Taylor Joy, Charlie Day and Jack Black, who reprises his role as Bowser.

The Super Mario Galaxy Movie looks gorgeous on 4K Blu-ray. This disc is so impressive, that I've even started using it for reference testing, and you can read my full thoughts on it here. Below is a summary about the disc's picture and audio.

It's all about color reproduction here, which is bold and vibrant, generating some amazing pop on screen. As the Lumas listen to Rosalina's bedtime story, the color of each Luma is punchy with some amazing highlights, especially with Dolby Vision HDR. The animation throughout is crisp, delivering 3D-like textures and depth that is seriously impressive.

If you have a bright display at home, you'll be rewarded with some beautiful brightness too. The star that one of the Lumas turns into dazzles on screen, and anytime Rosalina uses magic, there are stunning, glittery colors that illuminate the screen. The movie delivers excellent contrast too, particularly in space scenes where the dark blue sky of space balances nicely with the bright stars and vivid characters.

The Super Mario Galaxy Movie has an impressive Dolby Atmos soundtrack included too. There's excellent detail and precision here, as Peach and Toad first fly through the space on the star, the twinkling trail behind the star follows its path accurately, and is well defined in the mix, clearly audible even in the uplifting score. As characters fly towards Bowser Jr's ship, height effects are fully utilized, with the character's flight mapped overhead to create a fully immersive sound. There's even great demonstrations of bass throughout, as character's fire up ship engines or crash through things, generating plenty of impact.

To Live and Die in L.A (Arrow Video)

To Live and Die in L.A. follows the story of two Secret Service agents, Richard Chance (William Petersen) and John Vukovich (John Pankow), who are in pursuit of counterfeiter-turned-killer Eric Masters (Willem Defoe) after Masters kills Chance’s former partner.

To Live and Die in L.A. looks excellent in 4K in this restoration, presented by Arrow Video. Textures have been cleaned up well, with skin looking realistic, and more intricate details such as scars and marks on people’s faces delivered with real clarity in close-up shots. Colors have seen beautiful pop, with the Dolby Vision grade really adding some serious punch. Reds, such as those on the US flags throughout, in particular jump off the screen.

There’s some strong contrast throughout, as well as some refined shadow detail. In dimly-lit areas, overhead lights create strong shadows across people’s faces, with a stakeout scene with Chance and Vukovich acting as one of the best demonstrations of this. Black tones are deep throughout as well, in both environments and people’s clothing.

There are two soundtracks included here: the original stereo audio and a DTS-HD 5.1 MA mix. Using the 5.1 MA mix, there’s some seriously good detail here. As Masters makes counterfeit notes, the whirring of the printing press balances nicely with Wang Chung’s score. Even intricate effects in the scene, such as Masters cutting out the notes and washing the surface, are clearly audible. During a night-time stakeout, the pouring rain is accurately mapped to the rear channels, even creating a sense of height. Speech is clear throughout, and the soundstage is wide enough to give all elements room to breathe.

Alice In Wonderland (1951) (Disney)

Alice In Wonderland, based on both Alice’s Adventures in Wonderland and Alice Through the Looking Glass by Lewis Carroll, tells the story of Alice, a young girl who ends up in a magical world where she meets a weird and wonderful cast of characters, including the evil Queen of Hearts who rules over Wonderland.

Alice in Wonderland looks great in 4K. Colors are bold and accurate in equal measure, faithfully rendering that classic Disney look. While most colors are beautifully vivid, it’s reds and pinks that really stand out on screen, looking particularly dazzling. The animation style here looks refined and has been nicely upscaled, giving characters more depth.

On the LG G6 I used, bright colors such as the white of Alice’s clothes and the gold of the doorknob have striking brightness and vibrancy to them, aided by the Dolby Vision HDR featured on this disc. While I usually use Filmmaker Mode on the G6, I found this movie did benefit from the brighter Cinema Home mode for some added punch.

While there is still some film grain present for cinephiles, the movie has been refined quite a lot and this does give the animation a very clean look, making it look much more contemporary than its original 1951 animation style would suggest.

There are two soundtrack options available: DTS-HD MA 5.1 and 2.0 mono. The 2.0 mono is more faithful to the original, but the 5.1 MA mix has a nice balance to it, giving every element depth and warmth, while letting them all breathe. The score is mapped to the rear speakers, allowing the front channels to deliver speech and other effects. Outside of the score and vocals, there aren’t many other elements to show off your home theater, but this 5.1 mix does sound brilliant.

Hairspray (1988) (Criterion)

Set in 1962, Hairspray follows Tracy Turnblad (Ricki Lake), a teenager who achieves stardom on a local dance show, and attempts to use her newfound fame to advocate for more racial integration on the dance show. Directed by John Waters, the movie also stars Divine, Sony Bono, Jerry Stiller and Debbie Harry.

As you’d expect from a movie set in the 1960s, there’s some seriously bold visuals here. From the bright pinks of the Turnblad home to the striking red of Link’s car, colors have some really nice pop on screen. Textures have been upscaled effectively, giving them a more 3D-like look, though not quite to the extent from other Criterion restorations such as 3:10 To Yuma. Finer details have also been refined, with individual strands of hair given some nice depth and volume.

There’s a lot of grain still present here, so cinephiles will be happy. Black tones are deep as well, shown predominantly in people’s hair. There’s some nice contrast too, as shaded areas contrast with the bright lights of the studios for the dance shows themselves.

For audio, there are two soundtracks available: DTS-HD MA 2.0 surround and DTS-HD MA 5.1. The 5.1 soundtrack does a great job of giving the soundtrack room to breathe, with a good balance between the speech and stacked tracklist of songs used for the dance scenes. More intricate effects such as the sound of shuffling feet and clapping hands during dance scenes have a nice clarity, clearly audible over the much louder songs.

• Hisense TVs with Google TV or VIDAA OS are getting Dolby Vision 2 first — the first models are 2026 TVs including the UX, UR9, UR8 and U7
• The update will roll out soon to customers in North America, Europe and Asia-Pacific
• Peacock is the big initial streamer to support it in the US, with and Chinese giant iQIYI is now also on board

Dolby Vision 2, the next generation of the advanced HDR format, is arriving on multiple TVs today — and it's rolling out to more models in the coming weeks.

Hisense is rolling out a firmware update from today for customers in North America, Europe and Asia-Pacific countries — and Chinese streaming giant iQIYI is confirmed to be on board as supporting the format, in addition to US streamer Peacock.

In addition to adding compatibility for features unique to Dolby Vision 2, the upgrade to DV2 means that existing Dolby Vision titles will also look better on these TVs, thanks to upgrades in the core image processing engine.

Dolby says that everything produced for first-generation format "will look more captivating and authentic, offering a significant and immediate improvement".

Which Hisense TVs are getting the Dolby Vision 2 upgrade?

The initial rollout is to 2026 Hisense TVs running either Google TV or VIDAA OS, and the first models will be these, which will all get Dolby Vision 2 Max:

• Hisense UX
• Hisense UR9
• Hisense UR8
• Hisense U7 (US)
• Hisense U7 Pro (Europe and other regions)

Exactly which other TVs will get it remains to be announced. It's a little complicated, because support requires a particular chip (the MediaTek Pentonic 800) in the TV, but Dolby told TechRadar that there are more chips coming that can support it, and that the Pentonic 800 is being rolled out more widely than it was previously.

It's also been confirmed that some TCL and European Philips TVs will get Dolby Vision 2 later this year, but there's no exact schedule for that yet.

Media that fully uses Dolby Vision 2's enhanced tools will be able to take advantage of features including Content Intelligence, which enables creators to embed precise instructions in each scene to dynamically adjust the picture, and an intensity slider to customize the Dolby Vision 2 experience to suit your room and personal preferences.

In addition to the standard improvements, Dolby Vision 2 Max can also leverage the processing power of more premium TVs with two key features: Authentic Motion, which delivers cinematic visuals while reducing unwanted judder and "soap opera" effects, which can result from excessive motion smoothing; and Light Sense 2, which can more intelligently optimize picture quality based on the lighting environment so you can see the dark bits when you're in a brightly lit room.

Dolby Vision 2 will be arriving as a firmware upgrade from Hisense today, with the full rollout taking several weeks.

The announcement and rollout have clearly been planned for some time, which suggests that Samsung's announcement of Prime Video supporting its rival format, HDR10+ Advanced earlier this week was designed to steal Dolby's thunder.

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As I overheard a fan saying at this year's Italian Global Series television festival in Rimini, Star Trek was one of the first TV franchises that you had to own physically in order to see the entire thing.

With so many different iterations of the overarching IP — from the classic 1960s series to Star Trek: Voyager, and more recent additions such as Star Trek: Strange New Worlds — it's not surprising that this has been the case for almost 60 years.

But the rise and dominance of streaming services is leading to an increasing reliance on digital services. After all, why spend more of your hard-earned money on discs when so much of Star Trek is available to stream on Paramount+ at the click of a button?

However, with season 1 of Star Trek: Starfleet Academy still not having a confirmed release date for Blu-ray, 4K and DVD formats, we're reminded of the reason why physical media is still important.

There's often no guarantee that a show or movie will always be available on a streaming service or in a digital format, meaning the only way to guarantee access to content you want to watch time and time again is buying a physical copy.

But if the studios behind shows such as Starfleet Academy don't confirm physical-media release dates, what then? Should Star Trek fans be worried that the opportunity to invest will be taken away from them?

According to Jeri Ryan, who played former Borg drone Seven of Nine in Star Trek: Voyager and Star Trek: Picard, it's unlikely that this will be the case — even if the 'tech bros' are intent on taking over mainstream studios.

'There's a sheer number of collectors who want to have the physical thing'

"I haven't actually heard about this, but I can't imagine that physical media will go away entirely, because there are too many collectors," Ryan replies when she's asked about Star Trek's physical media presence potentially disappearing.

"These studios are primarily IP companies. More so than ever now that all of the studios have basically been taken over by tech bros as opposed to creatives. It's about dollars, and numbers, and if there's money to be made. I think there probably always will be just by the sheer number of collectors who want to have physical things in their possession.

"I can't imagine that it would get entirely done away with. Maybe I'm wrong... I hope I'm not."

This isn't the first time that Ryan has been outspoken about the entertainment industry's relationship with technology. In April 2026, she testified in support of California Senate Bill 1050, which would "target false advertising by requiring clear and conspicuous consumer disclosures whenever a synthetic digital performer is used in state advertisements."

Ryan's certainly right in thinking that many factors, from over-reliance on streaming services to the increased use of AI, could affect the future of the Star Trek franchise in ways we haven't even imagined yet.

But for physical collections, I've got a feeling that Ryan's optimism when it comes to demand means these releases won't be going anywhere. But if Paramount could hurry up and announce a disc release date for Starfleet Academy to put our minds at ease, that would be great.

Blu-ray turned 20 this year, and although streaming is now the way most people watch films, physical media is dead is far from dead. Collectors are still buying Blu-rays for their new restorations, special features or limited-edition packages — and younger audiences are discovering the value of owning their films rather than dealing with your favorites disappearing on your all the time.

So if people still want to watch movies on discs at home, is there a Blu-ray successor on the horizon to offer something new?

Every major home video format before it has eventually been replaced. VHS gave way to DVD, then DVD gave way to Blu-ray. As someone who appreciates the quality of Blu-ray films but isn't an expert in the technology behind them, I assumed there would be a straightforward plan for something to come supplant them. Maybe an 8K Blu-ray? Maybe another physical format I've never heard of because home cinema is an interest of mine rather than my specialism?

But after speaking to analysts, hardware manufacturers and the organization behind Blu-ray itself, I discovered that most of them don't think another disc is coming. In fact, there’s no obvious "next format" about to be unveiled, and I wanted to find out why.

Why Blu-ray still has loyal fans

To understand why the future of Blu-ray is such an interesting topic, it's worth first getting to grips with why people still buy it. And the top reason came up in every conversation I had: ownership.

"Ownership matters more now than it did in 2005. When you buy a disc, you own that film. It’s yours, permanently, in its best possible form, sitting on your shelf whenever you want it,” says Victor Matsuda, Chairman of the Blu-ray Disc Association, the group behind the development of Blu-ray.

He tells me that people are switching on to the fact that most of what we “buy” digitally today is really a license that can change or disappear. His comments come shortly after Sony removed over 500 purchased movies from people's accounts without compensation, and right at the same time as Disney+ was forced to remove 4K and HDR support in many countries.

“We frequently hear complaints about people losing access to content they thought they’d purchased, and there have even been lawsuits brought on exactly this issue,” Matsuda says. “A disc doesn’t have that problem. Nobody can reach into your home and take it back.”

I've spoken to many physical media collectors over the years, and ownership is almost always the first thing they mention. But the second reason is quality. Ultra HD Blu-ray is still widely considered to be the best technology for watching films at home.

"20 years ago, Blu-ray set the standard for what a movie should look and sound like in the home, and it’s a standard both consumers and the industry recognized,” Matsuda tells me. “Ultra HD Blu-ray remains unsurpassed as the best overall experience for consumers.”

He explains that this has been the case even as streaming services have rolled out 4K and HDR. “The respective Blu-ray formats became the benchmark they chased, and in my opinion they still haven’t caught it. Blu-ray and Ultra HD Blu-ray remain the reference,” Matsuda says. “A stream can approximate it, but the disc carries the full, uncompressed picture and sound with nothing thrown away to fit a data cap.”

Olivier Semenoux, Europe head of GTM and Product Management at TCL Electronics, explains that much of that comes down to bitrate. "Blu-ray can be coded up to 128Mbps because that's the disc's technical limit,” he explains. “Streaming is a different story, most popular platforms cap out natively around 25Mbps, with some going up to 40 or 80Mbps.”

Unfortunately, the latter is very rare — when it comes to the big streamers, 16 to 18Mbps is the maximum you can expect.

This means that Ultra HD Blu-rays carry significantly more data per frame than a typical stream, meaning less compression and what you see at home is more of the original picture and sound being preserved. It's one of the reasons discs continue to set the standard for anyone who really loves home theater.

Variations of the same argument came up repeatedly in conversations with manufacturers too. I spoke with Rob Jones, President of Magnetar, a manufacturer of high-end 4K UHD Blu-ray and universal disc players. “When consumers invest in physical media, they get ownership, content preservation, and quality control,” he says. “While streaming is incredibly convenient, it cannot match physical media when it comes to that combination.” Jones says that’s what continues to drive Magnetar’s investment and development in this space.

But that doesn't necessarily mean streaming and Blu-ray are in competition. One of the more surprising things I heard was that several companies see them as complementary rather than competing technologies.

"We see many customers choosing both formats," Kenichi Ikenoue, Head of Strategic Planning at Panasonic Consumer Europe, tells me. "They enjoy the convenience of streaming for everyday viewing while turning to physical media when they want the highest picture and sound quality or want to own their favorite films."

Why 8K isn’t the answer

If Blu-ray still has loyal fans, isn’t the next step an 8K successor? That's what I expected to find, as someone who isn't deep on movie production. Instead, almost every expert I spoke to questioned whether there was any need for a successor at all.

"Honestly, I don't think so, at least not right now," says Victor Matsuda. "From a BDA [Blu-ray Disc Association] perspective, we don't see anything from content creators or consumers to indicate a need for a new format. They’re both extremely satisfied.”

There are signs elsewhere that the industry isn't preparing for another optical disc format either. In 2025, Sony announced that it was ending the production of recordable Blu-ray discs, MiniDiscs and MiniDV cassettes, saying that there would be "no successor models". Now, while that decision applies to blank recording discs rather than pre-recorded movie discs, it seems to reflect a broader shift away from consumer physical media formats.

One obvious reason for a new format would be 8K support, which is a format that would theoretically offer four times the resolution of today's 4K discs. But that wasn't what the experts I spoke to had in mind.

"The resolution race is interesting, but I don't see 8K finding a place with consumers anytime soon," Matsuda says. "The content community, meaning the Hollywood studios, produces its content in 4K and has stated their intent to continue doing so. Additionally, a number of manufacturers have dropped 8K from their lineups."

Jones agreed that 8K isn't ready for the mainstream, but says the challenge goes beyond content. It's also about the wider home theater ecosystem. "8K is a distraction until it's mainstream and the ecosystem simply does not justify it," he says.

He points out that an 8K player wouldn't just require 8K discs, but would also depend on compatible TVs, projectors, AV receivers and processors. "In order to sit down and experience 8K content, a viewer's entire home entertainment chain needs to support 8K," he says. "A consumer would need to replace every single link in their entertainment chain with a component capable of supporting 8K, which is impractical at best."

And it seems as if lack of demand isn't the only reason experts are sceptical. Some argue we've reached the point where higher resolutions matter much less than other improvements we can make to picture quality. "HDR and wide colour gamut make a far bigger difference to perceived picture quality than resolution does," Semenoux tells me.

Which means the challenge facing an 8K Blu-ray isn't just about a lack of content or compatible hardware; it's that the improvement itself may not feel significant enough to justify an entirely new format.

That's exactly how Mark Vena, CEO and Principal Analyst at SmartTech Research, sees it. "Frankly, an 8K Blu-ray would be a technical feat in search of a commercial problem to solve,” he says. “There's still little native 8K content, 8K TV adoption is modest and streaming platforms will almost certainly meet mainstream demand before another optical format ever reaches critical mass."

In other words, it’s not as if we’re all sitting around waiting for a new format to happen, it’s more that it doesn’t really have a reason to exist.

What creates a new format?

Vena’s point made me realize I'd been thinking about this the wrong way. Every major home video format solved an obvious problem. DVD improved on VHS by offering non-degrading video and the capacity for extra features. Blu-ray improved on DVD with the space for higher-quality video. And now we have Ultra HD Blu-ray, which improved on Blu-ray's quality further.

