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702 : The Series (2017)

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Based on the acclaimed short film. 702 tells the story of a confused young woman is mugged by two first timers. They have bigger plans in which she is involved. The Journey brings her an incredible opportunity for revenge.

Rodrigo Lages

Series Cast

Bellatrix Serra

Raphael Logam

Iano Salomão

Clara Choveaux

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2017 • 4 episodes.

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Original Name 702 Webseries

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Original Language English

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Minions – The Rise of Gru

Next summer, from the biggest animated franchise in history and global cultural phenomenon, comes the untold story of one 12-year-old’s dream to become the world’s greatest supervillain, in Minions: The Rise of Gru.

In the heart of the 1970s, amid a flurry of feathered hair and flared jeans, Gru (Oscar® nominee Steve Carell) is growing up in the suburbs. A fanboy of a supervillain supergroup known as the Vicious 6, Gru hatches a plan to become evil enough to join them. Luckily, he gets some mayhem-making backup from his loyal followers, the Minions. Together, Kevin, Stuart, Bob, and Otto—a new Minion sporting braces and a desperate need to please—deploy their skills as they and Gru build their first lair, experiment with their first weapons and pull off their first missions.

When the Vicious 6 oust their leader, legendary fighter Wild Knuckles (Oscar® winner Alan Arkin), Gru interviews to become their newest member. It doesn’t go well (to say the least), and only gets worse after Gru outsmarts them and suddenly finds himself the mortal enemy of the apex of evil. On the run, Gru will turn to an unlikely source for guidance, Wild Knuckles himself, and discover that even bad guys need a little help from their friends.

Genre: Action-Comedy Cast: Steve Carell, Taraji P. Henson, Michelle Yeoh, RZA, Jean-Claude Van Damme, Lucy Lawless, Dolph Lundgren, Danny Trejo, Russell Brand, with Julie Andrews and Alan Arkin Director: Kyle Balda Co-Directors: Brad Ableson, Jonathan del Val Producers: Chris Meledandri, Janet Healy, Chris Renaud

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Two American photographers enter Adolf Hitler’s apartment just as World War II is ending and the German leaders are dead. Lee Miller (Kate Winslet) takes off her clothes so she can be photographed taking a bath in Hitler’s tub. This moment brings together several of the conundrums at the heart of “Lee,” the story of a real-life woman who revealed others and concealed herself, a model muse and artist working with the artificial and imaginary who became a war correspondent struggling to convey the indescribable. It’s telling that, after spending the war as a journalist, photographing wrenching horrors, including some of the first photos of the concentration camps, Miller returned to the staged, absurdist aesthetics of her earlier years. There, she worked with surrealists like Man Ray to create this very staged photo, moving the photo of Hitler to the edge of the tub and scraping the mud on her boots from a concentration camp on the pristine bathmat.  Over the credits, we see the re-created photo along with the original.

Once the war was over, she didn’t talk about it. Miller’s son, Antony Penrose, knew nothing of his mother’s wartime photographs until he found them in the attic after she died. She had no problem sharing her body. We see her casually remove her shirt at a merry al fresco luncheon with friends from the art community. She describes herself as being done living a life as “the model, the muse, the ingenue… only good at drinking, having sex, and taking pictures.” She reveals almost nothing about herself until a scene late in the film when she tells her editor (the always superb Andrea Riseborough) about a profoundly traumatic experience from her youth. Winslet is heartbreaking here as she struggles between shame, fear, and fury. Part of her wants to tell the story, but she was raised to keep secrets. Perhaps she is so committed to telling others’ stories because of the pain of hiding her own, even from herself. The only other time we glimpse her as vulnerable is in a couple of moments where she sympathizes with or protects a woman.

That creates a problem for the film and may be one reason the production struggled to get made for eight years. Miller, as portrayed on screen, is gruff, grim, and stoic for most of the story, and we seldom get to see what she is thinking and feeling. Even though we’re meant to be seeing a previously untold story of a heroic, impactful woman, it assumes we come to it knowing more than today’s audiences are likely to (how many will recognize Cecil Beaton?), leaving the story feeling empty. It is more about “then this happened, and then this other thing happened” than who Miller was, why she did what she did, and how it affected her. There’s a small twist at the end when we discover the identity of the man who has been trying to interview her in the 1970s (an earnest but empathetic Josh O’Connor), and even then the reality behind those scenes is not as impactful as it tries to be.

When the war begins, Miller gets a photography job with British Vogue , which has been directed “to encourage the women of Britain to do their duty” by bringing the urgency of what’s happening into the pages of a fashion magazine. At first, she takes pictures of the Blitz, “bombs, chaos, but everyone carried on, and I did what I could to capture it.” And then she is embedded with the American forces. Told that no women are allowed, she wanders off to where the women in the military are staying, spots a copy of Vogue with her photos, and takes pictures, including one of the women’s nylon stockings drying in a window, a powerful image of carrying on.  

First-time director Ellen Kuras is an accomplished cinematographer who has worked memorably with Winslet in “Eternal Sunshine of the Spotless Mind” and “A Little Chaos.” She’s a better visual fit with her photographer subject than the narrative. The images are strikingly framed, and we can tell how much Miller cares about what she’s doing as she quietly looks down to capture intimate and heartbreaking moments. She has a waist-level-finder camera typical of the era, which enables us to see her intent, magnetic face. Kuras understands the unique position of the photographer as intrusive but unobtrusive, sensitive enough to see where the story is but removed enough to maintain observer status. However, as for more about who she was, Miller stays frustratingly out of focus. 

Nell Minow is the Contributing Editor at RogerEbert.com.

• Kate Winslet as Elizabeth 'Lee' Miller
• Josh O’Connor as Anthony Penrose
• Andrea Riseborough as Audrey Withers
• Andy Samberg as David E. Scherman
• Alexander Skarsgard as Roland Penrose
• Marion Cotillard as Solange D'Ayen
• Ellen Kuras
• John Collee
• Marion Hume

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Gladiator 2 Movie Reviews: Critics Share Strong First Reactions

Gladiator 2 is almost here, and a major comic-con event brought one of the first official screenings for the sequel..

Following an early screening for critics, Gladiator 2 is making a strong first impression.

Nearly a quarter-century after the original Gladiator hit theaters, Gladiator 2 looks to have the same impact on a new generation of fans in the 2020s. Once again directed by Ridley Scott, it features a brand-new cast of stars, including Paul Mescal, Denzel Washington, Pedro Pascal, and Joseph Quinn.

The first Gladiator 2 trailer garnered strong reactions from fans in May , teasing a plot to take down the Roman Empire as its reign continues to spread across the land. The story follows a former heir to the empire who becomes a gladiator and seeks revenge for his home being taken.

First Reviews & Reactions for Gladiator 2

New York Comic-Con 2024 hosted the first major public screening for Ridley Scott's Gladiator 2 ahead of its November 22 release. Following that screening, the first reviews and reactions went live on X (formerly Twitter).

Using all-caps, journalist Scott Mantz called Gladiator 2 "the REAL DEAL," describing it as "an epic sequel worthy of its Oscar-winning predecessor:"

"'GLADIATOR II' is indeed the REAL DEAL! An epic sequel worthy of its Oscar-winning predecessor — great action, amazing visual effects, stellar performances across the board (esp. PAUL MESCAL & DENZEL WASHINGTON)! A return to form for director RIDLEY SCOTT! I was ENTERTAINED!"

Critic Scott Menzel heaped similar praise upon the sequel, comparing it to Scott's past films by claiming it to be his "best film since The Martian ." His review also included major praise for stars Paul Mescal and Denzel Washington:

"'Gladiator II' is Ridley Scott’s best film since 'The Martian.' A big, bloody, and badass action spectacle that builds upon the legacy of the original. The film showcases beautiful set pieces and a lot of epic battles. Paul Mescal shines. Denzel Washington chews up the scenery quite a bit here and looks like he is having the time of his life here."

When asked about Joseph Quinn's place in the film, Menzel had nothing but positive commentary on the star of the upcoming The Fantastic Four: First Steps : 

"He’s very good! He’s going to be around for a long time."