Crucially, each of those steps solved a real technical problem. But right now, there isn’t a real problem that a successor to Ultra HD Blu-ray could actually solve.

Matsuda explained this to me using a framework from his time as a product planner that he calls "needs" and "seeds". A "need" is a problem consumers or the industry want solving. A "seed" is a new technology that has the potential to create that demand in the future.

"I don't see a compelling driver for a new format at the moment," Matsuda says. "I think it's unlikely that a new format would arise out of consumer demand as there doesn't appear to be an expressed need. Similarly, Ultra HD Blu-ray continues to deliver content that takes full advantage of display technologies so I don't see a need arising from the industry side."

Matsuda says that could change. "From a seed standpoint, companies may have some technologies in development that could plant those seeds,” he explains. “But in my view, if a driving factor ever prompts a new physical format, it will most likely be the emergence of content the internet infrastructure simply can't deliver at scale without compromising quality. As long as streaming can handle what people want to watch, I don't see any real pressure for a new disc."

So a technological breakthrough on its own wouldn't be enough, a new format would also need the entire industry to then build around it.

Panasonic’s Ikenoue makes the same point from a more commercial perspective. "A successor format would also depend on significant investment from film studios and content providers. New hardware alone would not be enough. The content ecosystem would also need to support a new format. For the moment it is difficult to see the requirement for a successor."

A successor wouldn't just need a better disc, there’d have to be a need to even build that better disc in the first place. Only then would studios create the content, manufacturers would build the players, TV makers would support it and consumers would decide if it was worth upgrading. But right now none of the experts could identify a good enough reason.

What if the successor isn’t a disc at all?

That doesn't necessarily mean Blu-ray is the end of the story. Optical storage technology is still evolving. Companies are developing discs capable of storing far more data than today's Blu-rays, but the key thing is that they're aimed at archiving data on an enterprise scale rather than at home entertainment. Which means they aren’t about to become the next movie format that you’ll buy.

Instead, several people I spoke with pointed towards a future where the successor to Blu-ray isn't about discs. "If Blu-ray has a successor, it may not be something you can hold in your hand," says Mark Vena. Rather than another physical format, he believes the future lies in premium digital delivery through high-quality, studio-certified, lossless downloads stored locally on home servers or network-attached storage.

"This is why the real successor to Blu-ray, for most consumers, is not another disc at all," he says. "It's the combination of ultra high bitrate streaming, cloud libraries and AI-powered video optimization that's closing the quality gap."

So maybe the future isn't about replacing Blu-ray with another physical format but instead preserving the quality of audio and visuals that enthusiasts value about Blu-ray without even needing a disc in the first place.

One possible future is already beginning to emerge. Kaleidescape, a company specializing in premium digital movie delivery, offers downloads with bitrates to match what Blu-ray is capable of, preserving much more picture and audio quality than traditional streaming services while still providing the convenience of instant access.

Kaleidescape even recently launched a new 'Cinematic 4K' format for movies, which it says will offer even higher-quality bitrates for video, promising over 100Mbps of average bitrate (not maximum), which it compared to 60Mbps of average bitrate for 4K Blu-ray in its own marketing materials.

"In 10 years, the highest-quality movies at home will be delivered digitally, not on disc," Tayloe Stansbury, chairman and CEO of Kaleidescape, tells me. "Consumers will expect instant access, reference-quality presentation, and technology that evolves with each generation of content. That's the future Kaleidescape is building today."

However, for many fans of Blu-ray, the biggest hurdle here is still ownership and Kaleidescape's technical proficiency doesn't address that. It's a digital storefront, and the same concerns of losing access to things you've bought still applies.

Kaleidescape told me that its priority is delivering the best possible digital collecting experience rather than addressing licensing, and it declined to comment on people's increasing concerns about this side of buying movies.

Digital purchases may be able to close the gap on quality, but until they can offer the same promise of permanence as a disc, then physical media will continue to offer something digital can't.

Blu-ray remains resilient

When I first started researching this story, I thought I'd be talking to experts about the technology that’s waiting to replace Blu-ray. But instead, I learned the future is a little more complicated than that.

Every home video format in the past has reached a point where its limitations became too impossible to ignore. But Ultra HD Blu-ray appears to be in a different position. According to the people building and supporting the format, there isn't an obvious problem left for another new type of disc to solve. It still delivers the highest quality experience available to most consumers and continues to attract collectors who are willing to invest in physical media.

Looking at recent sales numbers, the Blu-ray market is much healthier than I expected. Mark Frampton, Senior Commercial Marketing Manager at Elevation Sales, a film sales and distribution company, says the format has remained remarkably resilient.

"We’re forecasting 2026 to be another year where the market stabilizes. Catalogue [older releases] has been very strong and only 2% down year-on-year. This is driven by collector’s editions and steelbooks, particularly on 4K Ultra HD which remains a format in growth."

In other words, older film releases are continuing to sell well, with premium collector editions helping to keep the market strong — and it's not just older enthusiasts buying discs today.

“Although the core buying audience is still people over 35, we’re increasingly seeing younger audiences entering the market,” Frampton tells me. “People aged between 25 and 34 are the second biggest buyers of Blu-ray. But Gen Z and Younger Millennials (aged between 14 and 30) who are experiencing ‘digital fatigue’ are becoming highly engaged in the format as well."

The wider industry paints a similar picture. Kath Summersgill, Group Joint Head of Sales at Key Production Group, an agency specializing in physical music manufacturing and creative packaging, points to figures from the Entertainment Retailers Association showing continued growth. "The current state of the physical movie market is incredibly encouraging, with ERA’s 2025 figures showing Blu-ray sales increased by 19.5%,” she says.

Now, these surprisingly healthy numbers don’t mean Blu-ray discs will be around forever. Streaming will continue to improve, premium digital libraries will become more sophisticated and companies like Kaleidescape are already demonstrating that top-quality movies don't necessarily need to be on a disc.

All of this means another physical format may never arrive. Instead, the next chapter for home theater could be digital — but there's a long way before collectors would be ready to trust digital libraries.

For now, at least you know you won't have to worry about buying your favorite movies yet again on another new disc format in the future.

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In 2025, Hisense introduced RGB mini-LED to the market and since then, most TV brands have thrown their hat into the RGB TV ring. TCL, Samsung, LG and Sony are major names who have adopted the new technology, which was dubbed as being a potential ‘OLED killer’, thanks to boasting higher brightness and bolder colors, and claiming to deliver black tones to rival the best OLED TVs.

One of those new TVs has just entered our lab: the Sony Bravia 7 II. The more affordable model of Sony’s RGB TVs, sitting below the flagship Sony Bravia 9 II, the Bravia 7 II is priced fairly similarly to rival mid-range OLEDs. So, I decided to see how the Bravia 7 II would fare against the five-star LG C6, one of the best TVs I’ve tested in 2026 so far.

For these tests, both TVs were set to their respective, out-of-the-box Filmmaker Modes. For the Bravia 7 II, this was called Professional in SDR/HDR, and Dolby Vision Dark when displaying Dolby Vision content. On the LG C6, it's just the Filmmaker Mode.

Colors

Starting with The Super Mario Galaxy Movie, both the Bravia 7 II and C6 demonstrated excellent color reproduction. In the opening scenes, the Lumas’ colors are richer and deeper on the C6, whereas they were brighter on the Bravia 7 II, which worked well for highlights on screen such as when Rosalina uses her wand.

While most colors were a bit punchier on the C6, I did find that yellows and golds actually appeared more vibrant and eye-catching on the Bravia 7 II, shown by the light from the fire reflecting in Rosalina’s hair and face.

Later scenes showed that the C6 had much bolder reds, shown in Mario’s hat and overalls. The C6’s colors also looked more accurate for the most part to me, though during an early scene where Mario and Luigi ride through the desert, I was drawn to the Bravia 7 II’s warmer color tone, with the desert sand looking more true-to-life on the Bravia 7 II, whereas it looked too red on the C6.

There was no denying though the C6’s color handling allowed for more texture and saturation within them, which worked well for this animation.

Moving to a movie with some real-life elements, Speed Racer, both TVs did a great job reproducing the movie’s over-saturated, cartoonish color profile. The ’60s-inspired, often-garish color of people’s outfits and the decor of the Racer family home really popped on both screens. S

imilar to Mario Galaxy, the C6 demonstrated deeper, bolder colors, while the Bravia 7 II showed brighter colors. In the scene in the park where Speed first meets Trixie when they’re both children, the red of Trixie’s dress is punchier on the C6, but the green grass is more vivid on the Bravia 7 II.

In some instances, the Bravia 7 II’s colors did look a little washed out, bordering on too-pale, which was exaggerated by comparing it directly to the C6’s color depth. Reds appeared slightly orange on the Bravia 7 II compared to the C6, a similar story to what happened when I compared the Samsung S95/S99H with the G6, with the former showing orange-tinted reds.

Still, color reproduction is one of the selling points for RGB TVs, and while I felt that the Hisense UR8 (that company's own more affordable RGB mini-LED TV) didn’t stack up that well for color against the Samsung QN80H standard mini-LED when I tested the UR8 and QN80H side-by-side, the Bravia 7 II is putting up a solid fight against the LG C6 OLED (which is a superior TV to the QN80H).

Contrast/dark room viewing

The Batman is something of a torture test for TVs due to its low brightness, which means dark tones can look inaccurate. While OLEDs do a better job displaying it generally, recent models such as the LG G6 have over-brightened the dark tones at times — but the C6 has always handled it well, so it's a great test against the Bravia 7 II.

Watching scenes from the Batcave early in the movie, both TVs demonstrated strong contrast with a great balance between light and dark tones. The C6 had a higher perceived contrast as its black tones were much deeper, thanks to OLED’s pixel-dimming abilities, which meant the dark surroundings that contrasted with the overhead lights and lights from Bruce’s equipment create a higher dynamic range.

Still, the Bravia 7 II demonstrated strong backlight control, better than almost any standard mini-LED TVs I’ve tested this movie on. I also praised the Hisense UR8 for this, so it certainly looks like RGB TVs have unlocked better contrast and dark area control for LED TVs.

In the subway fight scene, the C6 once again proved to have the better black tones, accurately capturing the gloomy tone of the film. However, on the Bravia 7 II, more details such as Batman’s armor and the texture of the back wall were legible, thanks to showing them in slightly higher brightness (more on that in a while), compared to the C6.

The C6 itself showed the occasional sign of black crush compared to the Bravia 7 II. For out and out contrast though, I preferred the C6’s look, but the Bravia II was impressive.

Watching in a dark room, the C6 has the benefit of no backlight, meaning there was no ‘cloud’ effect, where a backlight is obvious over a dark scene. While the Bravia 7 II did show the odd moment of clouding, again it showed excellent backlight control compared to the competition.

There was also very little blooming in the scenes I tried; it only became obvious when a bright menu appeared on the bottom of the screen. Even the Bravia 7 II’s viewing angles were solid, not showing anywhere near the level of blooming a standard mini-LED TV would when watched way off-angle.

I decided to try one final black level test, using the scenes of space from Alien: Romulus. As expected, the C6’s black levels were inky and deep, delivering strong contrast against the stars.

Again though, the Bravia 7 II’s black levels were very good for a backlit TV, although there was some graying on occasion.

I did notice more blooming on the Bravia 7 II in this film however, most prominently whenever bright, white text appeared against black backgrounds. Still, the Bravia 7 II fared better with this movie than I thought.

Brightness

I'm about to get into brightness measurements, but there's a caveat. For my testing, I profile a Klein K-10A colorimeter and Jeti Spectral 15VA spectroradiometer for the best accuracy — and for some reason, I could not get the two’s Delta-E results to line up completely when preparing to measure the Bravia 7 II.

The same equipment worked fine with other TVs when I checked it, so it suggests there’s something odd with the 55-inch Bravia 7 II unit I tested, or perhaps with the way the equipment interacts with it.

Before my full review, we’re getting a different, 65-inch unit in, and I will measure it again — however, I'll provide the measurements I took so far for reference, because while the Delta-E wasn't perfect, it wasn't too far off, so they should be instructive. (And the LG C6 measurements have no issues.)

Brightness results for these two TVs are actually quite surprising. In Filmmaker Mode, the C6 registered 1,427 nits of peak HDR brightness in a 10% window, while the Bravia 7 II registered 1,218 nits peak HDR brightness in its equivalent Professional mode. I was surprised to see that the C6’s peak brightness was higher, as I thought an RGB mini-LED would hit much higher numbers than an OLED.

Looking at fullscreen HDR brightness (a 100% window), this is where the real difference lies. The C6 hit 247 nits in Filmmaker Mode, while the Bravia II registered 957 nits in Professional mode. This is a huge difference — this is the area where mini-LED in general trump OLEDs, though 957 nits is especially high, even

Seeing how this translates into real-world viewing, it shows mostly in bright scenes or scenes with a lot of white. Watching snow scenes from the Spears & Munsil demo footage, a shot of some horses in heavy snowfall is significantly brighter on the Bravia 7 II compared to the C6, giving it a more realistic look.

Another shot of a cliffside during the daytime again looks much brighter on the Bravia 7 II compared to the C6. As the cliff takes up a large portion of the image, the Bravia 7 II, which is brighter in measured areas like 50%, 75% and 100% compared to the C6, means the image looks brighter overall on the Bravia 7 II.

In scenes from Speed Racer, the C6’s peak brightness means white highlights look glossier, such as on the shell of the Mach 5, and colors have more punch in highlight areas, such as the red M on Speed’s helmet. But as the Bravia 7 II has higher fullscreen brightness, the picture does look brighter overall on the Bravia 7 II.

Finally, using a scene in the white-sanded desert from Lawrence of Arabia, this is one movie where the C6 and Bravia 7 II are much closer in brightness in real-world movies. As Lawrence rests on a rock, the sands behind him look punchier on the C6. His metallic watch had slightly more pop too, although this was minimal.

When the sands take up more of the screen, as a stranger approaches Lawrence and his guide, the C6 once again had higher perceived brightness for me.

In this instance, it seems to be related to both TVs color profiles. The Bravia 7 II’s warmer color tone, giving it the brown/orange tint you expect from this type of picture mode, blends more with the desert, whereas the C6’s red tone gives the desert a little more pop.

In terms of bright-room viewing, where you're contending with reflections, the Bravia 7 II is better overall, although the C6 does handle brighter scenes well, such as the ones from Lawrence of Arabia.

With darker movies, the Bravia 7 II is the better option, but it is still prone to mirror-like reflections (the Bravia 7 II doesn’t have the same anti-glare screen as the step-up Bravia 9 II). However, they weren’t as noticeable as the mirror-like reflections from the C6’s even glossier screen.

A step forward, but not quite there yet

Whenever I’ve compared standard mini-LED and OLED, OLED has often come out on top, thanks to its richer black tones and contrast, more refined image and deeper, bolder colors. RGB has been touted as the latest big rival to OLED, and the Bravia 7 II gives the C6 OLED a really good fight.

When smaller RGB TVs first joined the market this year, with the tech itself only arriving in 2025, I thought prices would be inflated. While the C6 is the better priced TV right now, with a 55-inch model costing $1,499 / £1,499 / AU$2,995, a Bravia 7 II isn’t priced too differently, with a 55-inch model costing $1,799 / £1,799 / AU$2,995. (Though LG TVs tend to get more aggressive discounts than Sony TVs, so LG might retain the edge over time.)

For now, the C6 is still the TV I recommend between these two, because it offers the crisper look, bolder colors and more dynamic contrast I’m looking for, as well as a cheaper price. But, there’s a lot to like about the Bravia 7 II and if this is a sign of what’s in store for RGB TVs as the tech develops, OLED will need to watch its back.

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Dolby Atmos gets plaudits as the more popular immersive 3D sound format, but a lot of its love from home theater enthusiasts isn't about the spatial audio, but is more about the lossless audio quality you get on 4K Blu-ray. It's not the only game in town for this, however: there's also DTS-HD Master Audio (MA).

I’ve been testing new 4K Blu-rays as part of the Blu-ray Bounty, my monthly feature where I review the best new 4K releases for sound and visual quality, and tons of them use DTS-HD MA — especially older titles.

While DTS isn’t supported as widely in hardware as Dolby Atmos (new-release LG and Samsung TVs don't support DTS, for example), it’s an excellent sound format that can still deliver an immersive surround sound experience, especially in 5.1 surround systems.

While DTS-HD MA may not utilize height channels like Dolby Atmos does, there are a few 4K Blu-rays I’ve tested whose DTS-HD MA soundtracks sound so good, they had me asking who needs Dolby Atmos height effects anyway.

Below, I’ve picked seven of my favorite 4K discs that feature brilliant DTS soundtracks — most are 5.1 surround sound, but one is actually stereo (as the creator intended).

What do you think of Dolby Atmos vs DTS? Any other DTS 4K discs you think people should check out? Be sure to let us know in the comments below!

Chungking Express

Chungking Express follows the separate stories of two policemen in Hong Kong, both of whom are going through breakups and meet new strangers.

Where the DTS-HD 5.1 MA soundtrack shines here is capturing the hustle and bustle of Hong Kong. During one scene where Ah Wu (Cop 223) enters a night market, the sound of raised voices, goods being exchanged and the general chaos of a busy market sounds realistic and detailed.

The surround channels are used to full effect and sound is accurately mapped to them. The movement of sound had me double-checking the room, the sounds of the market are so convincing and tactile.

A later scene where Cop 663 visits a restaurant, the conversation of the patrons, clinking glasses and cutlery being used are given ample room to breathe, and the sound placement is precise. Again, the scene had that immersive feel that I’d found during the aforementioned night market scene. Throughout, the jazzy score is well balanced with other elements in the mix.

Tombstone

Tombstone follows the story of Wyatt Earp (Kurt Russell), a retired lawman who moves to the titular town with his brothers Virgil (Sam Elliott) and Morgan (Bill Paxton), and along with Doc Holliday (Val Kilmer) they must defend the town from a group of outlaws.

As you’d expect from a Western, there’s plenty of gunfights that demonstrate excellent surround sound and dynamic range. The DTS-HD 5.1 MA soundtrack here accurately maps ricocheting bullets to rear channels, while also following their trajectory. There’s good impact from said bullets too, showing some nice power from the front channels.

Elsewhere, other effects such as the clinking of spurs have a bright, clear sound and again sound realistic, with a clear connection between the sound and the action. Whenever horses gallop, there’s some meaty bass that delivers a solid rumble. The subwoofer of the system I use delivered plenty of oomph that even made our testing lab shake. Crucially though, despite bass volume, it’s well controlled and balanced within the mix.

Dunkirk

Dunkirk, directed by Christopher Nolan, follows the events of the Dunkirk evacuation in WWII, told from three different perspectives of people in the land, sea and air. It stars an ensemble cast that includes Kenneth Branagh, Tom Hardy and Cillian Murphy.

Christopher Nolan notably never uses Dolby Atmos with his movies, and Dunkirk is no different. While any Nolan movie could make this list (and this isn’t the only one), Dunkirk is easily one of the most impressive.

In the opening scenes, as the British soldiers attempt to outrun the gunfire, the mapping and directionality of the bullets was pinpoint accurate, coming from behind my head and ramping up the anxiety. These bullets also had plenty of impact and punch, delivering some serious power with every hit.

This is another DTS mix that despite a lack of height channels, delivers enough immersion that it feels like there’s height. Anytime a plane flies overhead, there’s absolutely perceived height, and the drone of the plane's engines has a clear sense of direction. Throughout the movie, bass levels are powerful but well controlled and dynamic, really giving a subwoofer a workout.

Interstellar

Interstellar is the story of Coop (Matthew McConaughey), a NASA pilot who joins an expedition to find a new home for humans, as Earth succumbs to famine and crisis. The movie also stars Anne Hathaway, Jessica Chastain and Michael Caine among its cast list.

Christopher Nolan’s second movie on the list, Interstellar delivers an impressive showcase for DTS-HD 5.1 MA. As the Endurance navigates the Gargantua wormhole, bass levels are strong, but there’s an added (intentional) sense of direction to the low frequencies as well, as the sound moves from the front to the rear speakers to create a fully immersive and engaging sense of reality bending around you. The roar of the ship’s engines delivers a seriously powerful rumble too, showing what your subwoofer can do.

There’s some fantastic detail within the sound mix too. During Coop’s daring docking sequence with the out-of-control Endurance, the sound of debris crunching into the ship and the directionality of the spinning ships are all intricate, audible and precise. There’s an excellent balance between every element, even with the powerful, organ-led score over the top of it — this is a really tough scene for speakers to drive, and is a great showcase for why Blu-ray is superior to streaming: it sounds so much weaker from any streaming source, but is brilliantly overwhelming here.

As Coop encouncters the black hole, the rattling sound of the dust again scrapes along the outside of the ship convincingly and sharply, really putting me inside the Ranger ship myself.

Minority Report

Minority Report, loosely based on Philip K Dick’s novella The Minority Report, stars Tom Cruise as John Anderton, the chief of the Precrime unit, which uses clairvoyant people to predict homicides before they happen. When the clairvoyant ‘precogs’ predict that Anderton will commit a homicide, he must go on the run.

Despite the lack of height channels in the DTS-HD 5.1 MA soundtrack featured on the Minority Report 4K Blu-ray, there are plenty of scenes where a sense of height is created. During the jetpack fight scene, the movement of sound and the spatial elements within the scene are enough to create the feeling of height to the mix.

The same is true in another scene where John escapes along a magnetic car freeway. Cars over John’s head, as he scales up the automated lanes of traffic, sound like they’re coming overhead, even with the missing height channels in the mix.

The detail in this disc’s soundtrack is just excellent. Other elements such as punches during fight scenes deliver solid impact and heft, with some meaty bass as well.

Fight Club

Fight Club is the story of an unnamed narrator (Edward Norton), who's an insurance agent who meets a mysterious soap salesman named Tyler Durden (Brad Pitt) and starts an underground fight club for disillusioned people.

As you’d hope from a movie as gritty as this, there’s plenty to like about the 4K disc’s DTS-HD 5.1 MA soundtrack. During fight scenes, punches and collisions have real impact, feeling every bit as gruelling as the scenes themselves. More visceral sounds, such as the bag of fat splitting open, are gruesome and realistic, sounding worryingly detailed. The narrator’s speech is crystal clear throughout most of the movie too, balancing well with the score and other effects.

Again, this is another mix with a real immersive feel in some scenes, delivering perceived height effects. During the opening, as the camera drops down through the building where the narrator is held at gunpoint, to the parking garage below, the sound of the breeze accurately follows the trajectory of the camera, creating that sense of height despite the lack of height channels.

Blow Out

Blow Out follows Jack Terry (John Travolta), a sound technician who is embroiled in a murder/assassination plot when he inadvertently captures evidence of the assassination while recording audio for a low-budget slasher film he’s involved in.

What makes this disc’s soundtrack so interesting is that rather than DTS-HD 5.1 MA surround, which the other entries in this list have been, this uses a DTS-HD 2.0 surround mix, preserving the original presentation, but in the best-quality mix we can deliver today.

While stereo may sound limited, some excellent sound design means the movie absolutely feels immersive. This is best demonstrated during a scene where Jack records audio in the park near the opening of the movie.

As he aims his microphone to capture audio, the sound of the wind and distant traffic fills the space with subtlety. When louder audio comes in, such as the hooting of an owl, the other effects don’t go away. As the car swerves off the bridge, the sound of the screeching tyres moves from side to side, again utilizing the surround channels well. There’s still some good impact as the car crashes through the fence into the river, too.

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• SyLC 3D Player supports everything from 3D Blu-ray to Apple spatial videos, and it can convert 3D video to display it on Apple Vision Pro headsets
• It's backwards and forwards compatible — and the creator says it can get dual-HDMI output for dual projection, for future-proofing
• The app runs on Windows, and is free via Github 'because this format deserves better than a slow death'

One of the great tech disappointments of the last few decades was 3D TV. Like many movie fans I was excited by the possibilities, invested in a 3D TV, and watched the entertainment industry ensure that yet again, 3D movies were a short-lived trend. By 2013, it was already generally agreed that 3D TV was dead and that smart TVs and 4K were the way ahead.

Not everyone got the memo [I had mine until 2020… -Ed]. Over on the r/audiovisual subreddit, Jarod-The_Centre is determined to ensure 3D never dies — so they have been making a free player that now "plays EVERYTHING in 3D" from Blu-ray to Apple spatial videos.

And that's just the beginning of its talents. If you're a fan of things pointing out of the screen for no good reason, Jarod's player is fascinating.

What does the 3D player do?

What doesn't it do? The player, called SyLC 3D Player, is a Windows app that's now in its fifth release. It's designed to play three different generations of 3D content: Blu-ray 3D/ISO/MVC MKV; HEVC/H.265 3D up to 4K 10-bit HDR; and Apple's MV-HEVC spatial videos. "The MVC of the 2020s, playing on your 2010s 3D TV," Jarod writes. "There's something poetic about that."

The app outputs in frame-packed 3D for compatible 3D TVs and projectors, and it can do something else that's really impressive: it can export 3D content as MV-HEVC, so you can take a 3D Blu-ray and turn it into a spatial video for Vision Pro.

I love Jarod's explanation for making the app. "It exists because this format deserves better than a slow death, and because apparently I don't know when to stop."

Jarod's in good company. Reddit's response to the latest announcement has been really positive and packed with good ideas, so for example Acceptable-Rise8783 suggests that for future-proofing, the app should be able to "send the two fields separately but in sync through two HDMI outputs."

With 3D TVs and projectors becoming increasingly hard to find — as they point out, "projectors are dropping support left and right because the chips that do 3D are becoming hard to come by" — the choice of viewing platforms will be reduced to dual-projector 3D or VR headsets.

The creator says this is something likely to appear in the player in a future version as the player already drives two windows simultaneously — and it means that dual projectors is the most 'future-proof' option for 3D, and the app supports it as best it can.

The whole discussion is fascinating, and I think Jarod sums it up beautifully. "Keep the faith. The format's not dead while we're still building for it 🔥".

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As a Batman fan, I was disappointed to learn last week that The Batman Part 2 has been delayed until February 18, 2028, another four-month wait to add to add to its last (delayed) intended release date of October 1, 2027. This latest holdup is actually the fourth time the long-awaited sequel to The Batman has been delayed, with its initial release originally set to be October 2025.

Thankfully, there are plenty of ways to enjoy Batman content at home while we eagerly await The Batman: Part 2’s 2028 release. From Christopher Nolan’s iconic Dark Knight Trilogy to the awesome Batman: The Animated Series, there are tons of choices. And there’s no better way to enjoy Batman’s many adventures than with a 4K Blu-ray. I’m a 4K Blu-ray fan and collector, so I’m always testing the latest releases for the Blu-ray Bounty and finding new discs to test the best TVs and best soundbars.

Below, I’ve picked three of my favorite Batman-related 4K Blu-rays, not just because they’re my personal picks, but because they’re also great examples to show what 4K can do, especially for your home theater.

The Batman

Where else to better prepare for The Batman: Part 2 than with its predecessor, The Batman. Matt Reeve’s The Batman follows Bruce Wayne (Robert Pattison) in his second year as Batman, where he must face The Riddler (Paul Dano), a revolutionary who uses a series of riddles and puzzles to test Batman, as Riddler plans to expose Gotham’s corrupt government and elite.

The Batman has become one of my main 4K Blu-rays for testing TVs. Due to its low brightness, some TVs can really struggle to accurately display the movie, compromising its dark tones. But, there’s also plenty of excellent-looking scenes with powerful contrast, balancing light and dark tones, that can really show off a TV.

The opening 20 minutes of the movie itself is all a big demo-reel for contrast. From the dark subway platform illuminated by overhead lamps as Batman fights a gang of thugs, to where we first see Bruce decoding Riddler’s clues in the Batcave, The Batman delivers truly dynamic and strong contrast, which I've found look superb on the best OLED TVs in particular.

There’s also a chance to show a display’s shadow detail, with plenty of scenes making use of shadows to create a captivating image. The aforementioned subway scene is one of these, with truly dark shadows creating a foreboding atmosphere that fits the gloomy tone of the movie.

There’s excellent detail throughout, with crisp textures that look refined and lifelike. Close-up shots show scars, wrinkles and stubble on people’s faces with impressive clarity, and texture in environments, like Mayor Mitchell’s house or the Batcave, are given a near-3D level of detail.

The Batman is an audio showcase as well as a visual one. The Batmobile chase has become a reference scene I use for showing off a sound system. The ignition of the Batmobile’s engines deliver room-rattling, powerful bass that through a subwoofer can create some serious roar. The 4K disc uses a Dolby Atmos soundtrack that creates an immersive and detailed sound.

As the Batmobile chases Penguin across a busy freeway, serving traffic and blaring horns are accurately mapped to the action. As Penguin fires a spray of bullets at the Batmobile, the sound glides around a surround system, as I found when using soundbars such as the talented Samsung HW-Q990H. There are plenty of Atmos effects too, as rain regularly falls throughout the movie, effectively using the height channels of any sound system.

The Dark Knight

Arguably the most popular Batman movie ever made, The Dark Knight is the second movie in Christopher Nolan’s trilogy. It’s one that’s stuck with me ever since I saw it as a teenager in theaters in 2008. Bruce Wayne (Christian Bale) is a couple of years into his time as Batman and he faces his biggest challenge yet, when he squares off with the unpredictable and chaotic Joker (played brilliantly by Heath Ledger).

Unsurprisingly, where this disc shines is in its IMAX sequences. These IMAX scenes show impeccable detail and crisp, 3D-like textures. In the opening bank heist scene, every detail is refined, from the creases in the robbers’ masks, to the texture in buildings of the densely packed city. Oh, and don’t be surprised when the ratio changes from widescreen to fullscreen: that’s normal for IMAX on home media.

Black tones and shadow detail are excellent during the film's night scenes too (of which there are plenty), and they look superb on an OLED TV. Contrast is also strong, particularly during the prison escort scene. As trucks move under the freeway, the overhead lights balance well with the dark, shadowed areas of the tunnel to create dynamic contrast.

This disc is also an audio powerhouse. With a DTS-HD 5.1 MA soundtrack, there’s some fantastic detail. During the tunnel escort scene, the whir of Batman’s bike riding through the tunnel is mapped perfectly to every channel. As perspective changes, so does the sound. Bullets are precise, flying from the front to rear channels when the movie is from Batman’s point-of-view, and every individual effect is audible, such as flying debris and swerving tyres.

Bass throughout the movie is truly powerful. Bullets have serious impact and the roar of the Batmobile’s engines delivers tightly controlled, but hefty low-end that reverberated through our testing room when I watched.

The score is a showcase in and of itself, with superb separation across different channels of the Samsung HW-Q990C soundbar I was using. In the opening scene, the scratching strings came from the left rear, the ticking sound from the right, and the heavy bass exploded from the subwoofer. Crucially though, every element was perfectly balanced, within the score itself and with all the action.

Batman Forever

This pick will raise eyebrows, I’m sure. But, honestly, Batman Forever is the Batman movie I grew up with and despite its very corny nature, I enjoy it. It scratches the exact part of my brain that occasionally craves a nostalgic Batman fix. The movie follows Batman (played by Val Kilmer) as he does battle with the Riddler (Jim Carrey) and Two-Face (Tommy Lee Jones) as they attempt to take over Gotham.

While this may be a surprising choice for a lot of people, this is a seriously good-looking 4K presentation. Batman Forever uses a lot of bold and vibrant colors, and in 4K, they really pop on screen. The green of the Riddler’s gaudy outfit and the purple of Two-Face’s injured side compliment each other well. There’s also a lot of neon-esuqe lighting used in the movie, with light tubes, red detail on Two-Face’s minion’s guns and the shimmering greens of Riddler’s hideout and event space. All these colors have a gorgeous punch that looks sharp and dynamic throughout the movie.

Shadows are used a lot, with characters often standing over lamps or in shaded rooms to create strong contrast in images. The LG G6 OLED on which I watched this movie in our testing room celebrates these rich and inky dark tones, with the leather of Batman’s armor showing nice depth, but also balancing well as the light reflects off it. Shadow detail is excellent too, with textures in dark areas on screen legible (yes, even the strange texture of Batman’s armor). Skin looks realistic in the many close-up shots used, too.

This 4K disc also supports Dolby Atmos. There’s some excellent use of height channels throughout, with the sound of helicopter Two-Face uses to escape in the intro coming from overhead as I watched. Explosions have plenty of meat to them, producing some lovely low-end rumble during the movie’s more action-packed scenes. The sound of the Batmobile’s engines firing is another great demo for the powerful bass in the mix.

More subtle details are also fully audible. The sound of Batman’s batarang as he throws it is precisely mapped, with the sound eagerly following its trajectory. Bullets have great punch to them, and again these are accurately posited within the surround channels. Speech is consistently clear throughout too, even during the most chaotic scenes. You might not necessarily expect this movie to be such an audio showcase, but it really is.

• Nearly 400 4K Blu-ray users shared info about player problems
• There's a huge gap between the best and worst in the poll
• Panasonic will be happy; Sony not so much

One of the things I like best about Reddit is the way people share their experiences of particular products: whether it's a kitchen knife, a portable AC or a Gibson guitar I know I'll be able to find sage advice on what to buy and what to watch out for. And now the good people of r/hometheater have come together to talk about the best 4K Blu-ray players and their reliability.

The poll was carried out by r/hometheater poster "requieminadream" and generated nearly 400 responses — almost double the number of previous poll respondents — from r/4KBluray, r/Bluray, r/PhysicalMediaMatters, the AVS Forums, and the Blu-ray.com forums. And there are some very clear differences between different firms' Blu-ray devices.

Requieminadream very kindly summarized the results in a sentence: "The Sony UBP-X700 is still the problem child, the Panasonic DP-UB820 is still champ, and the pricey UB-9000 posted the cleanest numbers (small sample though)."

But there were some interesting discoveries in the detail too, so it's definitely worth looking at if you're considering a pre-owned 4K Blu-ray player purchase, or just which one seems to make people the happiest long-term.

Which 4K Blu-ray players are the best?

One of the reasons I like Reddit wisdom is because with few exceptions, reviewers can't spend years with the products they test — so the reviews of my car don't know about the software issues that drive me wild and sometimes require a reboot at traffic lights, and the reviews of my router don't know about its tendency to misbehave every few weeks.

It's the same with Blu-ray players: even the most in-depth review won't be able to tell you if a player's likely to pack up in year two or three. (Though one exception is our Panasonic DP-UB820 review, written by our TV Hardware senior writer James Davidson, because he wrote us a fresh review based on combining using it in our test room and having used it daily for several years beforehand.)

But in general, polls like this are a brilliant resource.

By a large margin, the Panasonic DP-UB820 is the community's favored player: 43.4% of respondents have one, and its problem rate was around half that of the Sony UBP-X700. The rate of serious issues was very low, at just 8% — backing up what James had said, when he called it "the workhorse of the 4K Blu-ray player world".