Not all of the commentary on Gladiator 2 was top-notch, however, as Abe Friedtanzer declared it to be "a decent but unnecessary sequel." The best moments for him were its "musical callbacks to the original:"

"'Gladiator 2' is a decent but unnecessary sequel, full of big speeches & large-scale battle sequences. Its best moments are musical callbacks to the original. Paul Mescal has solid fighting energy but the standouts of the cast are Joseph Quinn & Denzel Washington."

Offscreen Central's Jillian Chilingerian jumped back on the praise train, describing Gladiator 2 as "an absolute triumph" while highlighting Scott for giving viewers "something so deliciously cinematic and Machiavellian:"

"'GLADIATOR 2' is an absolute triumph, Ridley Scott places you in the action of the arena centered on legacy and honor amping up the blood, battles, and biceps for something so deliciously cinematic and Machiavellian. Pedro Pascal, Paul Mescal, & Joseph Quinn certified movie stars."

Chilingerian later urged Oscar voters to "engrave Denzel Washington's name" into the trophy for Best Supporting Actor as soon as possible:

"Engrave Denzel Washington’s name on the Best Supporting Actor Oscar for 'GLADIATOR 2' right this instance."

Also included in Chilingerian's commentary was Pedro Pascal, who had a major positive impact on her viewing experience:

"Pedro Pascal as a Roman General in 'Gladiator 2' just really did something to me."

According to Awards Focus editor Matthew Koss , Gladiator 2 is what comes to be "when Ridley Scott lets loose and finds heart in the action" in his work:

"'Gladiator 2' is what happens when Ridley Scott lets loose and finds heart in the action. A total spectacle with a pulsating pace. Can’t wait to see this one again."

The Wrap senior writer Drew Taylor continued the hype train for Scott while comparing the film to 2022's Top Gun: Maverick for its "ability to conjure the past while adding something new:"

"Rest easy, Romans. 'Gladiator 2' is the kind of large scale filmmaking excellence only Ridley Scott could corral. Everything about it just works. Big '[Top Gun:] Maverick' vibes in its ability to conjure the past while adding something new. Bold, muscular filmmaking from a legendary talent"

While Discussing Film's Andrew Salazar loved the "acting showcase" put on by Mescal, Washington, and Quinn, he saw this sequel as "largely uneven" and "[lacking] the emotional punch" of its predecessors:

"'GLADIATOR II' works best as an acting showcase for Paul Mescal, Denzel Washington, & Joseph Quinn. It's largely uneven & lacks the emotional punch of the first film. However, Ridley Scott's direction is unhinged, framing this as an epic Roman opera. The visuals get the job done."

Calling Mescal "charismatic" and Washington "such an entertaining villain," Rama's Screen thoroughly enjoyed what he saw, particularly from the action in the arena:

"'GLADIATOR II' was massive! Paul Mescal was charismatic & Denzel Washington was such an entertaining villain. The arena games were imaginatively brutal! Baboons, sharks, rhinos they were freakin insane! Epic & ruthless. Ridley Scott has done it again."

Next Best Picture's Will Mavity was not as high on the sequel, saying it "lacks the focus and emotional punch of the original" and feeling Russell Crowe was a more captivating lead in the original than Paul Mescal is in the follow-up:

"'Gladiator 2' lacks the focus and emotional punch of the original, and Mescal isn’t quite as captivating a lead here as Crowe was in the original, but it’s overflowing with memorable action and it’s got Denzel stealing the movie in soon to be one of his most iconic performances"

What To Take From Positive Gladiator 2 Reviews

Gladiator 2 has a great deal to live up to after its predecessor became an instant classic in 2000. The original film became the second-highest-grossing film of 2000 with $465 million at the box office and was nominated for 12 Academy Awards, winning five of them (including Best Picture and Best Actor).

While most of the original cast did not return for the sequel ( see more on Russell Crowe's potential Gladiator 2 role ), the new stars are many of the top names of this era.

Combine that star power with the reviews seen above, and Gladiator 2 should have plenty of hype leading up to its release.

This film will also have plenty of potential competition in theaters as Wicked 2 arrives the same day while Moana 2 , whose release date set a Disney record , comes only five days later.