The "problem child" that emerged from this latest poll is the Sony UBP-X700. Of the 103 Sony users, some 77.7% reported some issues over time; recurring and/or serious issues were 23%. The number one complaint is freezing during triple-layer transitions, which is something that has long been discussed on Blu-ray forums.

The poll shows another interesting pattern, which is problems over time. For the Sony, issues became more common over time — but for the Panasonic the pattern was of any failures showing up early, but better long-term reliability.

The other players in the survey came in between the two extremes, but some of the best results were from "other" players including games consoles and more niche Blu-ray products.

Satisfaction with those products was exceptionally high, with the PS5 getting a significantly higher rating than the Xbox. That's all the more striking given the Sony X700's performance: the PS5 is a more premium product and that seems to be reflected in its reliability — alas, we shouldn't expect any more PlayStations to arrive with a disc player.

I should make clear, as the original Redditor did, that in some cases the sample sizes for ownership in these polls is pretty low, so we should take the results with a pinch of salt. However, the Panasonic UB820 and the Sony X700 were the best-represented, and are the two most popular players, so their data is arguably the most useful anyway.

• Filmmaker mode in reverse: Creator Original embraces your TV's processing power
• Initially limited to 2026 C6, G6 and W6 OLED TVs
• Rolling out by the end of July 2026

LG Electronics has partnered with Prime Video to launch a new picture mode in select LG TVs. The new mode, called Creator Original, will initially be exclusive to three 2026 models: the LG C6, LG G6 and LG W6 series televisions.

The launch will be centered around the Masters of the Universe movie, which will be coming to Prime Video. And if you don't mind feeling very silly indeed, you can declare "I have the POWER!" into the LG Magic Remote for LG Smart TVs with webOS 23 or later to bring up content relating to the movie release.

Creator Original is the more interesting addition, though. It promises to deliver more control to creators than Filmmaker Mode, because it takes the opposite approach: instead of removing your TV's image processing and enhancement as much as possible, Creator Original embraces it, but with rules.

What is Creator Original on LG OLED TVs?

According to LG, Creator Original will enable TV and movie studios to set key parameters such as shadow detail and color balance, and to control how how motion processing and noise reduction are being used in your TV's processing, all to deliver the creator's preferred visuals, in theory.

In the case of Masters of the Universe, LG says that enables its TVs to "faithfully reproduce every glowing sword clash, shadowy Skeletor lair and explosive battle across Eternia."

Interestingly, Creator Original's pitch sounds remarkably similar to what Dolby is planning with Dolby Vision 2. Dark area handling and control over motion handling control are key features of DV2, which has the same goal as Creator Original: making the most of the capabilities of high-powered TVs without sacrificing accuracy by putting control in the hands of movie makers, and using data in the file to tell the TV what to do.

However, Creator Original won't have the bi-directional tone mapping and certain other features of Dolby Vision 2 Max, which also has a new and improved image quality engine behind it.

But still Creator Original looks like it may tick the most interesting boxes of DV2, and it has one big advantage over it: it looks like it's going to arrive first.

Dolby Vision 2 currently has one streaming partner, Peacock, and one filmmaking partner (StudioCanal), and there's no sign of a launch date as yet, though in discussions with Hisense and TCL we've learned that it's expected before the end of the year.

In contrast, LG says that Creator Original Mode for Prime Video "is scheduled to roll out by the end of this month," meaning July 2026, and if Prime Video adds support across more of its enviable Amazon Studios and MGM library, that could be a strong range of movies that use it. Of course, the fact that it only works on three TVs is a bit of a limitation.

When we asked LG if it has any plans to support Dolby Vision 2, it said that it would wait to see how support for the format evolves — but said we shouldn't expect current TVs to get it. So if you're thinking of buying the LG C6 or G6, this might be the best you can do for these kinds of next-gen image features.

As for the movie itself, we rather enjoyed it: in our Masters of the Universe review we said "it's the unrelentingly fun popcorn movie that [we] had expected recent Star Wars movie The Mandalorian and Grogu to be."

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As TechRadar’s AV tester, I’m always on the lookout for new 4K Blu-rays to test the best TVs and best soundbars with. While I have a pretty healthy catalog, with some top-notch discs, as a 4K Blu-ray fan, it’s exciting to check out new discs to keep testing fresh.

Last month, I tested the Speed Racer 4K Blu-ray and it was a powerhouse. Not only did it deliver staggeringly vibrant colors, but it also had a superb Dolby Atmos soundtrack that demonstrated power and precision, particularly during race sequences. It was one of my top discs of the June 2026 Blu-ray Bounty, and it’s easily one of the most impressive I’ve tested.

This month, a new disc has caught my eye: The Super Mario Galaxy Movie. The second entry in the new Mario Bros set of films, first started in 2023 with The Super Mario Bros., I’m anticipating that The Super Mario Galaxy Movie will have bright, crisp visuals and, hopefully, a great Dolby Atmos soundtrack.

While this was one of my most anticipated discs of July 2026, a first impressions Reddit thread on r/4K Blu-ray from user u/nacthenud got me even more hyped. Not only did they rate the movie’s HDR performance, but also mentioned it in the same breath as Speed Racer. So, I decided to check out how the disc fared on our reference LG G6 OLED TV, one of the best OLED TVs I’ve tested this year.

Phenomenal colors

From the moment The Super Mario Galaxy Movie starts, it’s clear just how stunning the 4K disc’s color reproduction is. As Princess Rosalina reads a bedtime story to the Lumas, the small creatures dazzle on screen. Every color, including yellow, green, red and so on, look natural and punchy in equal measure. Thanks to the high HDR highlight brightness, coupled with Dolby Vision support, the Lumas really popped on the LG G6’s screen. If your TV has high brightness with good highlights, you’ll be rewarded in this scene alone.

Soon after, as Rosalina battles Bowser Jr. in his giant robot, the sparkle from her magic, which comes out in vibrant blues, pinks and purples, shimmers on screen. This is also true later as the yellow Luma turns into a star, with the glittery stardust jumping on screen. Again, it’s another showcase of how impactful HDR highlights can look.

Later, as we see Mario and Luigi meet Yoshi for the first time, the 4K presentation gets to show the authenticity of its colors. Yes, Mario’s red jumpsuit and the green of Luigi’s overalls and Yoshi’s skin are striking, but the colors look realistic too. While I expected the colors in this movie to explode on screen as I’d seen in animated flicks like Elemental, these particular colors reminded me more of the lifelike colors I’d seen in The Wild Robot, exhibiting the wonderful depth and realism I liked in the latter.

In complete opposition to that, the neon signs of the games in the casino Peach and Toad arrive at really burst with color. This is where the G6’s highlights and peak brightness were really tested, and it did a great job. If you have a TV with high peak brightness, then again you’ll be rewarded. The same is true with the gold detail on the furnishings around Peach’s castle, as they sparkle as well.

Peach and Rosalina’s dresses are highlights in themselves, really delivering that candy-colored pop alongside the shimmer they both seem to produce. While they’re colors aren’t as natural as the Mario Bros and Yoshi, they’re accurate for the movie and really deliver a nice impact.

Dolby Atmos power

While I anticipated this disc to be a showcase for color, I didn’t expect it to be such a perfect audio powerhouse. Bass is frequently hefty, pushing the limits of the subwoofer of the Samsung HW-Q990C soundbar I was using. As Bowser Jr’s robot stomps towards Rosalina, the rumble from the Q990C’s subwoofer rattled the room and reverberated through the floor. Later, as Fox ignites the engines of the Arwing, this produces some meaty bass, akin to the igniting of the Batmobile’s engine from The Batman, my go-to audio testing scene.

The Dolby Atmos soundtrack here is also very precise. As Luigi launches fire in a panic in a cave, the flames’ trajectory was accurately mapped to the front channels, travelling from right to left across the soundbar. In another scene, as Peach and Toad first fly into space, the sound of the twinkling flight path of the trail behind them is not only mapped accurately, but clearly audible among the rousing, horn-led score, showing the soundtrack’s excellent balance.

Surround and height channels are also fully utilized. During the climactic space battle, as Fox pilots the Arwing towards Bowser Jr’s ship, the Arwing travels around the whole ship. This was mapped with real precision first to the front channels, then the rear right, to the rear left and back again, creating a fully immersive feel. It reminded me of the time-bending music sequence in Sinners, which also moved around each channel.

Throughout, there are numerous scenes where characters fly through space, using the star to move from galaxy to galaxy. These are a great demonstration for Atmos, with overhead flight paths actually coming from overhead. The same was true with Fox’s Arwing. As it avoided Bowser’s minions in the space battle, anytime the Arwing moved to the top of the screen, Atmos rendered accurate overhead flight.

Another reference disc

After watching The Super Mario Galaxy Movie, it’s definitely entering my testing rotation. Not only does it deliver on color and sound, but animation is crisp throughout, with clean-looking animation. Contrast is also powerful, with the dark blues of space contrasting well with the stars, Lumas and even the bright outfits of the main characters.

There are also plenty of bright scenes that will show off a TV’s HDR highlights and brightness, plus there’s some lovely shadow detail. Any scenes with strong light, such as Mario and Luigi with their flames in the cave, or at sunset as Peach gets frustrated, there’s strong shadows cast that look realistic.

This really is a superb 4K disc, and if you’re looking for a bold, colorful and dynamic movie to show off your home theater system, this is one to consider.

Samsung S99H review: Two minute review

Sitting at the top of Samsung’s 2026 TV lineup, the Samsung S99H is a flagship OLED TV that delivers excellent performance, particularly when it comes to picture, and a full set of features both for smart TV and for gaming. This could easily be one of 2026’s best TVs.

The S99H has a full list of features. Its NQ4 AI Gen 3 Processor comes with a stack of AI tools for picture, such as AI Motion Enhancer Pro and AI 4K Upscaling Pro, AI tools for sound such as Adaptive Sound Pro, and other AI tools for content recommendation. All of these fall under the Samsung Vision AI banner.

Picture quality on the S99H is superb. It delivers the highest brightness to date from a flagship OLED TV, along with vibrant, accurate colors, crisp textures and powerful contrast. Its anti-reflection screen is effective at eliminating reflections and while its Filmmaker Mode is a little dim in bright conditions, its Movie mode is a great brighter alternative.

Motion handling is mostly smooth and natural for both movies and sport, and while there are some hints of black crush in certain movies I tested, the S99H’s picture is still up there with the best OLED TVs.

The Samsung S99H delivers solid overall built-in sound. Its accuracy and precision are its strengths, with an excellent connection between the action on screen and the sound. The bass is punchy, there’s some nice impact and the soundstage can be wide. Still, this level of picture quality deserves a fuller sound, so I’d recommend one of the best soundbars or speakers.

Design is arguably the S99H’s most controversial topic this year. A new silver frame around the TV, called the FloatLayer Design, has been added and I personally found the frame to be distracting. While meant for wall-mounting, the extra width may cause space issues for some people and the handsome central pedestal stand of its predecessor has been replaced by two plastic feet. The One Connect Box has been removed, with ports returning to the TV itself — but you can connect Samsung Wireless One Connect Box to add more HDMI ports.

The S99H is a phenomenal gaming TV. Carrying four HDMI 2.1 ports that support 4K 165Hz, full VRR, HDR10+ gaming and ALLM, and boasting an ultra-low 9.5ms input lag at 60Hz, performance is smooth and the picture always looks great. Easily one of 2026’s best gaming TVs.

One UI Tizen is the S99H’s smart TV platform. It supports all major streaming apps, delivers pretty smooth performance and is easy to navigate. While there are some quirks that I found frustrating (namely auto-playing Samsung TV Plus), it’s still a good smart TV platform. Its Vision AI companion can be useful for those who enjoy AI, and while it doesn’t quite measure up to LG’s webOS, it’s still solid.

The 65-inch S99H I tested costs £3,199, which is a premium price for most people. It does justify its price with the level of performance and features that it offers and while the rival LG G6 is currently cheaper (up to £500 cheaper depending on sales), I expect the S99H’s prices will start to drop soon enough. In the meantime, last year’s Samsung S95F is available at a fraction of the cost, and is a great-value buy while it lasts.

Samsung S99H review: Prices & release dates

• Release date: June 2026
• 55-inch price: £2,399
• 65-inch price: £3,199
• 77-inch price: £4,299
• 83-inch price: £5,899

The Samsung S99H is the flagship OLED in Samsung’s 2026 TV lineup. It sits above the mid-range Samsung S90H and budget Samsung S85H. The 65-inch model I tested launched in June 2026 at £3,199

In the few weeks since its release, prices have remained the same. The S99H’s launch prices are cheaper than both its predecessor, the S95F, and the rival G6. However, the G6 has been out for longer, so its prices have dropped.

Samsung S99H review: Specs

Samsung S99H review: Benchmark results

Previous

1 / 4

Next

Brightness measurements

Taken using a colorimeter and test pattern generator. Click the test name for measurements and select the chosen test from the dropdown menu.

HDR Filmmaker ModeHDR Standard ModeSDR Filmmaker ModeSDR Standard Mode

Samsung S99H

HDR Filmmaker Mode (10% window)

2739

HDR Filmmaker Mode (Fullscreen)

449

LG G6

HDR Filmmaker Mode (10% window)

3004

HDR Filmmaker Mode (Fullscreen)

451

Samsung S95F

HDR Filmmaker Mode (10% window)

2132

HDR Filmmaker Mode (Fullscreen)

390

01,0002,0003,0004,000

10% window

HDR Filmmaker Mode Data

Product	HDR Filmmaker Mode (10% window) (10% window)	HDR Filmmaker Mode (Fullscreen) (10% window)
Samsung S99H	2739	449
LG G6	3004	451
Samsung S95F	2132	390

Samsung S99H

HDR Standard Mode (10% window)

2831

HDR Standard Mode (Fullscreen)

463

LG G6

HDR Standard Mode (10% window)

2469

HDR Standard Mode (Fullscreen)

385

Samsung S95F

HDR Standard Mode (10% window)

2135

HDR Standard Mode (Fullscreen)

380

07501,5002,2503,000

10% window

HDR Standard Mode Data

Product	HDR Standard Mode (10% window) (10% window)	HDR Standard Mode (Fullscreen) (10% window)
Samsung S99H	2831	463
LG G6	2469	385
Samsung S95F	2135	380

Samsung S99H

SDR Filmmaker Mode (10% window)

220

SDR Filmmaker Mode (Fullscreen)

219

LG G6

SDR Filmmaker Mode (10% window)

559

SDR Filmmaker Mode (Fullscreen)

390

Samsung S95F

SDR Filmmaker Mode (10% window)

256

SDR Filmmaker Mode (Fullscreen)

137

0150300450600

10% window

SDR Filmmaker Mode Data

Product	SDR Filmmaker Mode (10% window) (10% window)	SDR Filmmaker Mode (Fullscreen) (10% window)
Samsung S99H	220	219
LG G6	559	390
Samsung S95F	256	137

Samsung S99H

SDR Standard Mode (10% window)

229

SDR Standard Mode (Fullscreen)

229

LG G6

SDR Standard Mode (10% window)

648

SDR Standard Mode (Fullscreen)

559

Samsung S95F

SDR Standard Mode (10% window)

372

SDR Standard Mode (Fullscreen)

199

0200400600800

10% window

SDR Standard Mode Data

Product	SDR Standard Mode (10% window) (10% window)	SDR Standard Mode (Fullscreen) (10% window)
Samsung S99H	229	229
LG G6	648	559
Samsung S95F	372	199

HDR color gamut

Closer to 100% is better. Taken using a colorimeter and test pattern generator.

Samsung S99H

UHDA-P3

99.97

BT.2020

89.2

LG G6

UHDA-P3

99.3

BT.2020

83

Samsung S95F

UHDA-P3

100

BT.2020

89.3

0255075100

HDR Filmmaker Mode Data

Product	UHDA-P3 ()	BT.2020 ()
Samsung S99H	99.97	89.2
LG G6	99.3	83
Samsung S95F	100	89.3

Picture accuracy

A lower score is better. Taken using a colorimeter and test pattern generator.

SDR Delta-E

Samsung S99H

1.6

LG G6

1.4

Samsung S95F

2.61

0123

SDR Delta-E Data

Product	Value
Samsung S99H	1.6
LG G6	1.4
Samsung S95F	2.61

Input lag

Lower is better. Taken using a Leo Bodnar 4K HDMI Video Signal Lag Tester.

Samsung S99H

4K 60Hz

9.5

1080p 120Hz

5

LG G6

4K 60Hz

8.9

1080p 120Hz

4.6

Samsung S95F

4K 60Hz

9.5

1080p 120Hz

0

012345678910

ms

HDR Filmmaker Mode Data

Product	4K 60Hz (ms)	1080p 120Hz (ms)
Samsung S99H	9.5	5
LG G6	8.9	4.6
Samsung S95F	9.5	N/A

The Samsung S95F does not have a 1080p 120Hz results as its results were registered before we started taking the 1080p 120Hz measurement

Samsung S99H review: Features

• NQ4 AI Gen 3 processor
• OLED Glare Free screen
• AI enhancements including AI Football Pro mode

The flagship Samsung OLED has typically used a QD-OLED panel in its 55-77-inch sizes in the past. Based on my testing measurements, I am certain that the 65-inch model I tested does use a QD-OLED panel, though Samsung doesn't confirm this either way. The 83-inch model will use an LG W-OLED panel, because QD-OLED panels don't come in that size.

The S99H features an anti-reflection, matte screen, called OLED Glare Free by Samsung, that is designed to reduce mirror-like reflections, and keep reflections from a light to minimum.

The S95H uses Samsung’s own NQ4 AI Gen 3 processor, which provides visual AI-based enhancements such as AI Motion Enhancer Pro, 4K AI Upscaling Pro and Auto HDR Remastering Pro, as well as the introduction of AI Soccer Mode Pro, designed to provide the best picture and sound for Soccer. AI audio enhancements include AI Sound and AI Sound Controller Pro.

For HDR support, HDR10+, HDR10 and HLG are once again supported, but there is still no support for Dolby Vision. For enhanced audio formats, Dolby Atmos is supported, but not DTS.

The big design change with the S99H, compared to last year’s S95F, is the addition of a wider, silver frame, which Samsung calls a FloatLayer Design, which adds a couple of extra inches all around the TV. As a result, the One Connect Box is gone and ports have returned to the rear panel of the TV itself.

It’s worth noting that, as well as the four HDMI 2.1 ports on the rear panel, Samsung says that its Wireless One Connect Box can be added in addition to the other ports, giving you a total of eight HDMI 2.1 ports (four built-in, four on the optional box).

For sound, the S95H features a built-in 4.2.2-channel, 70W speaker system that supports Dolby Atmos: the same core specs as last year’s S95F. Sound features include Object Tracking Sound+ (OTS+), Adaptive Sound Pro and Active Voice Amplifier Pro.

Gaming is well covered, with four HDMI 2.1 ports built-in that support 4K at up to 165Hz, full variable refresh rate options including AMD FreeSync Premium Pro and Nvidia G-Sync, HGiG, HDR10+ gaming and auto low latency mode. There’s also a Game Hub where cloud-based applications such as Xbox and Luna can be accessed.

Samsung uses its own Tizen smart TV platform on the S99H, which features the aforementioned picture and audio AI tools as well as Generative Wallpaper and Art Mode, the latter of which is the same found on the brand’s The Frame art TVs.

Tizen supports a vast array of apps including Netflix and Prime Video, as well as UK based apps including BBC iPlayer and ITVX. For antenna/satellite based programming, Samsung uses its own Samsung TV Plus platform, rather than Freely or Freeview.

• Features score: 5 / 5

Samsung S99H review: Picture quality

• Spectacular colour display
• Effective anti-glare matte screen
• Strong contrast and inky black tones

The S99H boasts some strong brightness results, clocking in at 2,739 nits in Filmmaker Mode and 2,831 nits in Standard for peak HDR brightness. I used Movie mode for some of my testing, and this registered at 2,751 nits peak HDR. This is a big jump over 2,132 nits and 2,135 nits the S99H’s predecessor, the S95F, registered in the same HDR Filmmaker and Standard modes respectively.

Even fullscreen HDR brightness has had a nice boost, registering 449 nits in Filmmaker, 460 nits in Standard and 450 nits in Movie. This is a jump over the 380 nits and 390 nits the S95F achieved in Filmmaker and Standard mode.

The S99H’s has an anti-reflection, matte screen. If you’re viewing in a bright room, with unavoidable light, the S99H should be near the top of your shopping list. While I preferred the LG G6 over the S99H for actual content in bright rooms, the S95H is still the better TV for eliminating reflections outright.

The S99H demonstrates effective upscaling of SDR sources. Watching a mix of reality shows and Wimbledon via Samsung TV Plus, the S99H did a good job sharpening textures and giving colours a richer look. With HD sources, detail upscaling looked realistic and definitely had a 4K-like level of detail.

I tried out the Auto HDR Remastering Pro tool, and while it did boost brightness and sharpen textures, it all looked too artificial for my liking.

Moving to HDR sources, I first tested the S99H’s colour reproduction. Watching Speed Racer, a recent addition to my 4K Blu-ray testing rotation, the S99H delivered bright, bold colours that accurately captured the cartoon-style colours of the movie. Close-up shots of Speed Racer show vibrant reds in the interior of his cockpit and his ‘M’ logo, while later scenes show gorgeous, bright blues of clear skies and neon-like greens of a field in a schoolyard.

Comparing the S99H to the G6, I did find that the S99H made some reds a little pale and orange in appearance at times, but viewed in isolation, the S99H’s colors still looked superb. Moving to La La Land, Mia’s yellow dress was punchy, but accurate on the S99H and the gradient of pinks and purples in the sunsets looked realistic, but still lively.

It’s no real surprise that colors looked bold on the S99H, as I measured its HDR colour gamut coverage at 89.2% of the BT.2020 colour space and 99.97% of the DCI-P3 colour space: both outstanding results.

For darker movies, it was important to get the right picture mode for the situation. I found The Batman was too dim to watch in the default Filmmaker Mode with the lights on in our testing lab, but Movie mode worked fine. In a darker room however, Filmmaker Mode worked.

Throughout The Batman, the S99H’s strong contrast shone through, aided by its punchy highlights from its newfound brightness and rich black tones. Whether Batman stood in a dark subway or the camera cut to a ceiling-high, wide-angle shot of the Batcave, there was an excellent balance between light and dark tones.

I found during my testing that in Filmmaker Mode, the S99H was prone to black crush during the darker parts of the movie, resulting in detail loss. Batman’s armour in the aforementioned subway scene is obscured, as the S99H prioritises deeper blacks. This wasn’t as true in a ‘brighter’ dark movie, such as Alien: Romulus, where detail is more preserved, but there were still hints of black crush.

The S99H’s textures are crisp and 3D-like, no matter the content. Skin, clothing and objects all look lifelike, especially in HDR. I actually found I preferred the look of the S99H’s skin tones better than the G6 in my comparison of the two.

Finally, motion. The S99H demonstrated good motion throughout my testing, but I found it was best to set motion to 3 blur and 3 judder. Any higher, and motion looked artificial and unnatural. Going back to Speed Racer, the S99H did a good job handling the fast racing sequences as cars swerved from side-to-side. I did find there was some judder as commentators panned across the screen, but I found this on every TV I’ve tested with the disc so far.

I tried out the S99H’s AI Football Mode Pro and it was somewhat effective. The commentary was clearer and louder, the picture was more detailed and motion was smoother. If you don’t want to use any AI tools, then Standard picture mode with judder and blur set to 3 worked well.

• Picture quality score: 5 / 5

Samsung S99H review: Sound quality

• 4.2.2 channel, Dolby Atmos
• Great accuracy and clarity
• No DTS support

The S99H features a 4.2.2 channel, 70W speaker array and supports Dolby Atmos. There is however no DTS support. Along with its two sound modes, Standard and Amplify, there are AI Sound tools such as Adaptive Sound Pro and Active Voice Amplifier that can be used to adjust sound.

Watching Speed Racer with the S99H set to the Amplify sound mode, the S95H demonstrates solid bass and power, accurately delivering the rumble and revving of engines. Collisions as cars battle during races also have good impact, along with clear speech, even during the most hectic of races.

The S99H’s Object Tracking Sound+ (OTS+) is superb for delivering precise sound placement. When Speed Racer grinds a rail in the opening race, the sound was clean and audible, despite other loud effects.

Trying out the S99H’s AI Sound mode, it adds some width to the soundstage, giving more volume to more subtle effects. However, I personally found that the AI Sound was a little more compressed and some power was compromised, so I preferred the default Amplify setting.

While overall the S99H’s built-in speakers did a good job, I still felt the sound was contained to the screen's width, and while there was some good delivery of Atmos effects, they again were lost in the mix. For a TV with this picture quality, I’d still recommend a soundbar at least for the full cinematic experience.

• Sound quality score: 4 / 5

Samsung S99H review: Design

• Extended silver frame will be divisive
• Stand replaced with feet
• No One Connect Box included

Arguably the biggest talking point for the S99H this year is the physical design changes compared to last year’s S95F. The most notable is the FloatLayer Design, a silver frame that surrounds the TV, giving it a floating, 3D look. This is going to be a controversial addition and for some, it will mean a re-think on where to put the TV, since it adds width and height.

Personally, I’m not a fan, as I find the silver to be a bit distracting and when viewed off-centre, the frame looks odd.

The black, metal, pedestal stand from the S95F has been replaced by two plastic grey feet. While these feet are sturdy and easy to install, I still feel it’s a downgrade for a premium TV. The TV’s bezel is still sleek and ultra-thin, however, and gives it a high-quality feel (but is slightly spoiled by the frame behind it).

The other big change is the removal of the One Connect Box, an external box that housed the TV’s connections and processing. Now, the ports have returned to the rear panel on the TV itself.

For some, this will be welcome news. The S99H is compatible with the Wireless One Connect Box too, so if you liked the external connections, this is still an option you can add on — and not only that, the box can work in tandem with the TV’s built-in connections, meaning a potential eight HDMI 2.1 ports. Who needs an AVR?

The SolarCell remote returns once again, and while there’s been no real changes or additions to it, it’s still a light, sleek, USB-C and solar rechargeable remote that’s probably one of the better remotes on the market.

• Design score: 4 / 5

Samsung S99H review: Smart TV & menus

• One UI Tizen smart TV platform
• Vision AI features
• Home, Gaming, Art Hubs

The S99H uses Samsung’s own One UI Tizen smart TV platform, with the headline this year being the Samsung Vision AI Companion, which can be used to find related content to what you're watching, and answer general questions you may ask AI. Microsoft Copilot is supported.

Along with supporting major streaming apps such as Netflix and Prime Video, it also supports major UK streaming apps such as BBC iPlayer and ITVX. Samsung does not include Freely or Freeview, instead opting to use its own Samsung TV+ system for live streaming channels.

Tizen uses a number of different hubs as a way to organise relevant apps and content. Home houses streaming apps and content recommendations based on your viewing. Game houses all things gaming, including cloud based apps from the likes of Xbox. Daily hosts apps for office and health use, while Art hosts the Art Store, where artworks can be downloaded to be used as screensavers.

Art mode is a new addition, and basically means you can turn this into an artwork display, just like Samsung's The Frame TV. This may explain the new frame-like design. The Art mode costs a monthly subscription for access to all artworks.

Tizen is intuitive enough and easy to use. There is a space at the top of the home screen for banner ads, but this is common on most smart TV platforms nowadays. One thing I did find frustrating was that whenever I lingered on the home screen, Samsung TV+ would autoplay and overwrite whatever I was doing. There seemed to be no way to turn this off, short of deleting the app.

There are a good number of picture settings present, as well as AI-based tools for picture and sound settings.

• Smart TV & menus score: 4.5 / 5

Samsung S99H review: Gaming

• Four HDMI 2.1 ports
• FreeSync and G-Sync supported
• 9.5ms input lag time

The S99H is an excellent TV for gaming. Across its four HDMI 2.1 ports, it supports 4K 165Hz, full VRR including AMD FreeSync and Nvidia G-Sync, HDR10+ gaming and ALLM. It also features a Game Hub, where gaming related content and cloud based gaming apps such as Xbox and Luna are supported.

The S95H’s gaming performance is smooth and responsive, thanks to its ultra-low, measured 9.5ms input lag time. As I dashed around a desert battlefield in Battlefield V playing at 4K 120Hz, snapping between targets and diving for cover, there was never any sign of judder from the S99H, which expertly handled the chaos.

With its strong colours, high brightness and powerful contrast, the S99H looks great while gaming too. During the same desert mission in Battlefield V, it did a superb job capturing the relentless heat of the African sun. Detail in weapons and textures of environments were crisp and refined throughout gaming as well.

• Gaming score: 5 / 5

Samsung S99H review: Value

• Premium OLED price
• Rivals are currently notably cheaper
• Great features and performance for the money

As a flagship OLED TV, the S99H carries a premium price tag. The 65-inch model I tested costs £3,199. This is £200 less than the launch price of last year’s S95F, which is some welcome news. However, the S99H’s main rival, the LG G6, costs £2,999 at the time of writing and has dropped to £2,699 at times. For £500 cheaper, the G6 is better value, but it does have the advantage of an earlier release date (April 2026). I am sure the S99H’s prices will drop in a similar fashion over time.

While the S99H is a premium price, it delivers the features and performance to justify it. It’s worth noting there is a slightly cheaper Samsung S95H model available (£3,299 for 65 inches) which looks similar to last year’s S95F. Do not confuse this model with the Samsung S95H model available in the US and Australia — that's actually the same TV as this S99H model.

Samsung told me the major differences between the UK S95H and the S99H models are no frame, lower brightness from the panel, and Wi-Fi 5 on the S95F vs the S99H’s Wi-Fi 6. However, those definitely aren't the only differences, because the S95H uses the One Connect Box too. We have asked Samsung if there are differences in the type of OLED panel used, and it refused to say. In any case, while the frame will be controversial, the higher brightness and better Wi-Fi are the extra £100, in my opinion.

At the time of writing, if you want a flagship Samsung OLED, a 65-inch S95F is still available for roughly £1,899, and while the S99H is an upgrade, the S95F is easily the best value option right now. Once the S95F goes out of stock, the S99H’s prices should lower and it’ll be a more-than-worthy successor.

• Value score: 4 / 5

Should you buy the Samsung S99H?

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Also Consider

How I tested the Samsung S99H

• Reviewed in our TV testing room in varying lighting conditions
• Tested using both SDR and HDR sources
• Measurements taken using Portrait Displays' Calman color calibration software

The first step in testing the S99H was to determine its best picture modes. I settled on three: Filmmaker Mode for dark-room movie viewing; Movie for bright-room movie viewing and Standard for sports and daytime TV.

After this, I began by testing the S99H's picture quality using both SDR (broadcast TV) and HDR (4K Blu-ray and streaming), focusing on colour, contrast, detail, upscaling and motion.

I also tested the S99H's sound quality using reference scenes from Speed Racer among other movies, and I tested its gaming performance using Battlefield V on Xbox Series X.

Once subjective testing was completed, I moved onto taking objective measurements. I did this using a Klein K-10A colorimeter (profile with a Jeti Spectral 15VA Spectroradiometer), a Murideo Six G 8K Metal test pattern generator and recorded measurements using Portrait Displays' Calman colour calibration software.

I started with brightness measurements, using white window patterns in sizes 1-100% in both SDR and HDR. The two primary results I focus on are peak (10%) and fullscreen (100%) brightness.

Next, I measured the S99H's colour and greyscale accuracy in SDR, and then measured its HDR colour gamut coverage, using the DCI-P3 and BT.2020 colour spaces, hoping for a result of over 95% in the DCI-P3 space.

We recently introduced two new tests into our measurements. The first is the HDR EOTF, which shows the accuracy a TV in both light and dark areas, suing 1,000, 4,000 and 10,000 nits targets. Then, there is the Spectral Power Distribution test, which measures how a TV handles colour recreation.

My final test was to measure the S99H's input lag using a Leo Bodnar 4K HDMI Input Lag Tester. I measured both 4K 60Hz and 1080p 120Hz results in milliseconds (ms).

• First reviewed: July 2026
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• Users says they've observed LG gaming monitors automatically installing unwanted software on PCs
• LG's terms of service warn that conversations may be "captured and processed" on TV with the latest version of webOS
• The terms say you must now warn guests they may be recorded "in compliance with applicable wiretapping… laws"
• Update 22 July 2026: LG has issued a statement to TechRadar about the claims of unwanted installations and privacy concerns

Update: LG has issued the following statements to TechRadar regarding the following story.

"LG Electronics reiterates that McAfee is not installed automatically and is never installed without the user’s explicit consent. The LG Monitor App Installer is distributed through Microsoft’s official Windows distribution process, which included McAfee as an option. McAfee will be installed only if a user actively chooses to proceed with the installation and provides consent. Under no circumstances is McAfee installed automatically or without user authorization. The LG Monitor App Installer does not access, collect, or transmit any customer personal data.

"LG Electronics (LGE) reaffirms that LG TVs do not collect, record, or store ambient conversations. Voice recognition is an optional, user-initiated feature that processes voice data only when activated by the user to fulfill a specific request. Customers can use Smart TV features without enabling voice recognition. LGE is committed to protecting customer privacy and ensuring transparency in how user data is handled."

The rest of the story is as originally published, with some notes highlighting LG's response above.

How smart should a smart TV be? According to LG's latest TV terms and conditions, the answer is "not quite smart enough to comply with wiretapping laws", because that's now your responsibility if LG captures the voice of a guest in your house through its AI voice services. Though the situation with LG monitors appears to be even more dramatic.

As Gamers Nexus reports, some LG monitors appear to be installing adware on Windows PCs without asking for permission: in addition to the LG Monitor App Installer, they also install McAfee Scam Detector. (Update: LG disputes the Gamers Nexus' claim McAfee is installed without the user's consent.)

LG's own app requires full access to all system resources, which potentially includes all your online activity, logins, hardware, location and more (Update: LG says that it does not collect or transmit any personal data) — while McAfee has a long history of being installed on devices as 'bloatware', and people are not reacting positively to suddenly finding it on their PC. (Update: LG says that it can only be installed with the user's consent.)

There may be a perfectly innocent explanation for all of this, but when big tech firms keep getting caught doing bad things because they thought they could get away with it, it's no wonder people are assuming the worst.

The bit that's causing consternation regarding smart TVs is part 6(d) of the new LG Electronics terms of service, headed Voice Recognition and Privacy Compliance.

As Notebookcheck's Hannes Brecher notes, the section states that it's your responsibility "to obtain all necessary consents from any third parties whose voices may be captured by the Product and to notify household members and guests that their voices may be captured and processed, in compliance with applicable wiretapping, eavesdropping, and privacy laws."

There are three ways around that. One, you can turn off all microphone-based features. Some people won't mind that, but they can be useful — especially asking it for settings you don't know how to find.

Two, you can avoid installing the latest software — but that means you won't get any security updates, which are important (to protect your privacy, ironically, among other things).

Or you can disable your TV's connection to the internet so it can't send information back, but that obviously makes it less useful, and will also disable the voice controls anyway.