All things considered, Gladiator 2 should have the chance to close the year out strong, running well into the winter season as Scott and his cast hope to bring a round of holiday mayhem.

Gladiator 2 is due to debut in theaters on November 22.

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Ghost Game Review: This Crossover of a Haunted House Movie & Screenlife Horror Squanders Its Potential

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The internet can be a scary place, especially when its so-called challenges – and their rules – find their way into the real world. With the rise and dominance of internet culture and the dark web, it's no wonder that the screenlife horror subgenre has grown in popularity and in scariness. Ghost Game, directed by Jill Gevargizian of The Stylist fame, starring Kia Dorsey, Zaen Haidar, Sam Lukowski, Emily Bennett, Vienna Maas and Michael C. Williams of The Blair Witch Project fame – arguably the codifer of found-footage and screenlife horror – blends the most disturbing aspects of screenlife horror with the haunted house, and creates something far more insidious.

Disenfranchised young adults-turned-content creators Laura (Kia Dorsey) and her friend Adrian (Sam Lukowski) are avid followers of an internet challenge that's rapidly growing in popularity – the "ghost game," created and masterminded by an online persona, Mr. Wattley. The game goes as such: wearing masks, the challengers must film themselves as they infiltrate into someone's home and "haunt" their inhabitants, pulling pranks, unseen. All they have to do is just stay hidden, undetected and not get caught. Unfortunately, Laura and Adrian broke the rules at their last haunt, and the results were deadly. Hoping to get back in Mr. Wattley's good graces, Laura ditches Adrian and recuits her morbidly curious boyfriend, Vin (Kaen Haidar), as her new partner.

They choose the worst possible house to haunt: the Halton House, a manor said to be haunted after the horrible murder-suicide of a family. The manor will soon be the home of a new family, specifically that of disgraced writer (Michael C Williams), his second wife Meg (Emily Bennett), and Meg's young autistic daughter, Sam (Vienna Maas). At first, the game goes accordingly as Laura and Vin keep a low profile and the family attempts to settle in their spooky new home. But things get complicated when Adrian arrives unannounced and, soon, it becomes clear that the gamers aren't the only ones haunting the house. Worse, the family descends onto the brink of insanity.

Ghost Game Doesn’t Maximize Its Inspired Premise & Timely Themes

The movie’s blend of internet horror and a haunted house had a lot of unrealized potential.

A horror movie for today's digital age that stars internet thrill-seekers who "haunt" houses by breaking and entering has a lot of potential. The screenlife horror subgenre's appeal lies in the dangers of the internet, and the sort of people attracted to the horrors and monsters who promise power, fame and influence from the depths of the dark web. Screenlife horror protagonists tend to be sympathetic and naive. They're unwittingly pulled into a world of intrigue, deception and reality-warping with little hope of escape. Or, alternatively, they're Faustian anti-heroes driven to evil and vice through the temptations of (digital) fame and power. The so-called heroes of Ghost Game fall into the latter category, and from there, the movie's incredible promise blooms. A premise such as that of Ghost Game works best when the characters are morally ambiguous at best, or unsympathetic at worst.

Just on principle, breaking in and violating a stranger's home – especially for a reason as petty as an internet challenge – is pretty unpalatable, and isn't the best setup for creating a lovable character. It’s hard to root for people who commit home invasions just to pull malicious pranks on the homeowners, all while arguing with one another. There is a lot of pathos to be gleaned from seeing awful people getting what they deserve, especially by horrific or supernatural means. Combine this niche and very modern subgenre with the traditional format of the haunted house, and the result is something that, at least on paper, is horror movie gold. Predators becoming prey, the haunted houses' inhabitants (human and paranormal alike) turning on each other and on their intruders – the possibilities are endless.

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Ghost Game does tap into this well of possibilities. It raises some interesting themes throughout its story. Ghost Game is one of many contemporary films to deconstruct the invasive and socially-destructive presence and effects of digital technology. Young, neurodivergent Sam is easily placated with – and dedicated to – her iPad. The protagonists are motivated by their desire to win an internet challenge based around disrespecting the rights and privacy of complete strangers. Laura, especially, has an almost fanatical devotion to Mr. Wattley, seeing his game as a way to escape her boring, unfulfilling life of living hand-to-mouth and working menial jobs. This air of disenfranchisement pervades the atmosphere of Ghost Game. Laura's apartment is dingy, littered with bottles and clearly neglected. The car she and Vin drive has definitely seen better days. As questionable as Laura and Vin may be, it's not hard to see where they come from and even pity them a little bit.