I think the terms and conditions are an attempt at corporate ass-covering rather than something sinister: the preceding paragraph talks specifically about when "a product with voice recognition functionality is used" and it's possible that "family members, guests, children, and bystanders" might be overheard; if you're choosing to activate AI-based voice features then of course voices are going to be captured and processed in order for those features to work.

At the same time, it does seem broad enough to let LG use people's voices as AI inputs, rather than just accidental capture. And in the context of what LG's doing with PC monitors (not to mention AI training's very, ahem, casual relationship with consent and copyright), that's a worry — and people online increasingly have no tolerance for anything like this, as the responses on Reddit and Gamers Nexus' original YouTube video have shown.

• McIntosh MX124 AV processor launches for a cool $15,000 (about £11,079 / AU$21,423)
• 13.4 audio channels to 7.4.6 or 9.4.4 speaker configurations in Dolby Atmos and DTS:X Pro
• 7x 8K HDMI inputs and extensive additional connectivity, plus Dirac Live

If you're looking for an AV processor so future-proof that your grandkids will want to inherit it, McIntosh Labs may have just the thing. The new MX124 A/V Processor is designed for "today's "most advanced home cinema systems" according to the company, and comes with extensive connectivity options, as you'd expect.

As you'd expect from McIntosh, it's a tough-looking thing, and to my eyes it resembles something from a 1960s recording studio or NASA control center. But while it may look a little retro on the outside, what's inside is bang up to date.

Its 13 surround channels with four inividual subwoofer outputs support speaker configurations of up to 7.4.6 or 9.4.4, and it has superb wired and wireless connectivity for your AV components.

McIntosh MX124 AV processor: key features and pricing

The McIntosh MX124 A/V Processor is designed to sit at the center of a reference-spec home theater system, handling the audio and video sources and routing the audio to the appropriate amplifiers via its balanced or unbalanced outputs.

It has seven HDMI inputs and three outputs, including one with eARC for your TV, and all the HDMI inputs support 8K at 60Hz and 4K at 120Hz. They're compatible with Dolby Vision, HDR10+, HLG and IMAX Enhanced, and they also support HDCP 2.3, Rec.2020, 4:4:4 Color Spacing, Dynamic Lip-sync, 3D Video Passthrough, ALLM, VRR and Quick Frame Transport.

There are four dedicated digital audio inputs, one balanced and eight unbalanced analog stereo inputs, component and composite video inputs, and dual analog stereo outputs to accommodate two additional listening zones.

For streaming, the MX124 supports AirPlay, Bluetooth, Qobuz Connect, Spotify Connect, Tidal Connect and Roon Ready, supporting hi-res audio streaming at up to 32-bit/192kHz.

The MX124 also features Dirac Live Room Correction and Bass Control, with licenses included for both. It can also deliver Audyssey MultEQ XT32 room calibration if that's your preferred option.

As this is a premium AV product, it's been designed with professional installation in mind, and it's certified Connects With Control4 for simple and efficient setup and pre-configuration. It features RS232 for automation control and is suitable for rack mounting.

McIntosh didn't include pricing details in its official announcement but retailers are listing the new MX124 with a price tag of $15,000 (about £11,079 / AU$21,423). And as I mentioned above, that's excluding amplification.

If you're looking for something more affordable, you might prefer to take a look at Denon's two new affordable entry and mid-range AVRs, or Yamaha's two new budget AVR options.

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Try our TV size and model finder! You tell it how far you sit from your TV, we'll tell you what size to buy based on viewing angle advice from image quality experts, and we'll recommend our three top TVs at that size for different prices.

• Loewe's Antares is a 4K OLED TV with triple tuner, HDMI 2.1 and 144Hz VRR
• Selection of wall mounts, floor stands, rotatable table stands and speakers
• From £2,500 (about $3,350 / AU$4,799)

German luxury brand Loewe has unveiled what it calls its "most individual Smart OLED TV to date," the Loewe Antares. It's a 4K TV with a modular design that enables you to personalize it to suit your particular preferences.

The Antares TV features interchangeable aluminum onlays with a range of fabric colors, and flexible setup options including a universal table stand, multiple floor stands including a motorized stand, and several wall mount options. The table stand can rotate and offers three height positions.

The TV has Loewe's Invisible Sound integrated speaker system, but you can specify it with lots of beefier options. You can add the Loewe Soundbar Antares, which is a front-firing 80W soundbar designed specifically for these TVs, and/or an optional subwoofer.

You can also specify your Antares with other Loewe audio products including the multi.room amp, Klang subwoofer, We.BOOST wireless surround sound system and the we.BOOST center speaker, though the TV itself can be the center speaker in the wireless surround system if you prefer.

Loewe Antaras: key features and pricing

Each Antares TV has a 4K OLED panel that's been "individually calibrated before leaving the factory" according to Loewe. Loewe is one of the few companies that gets raw OLED panels from LG Display and finishes the manufacturing itself, but the company confirmed that this is an OLED EX panel with Double Rate Driving technology, which suggests it's the same panel tech used in the five-star (albeit cheaper) LG C6 OLED TV, plus whatever finishing touches and calibration Loewe has added.

There's support for both Dolby Vision IQ and HDR10+ Adaptive when it comes to HDR. There's a dual-channel, triple-tuner setup with USB recording, parallel TV viewing and timeshift functionality, and the OS is a customized version of Vidaa OS, with key streaming apps, Apple AirPlay, Miracast and Matter on board.

For gamers there's HDMI 2.1 support, with 144Hz VRR at 4K, and a dedicated low-latency gaming mode. There are multiple sizes here, from the compact 42-inch to the range-topping 77-inch.

As you'd expect from Loewe these are premium priced TVs. Prices start at £2,500 (about $3,350 / AU$4,799) and rise to £4,000 (about $5,370 / AU$7,675). The Loewe Antares soundbar is £300 (about $400 / AU$575).

At the moment this is a UK-only release, though Loewe told TechRadar that a US launch is being considered, but isn't confirmed yet.

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Try our TV size and model finder! You tell it how far you sit from your TV, we'll tell you what size to buy based on viewing angle advice from image quality experts, and we'll recommend our three top TVs at that size for different prices.

If you're looking to add more 4K Blu-rays to your collection, then Disney's Summer Days, Movie Nights 4K Blu-ray sale has arrived at the perfect time, where it's 2 for £30 on discs including titles from Disney, Marvel, Star Wars and 20th Century Studios. The same 2 for £30 sale is also live at HMV.

I regularly test 4K Blu-ray as part of our monthly Blu-ray Bounty feature, where we test the best new 4K releases. I've picked six discs from the sale that all featured as part of the Blu-ray Bounty, so I know just how good they look and sound.

First up is Alien: Romulus, one of my reference discs for testing contrast and black tones on the best TVs. Its also excellent Dolby Atmos soundtrack is immersive and spine-chilling too.

The Sound of Music is one of the best restorations I've seen, with spectacular colours and detail. Edward Scissorhands is another disc that delivers superb colour reproduction, surpassing my expectations completely.

If you want action-packed titles with brilliant Dolby Atmos soundtracks, Master and Commander delivers pinpoint-accurate sound, while Fantastic Four: First Steps delivers the power you'd want from a superhero flick. Finally, Tombstone looks crisp and offers a fantastic DTS-HD 5.1 MA soundtrack that will show off your surround setup.

For my thoughts on each disc, scroll further down the page.

My picks from Amazon's 2 for £30 4K Blu-ray sale

Alien: Romulus

Set between the events of Alien and Aliens, Alien: Romulus follows a crew of scavengers who come across a derelict space station called Renaissance, where they encounter hostile aliens.

Alien: Romulus delivers a truly stunning picture in 4K. Its inky black levels and high-contrast scenes look superb on the best OLED TVs, and it's a real showcase for 4K detail. Textures are crisp, with impressive intricate detail in objects and environments that show just how good modern movies can look in 4K. When I want to test a TV's backlight and contrast, this is one of the first discs I reach for.

The Dolby Atmos soundtrack featured is incredible. While the more powerful moments, such as gunfire or the sound of engines igniting, have real impact, it's the detail that impresses. The sound of face-hugger feet is so precisely mapped, it had me looking around our testing lab when I first tested it, as their path came from the rear channels with astonishing accuracy. The movie's more visceral moments, as characters meet their demise, can be particularly realistic.

• Check out the full Amazon 2 for £30 sale

The Sound of Music

One of cinema's most iconic musicals, The Sound of Music follows Maria (Julie Andrews), a nun who is sent to take over as the nanny of the Von Trapp family children, set in pre-WWII Austria.

The Sound of Music is one of the best examples of a 4K restoration I've seen. Textures have been cleaned up beautifully, and the breathtaking cinematography of the Austrian landscape has never looked more detailed. Really though, it's the colours that stand out the most here. Green fields and blue skies have serious pop, and other colours such as red, yellow and orange are delivered with real vibrancy. One of my reference discs, the market scene, in particular, is brilliant.

Never has the movie's legendary soundtrack sounded better than here. The Dolby Atmos mixes are all perfectly balanced between the score and vocals, and speech is crystal clear throughout. Songs like 'Do Re Mi' and 'My Favourite Things' sound clean, with superb depth and clarity.

• Check out the full Amazon 2 for £30 sale

Edward Scissorhands

Edward Scissorhands follows the story of Edward (Johnny Depp), an artificial humanoid with scissors for hands, who is taken in by a suburban family, where he falls for the family's daughter, Kim (Winona Ryder).

When I first tested Edward Scissorhands on 4K, I didn't expect to be wowed by the disc's colours as much as I was. The gothic nature of the movie is juxtaposed with the vibrant, often garish, colour scheme of the neighbourhood, and these colours are superb in 4K. The bright, multi-coloured houses are vivid, and if your TV has good colour reproduction, you'll be rewarded. Textures have also been refined here to give everything a lifelike look.

The disc's Dolby Atmos soundtrack is excellent. It shows real depth by accurately capturing subtle effects like the clicking of Edward's scissors. Danny Elfman's unmistakable score, with big horns balanced with delicate bells, is delivered with plenty of gusto and detail.

• Check out the full Amazon 2 for £30 sale

Master and Commander: The Far Side of the World

Master and Commander: The Far Side of the World is the tale of the HMS Surprise, a British ship during the Napoleonic Wars in 1805, as they pursue the French ship Acheron. It stars Russel Crowe as Surprise's Captain Aubrey and Paul Bettany as Maturin, the ship's surgeon.

Where Master and Commander's 4K disc shines is with its Dolby Atmos soundtrack. Naval battles deliver room-shaking power as cannons fire, with intricate details such as splintering wood coming through clear in the mix. In several scenes, as cannonballs flew through the ship, I found myself looking around the room, following its trajectory as it was mapped with incredible accuracy.

The 4K presentation looks amazing, too. Night scenes deliver deep black tones with some strong contrast, as lamps balance with said dark tones. The crew looks lifelike, and the vast ocean looks stunning in 4K. Colour, while sparing, has some nice pop, whether it's the red of blood or the gold details on ships.

• Check out the full Amazon 2 for £30 sale

The Fantastic Four: First Steps

Set in a 1960's, futuristic world and based on the Marvel superhero family, The Fantastic Four: First Steps follows the Fantastic Four as they must protect Earth from Galactus and the Silver Surfer. Starring Pedro Pascal (Mr Fantastic), Vanessa Kirby (The Invisible Woman), Joseph Quinn (Human Torch), and Ebon Moss-Bachrach (The Thing).

The 4K disc of The Fantastic Four: First Steps has brilliant picture quality, accurately delivering the alt-1960s aesthetic. The bright blues and whites of the team's uniforms pop on screen, but the oranges and yellows of decor and civilian clothing look great too. A big-budget Marvel movie, textures are refined and 3D-like and look top-notch on 4K.

As you'd expect from a Marvel movie with a Dolby Atmos soundtrack, this disc sounds fantastic. There are plenty of room-rattling explosions that deliver punchy bass and impact. Anytime the Human Torch flies overhead, height channels are utilised perfectly and will sound great through an Atmos system.

• Check out the full Amazon 2 for £30 sale

Tombstone

Tombstone follows Wyatt Earp (Kurt Russel), a retired lawman who moves to the town of Tombstone and ends up as its de facto sheriff after a gang of outlaws wreaks havoc. The movie also stars Val Kilmer, Sam Elliot, and Bill Paxton.

Tombstone looks stunning in 4K. A fantastic restoration means textures are clean and crisp, demonstrating almost 3D-like levels of depth and detail. Colours are bold and punchy throughout, and black tones are rich, whether it's the night sky or the Earp group's clothes.

The disc's DTS-HD 5.1 MA soundtrack is excellent too. Gunfights deliver precise sound mapping, as bullets fly around and ricochet off buildings. Galloping horses offer plenty of rumble that will let your subwoofer flex its muscles, and even subtle sound effects like spurs on boots as people walk have nice detail.

• Check out the full Amazon 2 for £30 sale

Manhattan Aero review

The Manhattan Aero might just be the streaming device you’re looking for. Especially if you want live TV without an aerial, as well as must-have streaming apps, 4K playback and user-friendly software.

The Manhattan Aero is a small streaming box packed with just about all of the essentials for UK viewers — more than 450 channels via Freely, as well as Netflix, Prime Video and all that good stuff. All you need is a Wi-Fi connection and a TV, and you're good to go. But is it actually worth buying? Here are my thoughts after a few days testing it out for myself.

Let me start by saying that the initial setup process for the Aero is extremely simple and speedy. Just hook the device up to your TVs HDMI port, plug it into the power, and you’ll be able to get started. From here, I followed some basic setup instructions, connected the box up to my network, and landed right on the home page.

Navigating through various menus is also incredibly easy with the included remote, which — in spite of a fairly plasticky and basic build — is responsive and effective in use. It comes with all the expected buttons, as well as shortcuts to certain streaming apps, and a voice control option too.

Voice controls are very intuitive on TiVo OS (which is what the Aero uses), and if you want some inspiration for what to watch, it’s a great tool. For instance, I tried saying: ‘show me films about cats’ and got an accurate selection of feline-related flicks.

Let’s loop back to the Manhattan Aero’s OS, though, and discuss TiVo for a minute. I’ve used this before on TVs like the Bush 43UT24SB, and I’m a fan. It’s pretty similar to a lot of the competition, and you can quickly find whatever channel or app you need without a hitch. Loading varying apps and channels is quick, and you can easily customize what apps you want to see on the homepage in the settings menu.

Speaking of apps, it’s worth noting that some of the heavy hitters are actually missing on TiVo. For instance, Apple TV+, Paramount+, NOW TV and Sky Go are all absent. These apps are available via devices like the Apple TV 4K set-top box, though.

Anyway, you may be wondering by now: how does the Manhattan Aero perform? Pretty well, actually — although you’ll need broadband speeds of at least 10Mbps to enjoy live TV and streaming at their best (Ethernet connectivity is available if needed). When watching broadcast TV, the Aero did a great job with all kinds of content. For instance, I watched a bit of Wimbledon, and the vivid green of the court jumped out, while finer details on players’ clothing were easy to make out.

News and the usual daytime TV channels also looked just about as good as on my Sky Glass Gen 2 TV, which uses Wi-Fi to show its channels too, rather than a dish or aerial. It’s also worth noting that the Aero supports HLG HDR, as used by BBC iPlayer.

With streaming apps, the Aero remains a strong performer, but there are a couple of sacrifices you’ll have to make. Namely, there’s no Dolby Vision support — no problem for Samsung TV owners, but something I would’ve liked to have seen, since pretty much all other TV brands use it.

There is, however, HDR10+ (and HDR10) compatibility, which is used on services such as Netflix and Prime Video — and the Aero supports AV1 natively for HDR10+ content, which is necessary for Netflix to work in this format. When watching Kung Fu Panda 4 in HDR10+, I thought it looked fantastic — colours looked punchy and accurate, textures were well-defined and sharp, and contrast was solid too.

I did experience a bit of judder while watching the movie, and motion appeared to be choppy at first. But after messing around with my TVs settings and activating the Aero’s Auto Frame Rate option, I was able to solve this, and experience the sort of quality I’d typically expect from Netflix and other streaming apps when built into the set.

When it comes to audio, there’s basic Dolby Audio support, and you can also enjoy Dolby Atmos content if you have a compatible soundbar or speaker system or similar connected up to your TV. You can also use one of the box’s USB-C ports to play stored media files, which is a welcome inclusion and not you'll find on much of the competition.

One question I’ve seen a few people ask about the Aero, is whether it can record TV programs — like you’d be able to do with a Sky Q box, for instance. The answer to this one is no — but that’s not a strike against Manhattan’s streaming box. And that comes down to one key thing: Freely is delivered as an internet stream rather than a broadcast signal, and broadcasters don’t allow such content to be recorded. It’s still worth bearing in mind, however, if recording is a must for you.

Before we wrap up, there are a few other things worth noting. There’s CEC volume control on offer here, which enables you to control the volume of your connected display and audio devices (like soundbars) using the Aero's remote with any extra setup needed, something that is pretty practical.

You can also connect Bluetooth devices, such as headphones, to the Aero, which is great if you don’t want to distract someone else while watching your favorite shows, if your TV doesn't support this option.

You can even connect wireless game controllers and play a few mobile style games — a feature I didn’t expect to see. In fact, Blacknut Cloud Gaming is arriving to the Aero shortly, giving gamers more options. Google Cast is also available if you want to beam content across from your phone.

So, is the Manhattan Aero worth the money? At £89.99, I think it is. There are cheaper options out there, such as the Roku streaming sticks, which can also plug into your TV’s USB port for a more discreet look, but these don’t offer Freely — the big selling point of the Aero.