And then there's the supposed haunted house, the only thing the discredited writer could afford for his family. Both the gamers and Pete grapple for fame, recognition, validation and reputations in the most questionable ways possible. It's a subtle piece of social commentary, and while treated mostly as a footnote, it's the most fascinating aspect of Ghost Game's distinct take on found-footage horror. Unfortunately, it stays just that – a footnote. Instead, three-quarters of the film is devoted to the characters' squabbles, an unnecessarily spooky atmosphere and little character development. This, in turn, leaves all the potential of this promising premise mostly underdeveloped and unrealized.

Ghost Game’s Heroes Are Awful in the Best Way

The movie’s drama and social commentary succeed through its committed cast.

Although horror movies' distinct enjoyment can come from a protagonist who is competent, kind or pitiable in some way, Ghost Game is the kind of horror that derives pathos from seeing bad people get their comeuppance . One can’t help but root for the deathly presence as it mows down the pettiest of humanity. The gamers are motivated by boredom and disillusionment with a difficult world with few opportunities, and the desire for thrills and internet clout. While these motives are relatable and understandable, and they do send a message about the current socio-economic reality that drives many people to crime, it's not enough to garner true sympathy.

The protagonists – Laura, Vin and Adrian – are deliberately unlikable. Adrian, played with aggressive machismo perfection by the gruff-voiced Sam Lukowski, is a hothead who clearly delights in crossing people's boundaries, butting heads with fellow gamers, especially Kaen Haidar's Vin. He steals food, sets up cameras, plays mind games with the inhabitants – including the very young, neurodivergent and impressionable Sam. Laura, portrayed by the talented Kia Dorse, is the morally grey Laura. She buries her guilt through online validation and a veneer of meanness. Dorsey must be commended for portraying her uncomfortable anti-hero with such earthiness. The only likable gamer is Vin, Laura's boyfriend, but even he isn't exempt from the allure of internet infamy.

Ghost Game asks the audience to sympathize with these criminals. This is admittedly a big ask, and it seems Gevargizian and writer Adam Cesare know it. Cesare's writing style hints at the humanity buried underneath the gamers' special brand of internet-induced narcissism and warped vigilante justice. Laura attempts to spin her transgressions as some kind of heroic act, justifying pulling pranks on Pete, the ex-con artist. However, she cannot fool her boyfriend, the audience, or the evils lurking in the Halton House. Soon, karma comes knocking. That being said, the gamers, especially Laura and Vin, are gradually humanized. Vin is considerably more likable, as his morbid fascination turns to genuine concern. He shows empathy towards Sam and her autism. He's uncomfortable with terrorizing the family, and continuously butts heads with the aggressive Adrian and the determined, bitter Laura.

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Kaen Haidar's performance gives Vin some relatability and vulnerability. He makes smart decisions once the dangers of paranormal and domestic violence rear their heads, but his hands are tied by his misguided loyalty to his girlfriend and the game. That is, at least until things take a violent turn, resulting in Ghost Game's most intense and satisfying sequence. But by the time he and Laura complete their turn from questionable anti-hero to underdog hero, the damage is done, and the ensuing twist seals their fates. It's rather fitting that it's the game itself that seals the gamers' doom. When the evil presence reveals itself, the twist is almost symbolic in the manner of a Greek tragedy. While screenlife may be a rather young facet of the wider horror genre, Ghost Game shows that it at least has established some semblance of tradition.