Alongside its intuitive TiVo platform with handy voice commands, solid array of apps, and impressive picture quality, I’d argue that the Aero offers plenty for the price you pay, and if you have a TV devoid of smart apps or want access to loads of channels without the hassle of an aerial or dish, it’s a very practical device.

Manhattan Aero review: price & release date

• Released in February 2026
• Priced at £89.99

The Manhattan Aero released in February 2026 and is available with a wide range of UK retailers. However, there’s no stock available at Amazon right now — this may change in the future, though, so we’ll update this article accordingly if we see an increase in availability.

The streamer is priced fairly affordably, coming in at £89.99 — that's much less than the Apple TV 4K, though is more than the likes of the Amazon Fire TV Stick 4K Max.

Should I buy the Manhattan Aero?

Buy it if…

Don’t buy it if…

Manhattan Aero review: also consider

How I tested the Manhattan Aero

• Connected to my Hisense 4K mini-LED TV
• I watched broadcast TV as well as content on streaming services
• Used across multiple days at home in everyday life

I spent a few days testing the Manhattan Aero streamer, testing it out at home to enjoy live TV and content via my usual streaming apps. I had it hooked up to a HDMI port on my Hisense U7K TV, which is a 4K mini-LED set.

During the testing period, I made sure to cycle through various channels when watching broadcast TV in order to assess performance for sports, news, movies, and more. However, I also dipped into apps like Netflix, where I watched content in 4K HDR10+, as well as Disney+ and YouTube.

More generally, I’ve spent years testing all kinds of gadgets here at TechRadar, including everything from Dolby Atmos soundbars like the JBL Bar 1300MK2 through to TVs like the Sky Glass Gen 2. I was also familiar with the TiVo interface before commencing this review, having used it extensively while testing the Bush 43UT24SB.

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• First reviewed: July 2026

We always caveat our VPN speed tests by saying something like "but you only need around a 30 Mbps connection to stream 4K video". The trouble is that it's not always as simple as that when you're watching a UHD stream – particularly for an event as popular as the FIFA World Cup 2026.

The best VPNs offer ultra-fast network speeds that can handle ultra-high definition 4K video streaming – but network traffic spikes can bring this to a standstill.

Events like the World Cup cause traffic surging with some popular ISPs, VPNs, and the streaming services themselves struggling under the capacity stresses of having so many users demanding bandwidth at once. The results are often buffering or a reduction in video resolution at the least. Hence why your 4K football match might look a lot rougher than it should.

Server congestion can also cause packet loss, where packets of data sent through a network are unable to reach their destination, resulting in dropped frames or stuttering.

The solution is a two-parter. Firstly, you want to find a VPN with support for high-speed WireGuard connections that can remain stable under pressure from congestion. Secondly, switch your stream to 1080p, rather than 4K, in order to reduce the bandwidth you require. This should keep frame rates high and buffering to a minimum.

If you’re looking for a new VPN to keep up with the World Cup or watch other major events in 4K, our Norton VPN review found a solid choice with average Wireguard speeds of 1010mbps. What’s more, Norton VPN is currently available for up to 60 per cent off:

If you’re just not willing to step down to 1080p, you might want to look into using a Smart DNS service instead of a VPN. This will allow you to spoof your location on a less crowded server (i.e your home network), but won’t encrypt your data or hide your IP address.

And if Norton VPN just doesn’t float your boat, there are other options on the market. Norton is still slower than many of the best VPNs: ExpressVPN (1177mbps), NordVPN (1249mbps), and Proton VPN (1475mbps) all boast faster speeds. And for those on a budget, Surfshark still reigns as our pick for the best cheap VPN.

Here at TechRadar, I test some of the best 4K Blu-rays each month as part of the Blu-ray Bounty. This is where we look at the latest 4K releases from that month and judge whether they’d be a worthy addition to your collection, focusing solely on the video and audio quality of each disc.

Every so often, a disc wows me so much that I add it to my rotation for testing the best TVs and best soundbars. 4K Blu-ray is my go-to source for AV testing, as it delivers a higher video bit rate, resulting in better picture quality than streaming, and uncompressed soundtracks for the best audio.

Some of the discs from the near-100 discs I’ve tested as part of the Blu-ray Bounty that have joined over the years include Wicked, The Mask, The Sound of Music and Dark City, to name just a few.

As part of the most recent June 2026 Blu-ray Bounty, there’s another disc that will definitely be joining the testing rotation, as it performs at a reference-quality level. And that disc is Speed Racer.

Breathtaking color

My go-to 4K Blu-rays for color testing have been Wicked and The Sound of Music. Wicked features an oversaturated, candy-color style that really generates a lot of pop on the right screen, while The Sound of Music delivers still-vibrant but more authentic and realistic colors.

Speed Racer falls in Wicked’s camp, but takes it to another level. Throughout the movie, there are some seriously vivid colors. Red is a prominent feature throughout the movie, as it's the color of Speed Racer’s ‘M’ logo and the interior of his car, both of which are often front and center on screen. It’s also the color of the Racer garage at home and Papa Racer’s shirt, which he wears throughout the movie.

When I tested the Samsung S95H/S99H and LG G6 side-by-side, both TVs interpreted the red differently: the G6 gave it a much deeper red hue, while the S95H/S99H made it look paler, almost orange in some places. Both of these TVs, likely to be two of the best OLED TVs I’ll test in 2026, captured the visual punch of this red, but it was useful to see how each TV interpreted the color.

There are plenty of scenes where a single color dominates. As the Racer family arrived at Royalton Industries, there were a lot of bold purples, including the airship's color, the walls, and even the transport. On the OLEDs I tested the disc on, these purples had a beautiful richness to them that again was displayed in different ways by the S95H/S99H and the G6, with the latter again adding that bit more depth.

This trend continued throughout the movie, whether it was the neon greens of a grass field in a flashback, the fantastic pink/purple/orange gradients in the sky during sunset or the lush blues of the sky during daytime race sequences (or Speed’s iconic blue and white shirt.) Even the white of the Mach 5 / 6 and Speed’s helmet had a glorious clarity to them, really dazzling on the S95H/S99H and G6.

The use of color is fantastic in Speed Racer, and if you have a TV with Dolby Vision, you’ll be rewarded with the most breathtaking colors, some of the best I’ve ever seen on a 4K Blu-ray. But it’s not just color reproduction where this disc is useful.

A Dolby Atmos showcase

When it comes to testing soundbars and TV audio, my go-to 4K Blu-rays have been The Batman, namely the Batmobile/Penguin car chase scene for its detail and bass, and Top Gun: Maverick, for its all-around expansive Dolby Atmos soundtrack.

Speed Racer has proved to be a far more compelling disc, audibly, than I ever thought. While I anticipated some hefty bass from the car’s engines, I didn’t anticipate the level of detail and sound mapping I would hear.

During the opening race, there are plenty of demonstrations of pinpoint accuracy as cars swerve wildly through the corners of the winding track. The sound of squealing tires demonstrates excellent directionality and is fully connected with the action on screen. As a car moves from side to side on screen, you can be sure to hear it in the front channels.

One moment in this scene, in particular, really grabbed my attention, though. As Speed makes his way around the track, he has to grind the rear axle of the Mach 5 against the edge of the track and as I was watching, I heard the sound of a grind come through crystal clear in the left rear speaker of the Samsung HW-Q990C soundbar I was using (an 11.1.4 channel Dolby Atmos system comprising of a soundbar, subwoofer and two rear speakers). This was the moment that made me realize just how precise and detailed the Dolby Atmos mix of this disc is.

There’s good use of Atmos effects and height channels too. As Speed uses his spring-loaded chassis to jump over a rival racer, a cut to said rival’s cockpit reveals a burst of not only bass but also the sound of the wind from the Mach 5 as Speed flips over. This sounded immersive, clean, and incredibly precise. There are plenty of helicopter sequences too, which are great for showing what Atmos can do.

There were plenty of highlight moments throughout the movie, but it is the race sequences that showcase the clarity and depth of this Dolby Atmos soundtrack. But there’s one final area where this disc is a perfect testing disc.

Always in motion

Motion handling is a key component of any TV. If a TV can’t accurately handle fast-moving images, then action movies and sports won’t look good. While motion interpolation settings, such as judder and blur reduction, can reduce these, they can introduce unwanted side effects, such as the ‘ghosting’ of a ball in a soccer game (where a trail of the ball appears as it travels across the screen).

I anticipate that Speed Racer is going to act as somewhat of a ‘torture test’ for some TVs (like The Batman can be due to its low brightness), as there are not only plenty of fast-paced driving sequences with plenty of quick shifts in direction, but one other real challenge: slow panning shots.

Frequently throughout the movie, commentators from various countries slowly track across the screen from side to side, and even on the S95H/S99H and G6, which have proven to have great motion handling with the right settings, these shots still struggled at times. The commentators sometimes showed judder as the TV’s tried to interpolate the motion, meaning this is something I’ll be using in future tests. With these panning shots, however, there is sometimes natural judder.

Again, though, it’s the fast-paced race sequences that can make or break a TV’s motion. Chaotic driving as cars swerve to avoid debris, smash into one another, or pull a tight turn can look unnatural if a TV’s motion isn’t right. Too much blur and judder reduction, and it’ll look artificial; not enough, and it’ll look like a juddery mess.

Speed Racer really is one of the best Dolby Vision and Dolby Atmos 4K Blu-rays I’ve ever tested and is a triple threat disc for color, motion and sound, so if you’re a regular reader of our TV and soundbar reviews and comparisons here at TechRadar, expect to see Speed Racer appear very soon.

The Samsung S95F was our pick for the best OLED TV for bright rooms in 2025, thanks to its anti-glare matte screen that eliminates reflections, and its high brightness. These combined to make even dark movies viewable in really bright rooms on it: something most other OLED TVs just couldn’t achieve — even the S95F’s rival, the LG G5.

It remained the king until the LG G6 arrived this year. While the G6 still shows some mirror-like reflections when the screen is turned off, the brightness of these reflections is toned so far back that they don't really distract any more when you're viewing something.

You can now watch movies — even the super-dark The Batman — in Filmmaker Mode in bright conditions without distraction, but with the deep black tones OLED is famed for retained. When I compared the G6 with the S95F, I actually picked the G6 as the new king of bright-room OLEDs.

Fast forward a few months and the Samsung S99H (known as the S95H in the US — it's the same TV with a different name) has arrived in our testing lab. It has the latest version of Samsung's anti-reflection matte layer, so can it reclaim the crown as the best option for bright-room viewing? I've already compared the S95H/S99H with the G6 where I focused on other picture quality elements such as dark-room viewing and colors, and they came out basically even. So let's see how they compare in bright conditions.

Out-and-out reflections

The first area I decided to test was both TVs' reflection handling capabilities. This meant which TV was the outright most effective at eliminating mirror-like reflections caused by lights and objects.

Using the overhead lights in our testing lab, after getting the right angle, it was pretty clear the S95H/S99H was the superior model. Looking at the screen, the light from the overhead light is reduced to haze and the actual shape of the light is illegible: perfect if you’ve got pesky lights or windows in your bright room that you can’t hide, and that your eye is drawn to involuntarily focus on.

On the G6, the shape of the light, and the light itself, was still legible. It was certainly an improvement over its predecessor, the LG G5, as the latter had a pretty reflective screen — but there was no doubt that the overhead light was still visible.

Even looking at the shut-off, blank screen, you could see objects, such as other TVs we store in the same room, on the screen of the G6. The S95H/S99H on the other hand had absolutely nothing on screen, other than the haze of light from overhead. So for pure reflection-killing, the S95H/S99H is best.

Black level performance

Watching a movie is a more complicated story, however. With both TVs set to Filmmaker Mode, and watching the dark-tone torture test that is The Batman, the G6 did a better job maintaining black levels and delivering more impactful contrast than the S95H/S99H.

In a scene where Batman stands in a dark subway platform, having just defeated a gang of thugs, the first thing that was apparent was the S95H/S99H’s Filmmaker Mode was very dim compared to the G6. Due to the low perceived brightness and the raised black tones of the mate screen, large parts of the scene were illegible, with Batman himself partly obscured in black and the detail in the walls at the back of the platform not as clear as they were on the G6. The G6 also has better shadow detail, with more of Batman’s suit and the creases in the thug’s black jackets more legible too.

Switching to Alien: Romulus, it was the same story. As the crew approached the Nostromo, the blackness of space was much inkier and deeper on the G6. The S95H/S99H had a hazy gray sheen over it from the matte screen, which affected the integrity of the black tones. It also meant the rings around the moon didn’t have quite as much punch as the G6.

I found it odd that there was such a perceived brightness difference between the two as when I measured their brightness, the gap wasn’t as big as the real-world viewing suggested. The S95H/S99H clocked in at 2,739 nits of peak HDR brightness (10% window) in Filmmaker Mode, while the G6 clocked in at 3,004 nits. While 250 nits is nothing to sniff at, the pictures on screen suggested a bigger gap.

In fact, fullscreen HDR brightness was about as close as it gets. In the same HDR Filmmaker Mode, the S95H/S99H hit a measured fullscreen brightness of 449 nits, while the G6 hit 451. The human eye can’t perceive that little difference, yet in person, the G6 had the more complete picture.

In fact, watching in a darker room, the S95H/S99H delivers a richer, stronger picture. The same subway scene from The Batman shows deeper blacks and looks more accurate to the movie’s gloomy tone. On the G6, I found that its brightness hampered it slightly. While it did demonstrate good shadow detail, its brightness affected the quality of the darker tones on screen, and the image just wasn’t as satisfying as on the S95H/S99H.

In fairness to both TVs, some settings tweaks can solve some of the issues above. On the G6, dropping contrast from 50 to 49 takes away some of that over-brightness, while switching Tone Mapping from the default Static to Active on the S95H/S99H in Filmmaker Mode adds some brightness, although the image doesn’t feel as accurate then. But for these tests, I kept both TVs in their default settings.

The better TV for bright rooms

Honestly, both these TVs are fantastic for bright-room viewing. They both do a great job of eliminating reflections and delivering excellent picture quality despite being in a bright room. OLED’s nemesis has always been bright rooms and reflections, and it’s great to have two TVs that can handle the light. You can’t go wrong with either of these TVs for bright rooms and they’re both excellent OLED TVs.

If you have a bright room, either of these TVs would work. Your choice may depend on your circumstances. If you know you'll be watching a lot with light flooding in during the day, the S95H/S99H is the better option for keeping reflections to an absolute minimum. If you can control the light in your room more, the G6 is probably the better option.

For me, if I had to pick one TV for bright-room viewing, I’d go for the G6. While the S95H/S99H is seriously good at dealing with pesky reflections, and is an improvement over the superb S95F, I favored the G6’s richer black tones in brighter rooms.

Although the G6 isn’t as complete at removing mirror-like reflections, so there are some present in darker scenes, it’s effective enough to make watching darker movies in a bright room feel less like a chore than it did on its predecessor, the G5 — but with the contrasty feeling you want from an OLED TV.

There's always a trade-off with choosing a bright-room TV of reflection reduction versus preserving the image accuracy. Last year, the balance fell in favor of Samsung's matte display. This year, the G6’s better black level performance combined with drastically lowering the impact of mirror-like reflections is enough to make it my pick for bright rooms — but the Samsung S95H/S99H is a brilliant TV for light rooms still.

• 25 million viewers watch the first-ever 4K livestream beamed from the Moon
• 260Mbps transfer speeds send video more than 250,000 miles
• AWS GovCloud has an important role in NASA simulations

Amazon Web Services – the biggest cloud hyperscaler with a market share equaling the combined share of both Microsoft and Google – just helped to enable the first-ever like 4K video stream from the Moon.

The company transmitted video footage from the Orion spacecraft by laser, with an estimated 25 million people watching the coverage across NASA+, YouTube and Amazon’s own Prime Video platform.

Not only is this the first time 4K video has ever been transmitted from the Moon to Earth, but it’s also major news for video transmission by laser optics instead of conventional radio.

AWS enabled 260Mbps transfer speeds via laser

Key to supporting the video transmission was NASA’s Orion Artemis II Optical Communications System (O2O) – a laser-based terminal more than 20 years in the making that supports up to 260Mbps transfer speeds. In other words, fast enough for real-time 4K video and other crucial mission data.

Generally, streaming platforms like Amazon Prime Video would recommend having internet speeds of 15-20Mbps to stream 4K video. With NASA and AWS opening up 260Mbps, more than enough buffer was available to continue transmitting other key telemetry, voice communications, mission data and other files.

Unlike traditional radio systems, optical communications promise much higher bandwidth and are better suited to transmitting much larger datasets, thus they are expected to become increasingly important as space exploration pushes new boundaries.

In this case, laser transmissions were received by Mount Stromlo Observatory near Canberra, Australia, and NASA’s White Sands Complex in New Mexico was responsible for processing and distributing signals. “AWS, NASA, and ANU partnered and stood up the connection in a matter of weeks, for the cost of a laptop,” the company declared.

All in, the video was transmitted an estimated quarter of a million miles, “connecting viewers to the farthest humans ever to travel from Earth.”

But Amazon’s partnership with NASA runs even deeper than this, with the company hosting the official NASA+ streaming platform using AWS Elemental services.

Amazon plays a crucial role in NASA’s trajectory

Besides video, Amazon’s cloud infrastructure also proves instrumental to other core NASA operations. Its flight sciences team at the Johnson Space Center runs tens of thousands of trajectory simulations for every launch opportunity, producing as much as 2-5TB of data per launch window.

Amazon proudly proclaimed that these simulations run on AWS GovCloud (US), enabling maximum security for sensitive data. Using a technique known as cloud bursting, NASA is able to “scale into hundreds of additional Intel-based cloud instances on demand,” allowing it to retarget and optimize trajectory in near real-time.

Mission control aside, Amazon’s huge video streaming success lays out the framework for future space missions, including the upcoming Artemis IV lunar landing which NASA hopes to get into the hands of 250 million live viewers.

Attention 4K Blu-ray fans! Arrow Films has a huge sale on its 4K Blu-rays, with up to 50% off some discs. You can check out the sale at Arrow Films' site, and there are tons of participating retailers, including Amazon in the US and HMV and Amazon UK in the UK. While stock is slim of some discs, between the different retailers, you should be covered.

• Arrow Films US: Browse the full sale
• Arrow Films UK: Browse the full sale
• Amazon US: See all discounted Arrow discs
• Amazon UK: See all discounted Arrow discs
• HMV: See all discounted Arrow discs

While there are loads of options in the sale, I've picked my top discs, all of which I've either personally tested as part of our monthly Blu-ray Bounty column, or some that we even own ourselves at TechRadar.

One of my favorites is Dark City, a disc that looks superb on the best TVs, with rich contrast and black tones. Next is Arrow's version of The Good, the Bad and the Ugly, which is the best the iconic Western has ever looked, with impressive textures and bold colors.

Speaking of bold colors, Heathers is great for showing off your display's color reproduction, as is The Mask, one of my reference discs for testing color and for testing the best soundbars.

For our full thoughts on these discs, check out below. These are just our top picks of discs we've tested ourselves, but there are tons of discs in the sale to check out.

Our top picks from Arrow Video's 4K Blu-ray sale - US

Our top picks from Arrow Video's 4K Blu-ray sale - UK

Why I've picked these discs

Dark City

Dark City follows the story of John (Rufus Sewell), a man who wakes up with amnesia to find himself under investigation for murder and being hunted by a group of strange beings known as the Strangers.

Dark City looks superb in 4K. Arrow's restoration delivers crisp, realistic textures and inky black levels, plus, there are plenty of high-contrast scenes that really shine on the best OLED TVs. There's a reason this disc has entered my testing rotation.

The disc has both Dolby Atmos and DTS-HD 5.1 MA soundtracks. Speech is clear throughout, and while there aren't any scenes that will really test your home theater, the score's deep, rumbling bass will at times get your subwoofer working.

Heathers

Heathers follows the story of Veronica (Wynona Ryder), a high-schooler part of a popular clique of girls called Heather. Veronica begins to date a rebellious, new student called J.D (Christian Slater), who eventually starts to kill students he doesn't like.

The Arrow restoration of Heathers does an excellent job capturing the oft-gaudy aesthetic of the 1980s. Colors are bold and vivid (especially the Heathers' outfits), and there's plenty of refined detail in people's clothing. Textures have been cleaned up nicely, making everything, including people's hair and skin, look lifelike.

This disc comes with three soundtrack options: DTS: HD 5.1 MA; Stereo 2.0 and mono. I used the DTS: HD 5.1 MA in my testing, and it was clean and clear throughout. There aren't many showcase moments, but still, speech is clear, sound is mapped well and there is some impact to effects like gunshots.

Westworld (1973)

Westworld is about an interactive theme park inhabited by androids, where patrons can live out the fantasy of life in the Wild West. Eventually, the androids turn on both the staff and visitors of the park. The movie stars Yul Brynner, Richard Benjamin and James Brolin.

Westworld looks excellent in this restoration from Arrow. Intricate details, such as the parts of a gun, are defined and realistic, while skin looks true-to-life. Colors are also big and bold in places, such as the red of the brothel's walls. Cinephiles will be happy with the level of film grain retained, too.

There are multiple soundtrack options available, including 4.0, 2.0, 1.0 and 5.1. Using the 5.1 for testing, there's some nice detail, demonstrated by the ricocheting bullets which are well mapped to the surround channels. There's a nice, wide soundstage to give different sounds room to breathe, and speech is clear too.

The Mask

The Mask tells the story of Stanley Ipkiss (Jim Carrey), a bank-worker who discovers a supernatural mask that turns him into a super-powered being. The movie helped launch Carrey's movie career, and was the big-screen debut for Cameron Diaz.

While this 4K disc does have fantastic picture quality, (more on that in a sec), really it's the Dolby Atmos and DTS: HD 5.1 MA soundtracks that shine. As the Mask tornadoes around Stanley's bedroom, through the right sound system, the ensuing chaos is precise and accurately mapped, with refined detail. This is true throughout, whether the Mask jumps around or uses cartoon-ish violence. A seriously-impressive sounding disc.

Visually, The Mask looks great too. Color reproduction is this Arrow disc's main strength, with the Mask's yellow suit looking bright and vivid throughout. Textures have a 3D-like level of detail and there's plenty of scenes with strong contrast and deep black tones.

The Good, the Bad and the Ugly

One of the most iconic Westerns ever made, The Good, the Bad and the Ugly follows the Man With No Name (Clint Eastwood), as he, a bandit named Tuco (Eli Wallach), and a mercenary 'Angel Eyes' (Lee Van Cleef) all try to find buried Confederate gold through uneasy alliances and betrayals.

The Good, the Bad and the Ugly looks sensational in Arrow's 4K restoration. Detail is organic and lifelike, particularly in close-up shots, that show every scar, bit of stubble and dirt in full clarity. Color really pops on screen when used, and the movie's darker scenes show rich, inky black tones and powerful contrast.

There are DTS: HD 5.1 MA and DTS: HD Mono MA soundtracks on offer. The 5.1 soundtrack is immersive, with precise effects, such as ricocheting bullets, and there's a good hit of bass during scenes with explosions and the rumble of horse's hooves. Speech is clean throughout and the movie's legendary score is balanced and beautiful.

The Warriors

The Warriors, an adaptation of Sol Yurik's novel of the same name, follows the story of a gang in 1970s New York named The Warriors. They find themselves framed for murder, and must make their way back across New York and home to Coney Island, while being hunted by thousands of members from rival gangs.

The Arrow version of The Warriors is excellent. Textures have been uplifted and given a much crisper look, but there's still plenty of film grain, to capture the movie's gritty tone. Colors have plenty of punch, shown best in the opening scene by the different gang's colorful uniforms. Contrast is also strong, and there's plenty of scenes to show this, especially in the gloomy subway platforms.

This Arrow disc contains a Dolby Atmos soundtrack (unlike the Paramount release which only has a 5.1 mix) and it's all the better for it. The soundstage is wide and immersive, effects are clear and there's good impact and accurate sound mapping throughout. The best scene to showcase this is as the Warriors fight the Punks in a subway station bathroom.

Thief

Thief follows the story of Frank (James Caan), a professional safecracker trying to escape his life of crime. It was Michael Mann's (Heat, Collateral) feature film directorial debut.

Another fantastic restoration from Arrow, Thief looks brilliant in 4K. There's plenty of scenes with rich, powerful contrast, and a good amount of film grain present for cinephiles. Detail, such as skin, hair and clothing, all look refined and lifelike.

There are DTS: HD 5.1 MA and stereo 2.0 soundtrack options on offer. I used the DTS: HD 5.1 MA for my testing and there was plenty of nuanced detail, such as the whirring of the sale drill, that were delivered clearly. Tangerine Dream's excellent score is balanced, with big, bold synths and fantastic clarity.

Tremors

Tremors is about a tiny Nevada town being terrorized by a mysterious underground menace, and it's the definition of a cult classic. It's got a really tight script, and ekes all of its production value from being filmed out in beautiful mountains, mixed with some fantastic practical visual effects.

It's a beautiful transfer that uses HDR to deliver nuanced skies, bright highlights in the sun, and the most ridiculously orange blood and monster bits you've ever seen.

The latter is also delivered in gloriously strong detail and texture, as is the dirt of the countryside as it slides around when a Graboid shifts underneath it. There's a nice grainy softness, but this really makes the most of its 4K upgrade. It sounds great too, but it's the visuals I appreciated most, especially when it comes to admiring the monster effects.

The Samsung S95F was our TV of the Year last year, thanks to its excellent picture quality, effectiveness in a bright room and superb gaming capabilities. It edged out the LG G5, the S95F’s flagship rival, for the honors — but needless to say, both these models were top-tier performers and contenders for our list of the best TVs. So I've been relishing testing their successors side by side.

I’ve already tested and reviewed the LG G6, the G5’s successor, and it earned five-stars in my LG G6 review. It’s one of the best OLED TVs I’ve tested this year, especially for bright room viewing (more on that later).

Now, the S95F’s successor — which is called the Samsung S95H in the US, and the S99H in the UK (and there is a separate model called the S95H in the UK, which is different to the US' S95H. Clear? Great…) has arrived in our test room, so I put the S95H/S99H and G6 side-by-side to see which flagship OLED comes out on top.

Colors

Color reproduction on both these TV’s predecessors has been superb in the past, so I was keen to see how the two new models would fare. I started with Speed Racer on 4K Blu-ray, which I recently reviewed as part of the June 2026 Blu-ray Bounty, and boy, does it have some impressive colors.

With both TVs set to their respective HDR Movie modes (called Cinema Home on the G6) colors are bold, punchy and vibrant on both TVs, perfectly delivering the hyper-saturated, cartoon-esque look of the movie.

Colors practically exploded on screen on both TVs. Looking closer, the G6 has deeper, richer colors which add a more 3D-like effect to the picture, while the S95H/S99H’s are on the more natural side. Blues, greens, purples and yellows appear more true-to-life on the S95H/S99H, while the G6 opts for dazzle.

One thing I found very interesting however was how each TV rendered red. In some scenes, I noticed that the S95H/S99H made these red details look more orange, while on the G6 they had a much more candy-apple red look that felt more accurate to the movie. This was clear in a scene with the red shelves, walls and floors of the Racer family garage, shown above.

In the close-up shot of Speed Racer during a race shown above, the red of his seat and the M logo on his helmet was deeper and bolder on the G6, looking a little pale on the S95H/S99H. For any red tones, I preferred the G6’s saturation: for this movie at least, in these modes.

For the record, in terms of measurements, the S95H/S99H scored 2.2 SDR color accuracy and 99.97% UHDA-P3 and 89.3% BT.2020 HDR color gamut coverage, to the G6’s 2.3 SDR color accuracy, 99.3% UHDA-P3 and 83% BT.2020 color gamut coverage (measured after its most recent update as of July 3rd 2026). So, these two generally measured about the same in these major areas.

When it came to skin tones, I found myself drawn to the S95H/S99H. The G6 clearly favoured red in Cinema Home, hence the deeper reds in objects. To some, the skin tones of characters on the S95H/S99H may have looked a little washed out, but I found the highlighting red tones in people’s faces, such as their cheeks, during close-up shots to be a little distracting.

Switching to La La Land, with both TVs in Movie mode, the more natural colors worked in the S95H/S99H’s favour. At the spring pool party, Mia’s yellow dress was vibrant on both screens with some gorgeous visual pop, but the yellow looked more authentic on the S95H/S99H. In the background, the green bushes were deeper on the G6, which gave them a nice, rich look, but again I felt the softer green of the S95H/S99H suited the movie better.

Later on, a close-up shot of Mia, the G6 again showed off the red tones in her skin, while on the S95H/S99H, her skin tone was uniform, more lifelike. In the ‘City of Stars’ scene, as Sebastian walks along a pier at sunset, both TVs accurately delivered the gradation of the sky, which goes from purple, to orange, to pink, accurately and while the G6 again had that richer look, the S95H/S99H had a bit more punch in the paler tones.

Contrast and dark room viewing

Moving onto darker movies, I started with The Batman, my reference disc for darker scenes. The Batman is a very dim movie (mastered at a max of around 400 nits) so it can be tricky for any TV to accurately display.

As both TVs have effective reflection handling layers (more on that below), I tried out the movie in Filmmaker Mode in a brightly lit room — and of the two, the G6 better preserved richer black tones with crisper textures and contrast. The S95H/S99H was much dimmer, and although the matte screen blocked mirror-like reflections, the movie was harder to watch.

Switching to Movie mode on both TVs, it then became a much closer call. Watching the subway scene, as Batman stands on a dark subway platform, both TVs delivered strong black levels with good shadow detail. The S95H/S99H had the more uniform picture of the two overall in Movie mode.

Switching to darker viewing conditions, and switching back to Filmmaker Mode, the differences between each TV was much more apparent. While both TVs still delivered strong contrast, shown in scenes with bright lights against dark backgrounds such as the Batcave and the crime scene at Mayor Mitchell’s house, the S95H/S99H actually delivered noticeably deeper blacks.

In some cases they were too deep, as it did exhibit some black crush, which resulted in loss of shadow detail. In the same subway scene from before, the background became mostly ineligible on the S95H/S99H. On the G6, these same details were preserved, but the picture was much brighter and the darker areas on screen weren’t as satisfying. Despite the black crush, I found myself drawn to the S95H/S99H’s more uniform picture.

Next I switched to ‘brighter’ movies with dark scenes, and went back to having brighter conditions in the room. In Fight Club, back in Filmmaker Mode, the G6 had the more impactful contrast and richer black tones.

As Marla and the narrator talk in a dimly-lit shop, the S95H/S99H’s matte screen created a haze effect across the screen, affecting some dark tones and made textures look a little softer. The G6’s glossy screen had crisper textures and deeper blacks with more impactful contrast. But switch to Movie mode and, again, it was a toss up as to which looked better.

Using a scene from space in Alien: Romulus in Movies modes, both TVs delivered rich black tones with a good amount of white stars dotted throughout, something some cheaper TVs I’ve tested can’t reproduce as cleanly. Again, in Filmmaker Mode, the G6 was the more engaging picture with the inky blacks, but the S95H/S99H did a better job handling reflections on this occasion, while still delivering powerful contrast. So let's dig more into reflections and visual punch.

Brightness and reflections

OLED TVs are getting brighter. Once struggling to hit over 1,000 nits HDR peak some years ago, this is easily surpassed now, on both flagship and mid-range models.

I measured the S95H/S99H as hitting 2,739 nits HDR peak brightness (10% window) in Filmmaker Mode, as well as 449 nits of fullscreen HDR (100% window). In HDR movie mode, the S95H/S99H hit 2,751 nits peak and 450 nits fullscreen.

The G6 in the same modes, after a re-test with a new firmware update, hit a staggering 3,004 nits peak (10%) and 451 nits fullscreen brightness in HDR Filmmaker Mode. In HDR Cinema Home, the G6 hit 2,207 nits peak and 365 nits fullscreen brightness.

How did this translate into real-world scenes? Using some snow scenes from the Spears & Munsil UHD Benchmark, both TVs, set to Filmmaker Mode, showed punchy white tones with plenty of vibrancy, but the G6 had that little bit more depth in some areas. Generally, however, the S95H/S99H had the brighter picture in larger white areas, during a shot of a snow-covered ground or a white sky.

In movies, going back to Speed Racer, Speed’s white Mach 5 car and helmet appeared brighter on the S95H/S99H, especially in Movie mode, which makes sense based on the 500 nits peak HDR difference between the S95H/S99H and G6 in that mode.

However, the G6 again had that satisfying glint that drew the eye more. In daytime scenes, the S95H/S99H again showed higher overall brightness, especially in lighter colors like green and yellow. But, the G6’s richer colors sometimes gave it a perceived sense of higher brightness through its boldness.

In another scene from Fight Club, again in Movie mode, as the narrator stands over an overturned car in the day, the clear, blue sky was noticeably brighter on the S95H/S99H. The G6 still showed good brightness, but it wasn’t as impactful as the S95H/S99H.

I’ve touched on bright-room conditions and reflection handling above, and both these TVs are impressive on this front. The S95H/S99H’s anti-glare screen does an excellent job at eliminating mirror-like reflections, turning them to a haze. While it would beat every other OLED TV in brighter rooms, the G6 is more than a match for it.

When I compared the LG G6 to last year's Samsung S95F for their reflection handling, I preferred the G6, as it did a better job delivering inkier, richer black tones while still eliminating most reflections.

The S95H/S99H is brighter than the S95F, and while this does mean its overall picture quality next to the G6 is improved, delivering more powerful contrast, I still prefer the G6 for bright rooms… in Filmmaker Mode.

In Movie mode, however, it again becomes a very tight call, edged by the G6 for me. I just preferred the preservation of contrast over the out-and-out reflection handling.

Which do I prefer?

In these tests, the LG G6 proved to have bolder colors, with better black levels and punchier highlights in brighter conditions (still with great reflection handling). The Samsung S95H/S99H showed better skin-tone accuracy, better contrast balance and black tones in dark room viewing, and higher perceived fullscreen brightness.

Deciding between these two TVs is no easy task. Both deliver outstanding picture quality, with their own strengths, and superb gaming experiences. It's never been a closer contest. So torn am I between the two, I’m saying you can’t really go wrong with either. It will come down to price and what you’re looking for — though while I've only focused on picture here, I do know that a lot of people are put off by the huge frame on the S95H/S99H, and that might make the difference.

If you want Dolby Vision HDR, bolder colors and better contrast with richer black levels in a bright room, go for the G6. If you want HDR10+, a more accurate-feeling picture out-of-the-box in a dark room, and a TV that beats the most challenging reflections, go for the S95H/S99H. Honestly, both TVs can do pretty much everything.

If I had to choose one today, it would be the LG G6. Not only does it have the better black level performance in brighter rooms, but right now, it's cheaper in the UK (where I am) and Australia, with a 55-inch G6 costing $2,299 / £2,099 / AU$3,499, while the S95H/S99H 55-inch costs $2,199 / £2,399 / AU$3,999. If I were in the US, or if the prices switch here, I could easily change my mind: it's that close.