The would-be victims of this haunted house aren't without their major foibles, either. Horror veteran Michael C. Williams, no stranger to screenlife horror, gives a top-notch performance here as the disgraced con-artist and writer, Pete. Williams' character is a belligerent coward who exploits his daughter from his first marriage to create an elaborate alien hoax for his first book. He's less-than supportive of his anxious second wife, and doesn't seem to be all that close with his stepdaughter. On paper, Pete is pretty loathsome. However, Williams' performance gives the character a human edge and brittleness that, even at his absolute worst, feels chillingly real and almost relatable. It goes without saying that he's achingly pathetic yet familiar. Once the horror kicks in at full force, Williams truly gets to shine as a frightening presence. He's actually rather underutilized in Ghost Game , even if he meets the horrors of Halton House in an extreme, if abrupt way.

Emily Bennett as Meg gives her best as the harried and overwrought mother, whose timid and high-strung persona is no match for Halton House's monsters, literal and figurative. Ultimately, she makes a number of classic "horror movie victim" mistakes, and it's hard to watch. The one truly sympathetic character is Sam, Meg’s autistic daughter, who immediately senses the house's supernatural horrors. It's hard not to love Sam, especially as she takes the brunt of the evils in her new home. She's terrorized by her family, especially her stepfather, and tormented by Adrian's pranks. Sam is ultimately the catalyst for the selfish gamers’ turn to heroism and remorse. The creepy child is a common occurrence in horror. In any other film, Sam would be the one possessed by the ghosts, or she'd be revaled to have been evil all along. Thankfully and refreshingly, G host Game averts this. Although Sam is a bit too awkward and odd in the way that most creepy children are in horror movies, she is ultimately an innocent subversion. Vienna Maas must be praised for her grounded portryal of this sweet but haunted child.

Ghost Game Has Everything Going For It, Except Its Pacing

The movie pulls its thematic punches when it shouldn’t have.

Ghost Game's haunted house setting – an enormous house with tight rooms, excessive cobwebs, poor, archaic lighting, peeling wallpaper and an excessive number of bathtubs – is glorious. The house allows for some excellent and even artistic shots. Some stand-outs include Sam standing in a lit attic in an almost ritualistic circle of toys, Peter reading by an erratic fireplace, and the eerie, lingering post-mortem shots of full tubs brimming with water, to name a few. There is this sense of claustrophobia throughout, even as the gamers find new places to hide. Ghost Game goes to great lengths to emphasize just how spooky and sinister the house is, but this comes to the detriment of the plot until the final 15 minutes.

For one, the art direction isn't particularly inspiring. It sticks to a tried-and-true but predictable color scheme of dull browns and blues, with the occasional burst of infrared light and monochromatic CCTV footage. The poor lighting is also a disservice to the casts' great expressions and the fantastic scenery. Ghost Game could have benefited from clearer color corrections and more unique creative choices but, instead, it's content to look as generic and obviously "creepy" as possible. The soundtrack is similarly underwhelming. There is some classic "haunted house" ambiance – eerie creaks, groans and electronic swells in volume – but the sound design depends too heavily on predictable scrapes and scary synth sounds. Ultimately, the movie's sounds just fade into the background and barely leave an impression. Anyone who's watched enough horror movies has already seen and heard everything Ghost Game has to offer.

“It’s Very Violating” - Michael C. Williams on Ghost Game & His Return to Found Footage Horror

The Blair Witch Project actor discusses Ghost Game, the impact of screenlife horror, and the growth of the horror genre and community since the 1990s.

That said, the worst thing about Ghost Game is its glacial pace. Even though it isn’t even an hour and a half long, Ghost Game is such a slow burn that it ends on an abrupt note that leaves more questions than answers . It's a shame to see such a good cast, setting and story not come together as well as they should. This is one of those movies that could have used an extra 10 to 15 minutes to make its otherwise "fine" premise and execution "great." To top it all off, there is a strong and relevant morality tale underneath all the scares and twists. The movie is a poignant look at people's desperation to avoid boredom, the chase for internet infamy, and the need for parasocial worship. Most importantly, it focuses on the ferocity of online communities, personified by the dangerous Mr. Wattley and his disturbed fans.

It's admirable that Ghost Game has a lot of meaningful and even important things to say. There are consequences to one's actions online. What happens online doesn't stay online. There are real-life ramifications to the cultural obsession with the digital world and true crime media — especially as they continue to devalue human dignity both in the movie's world and in reality as well. Does Ghost Game succeed in presenting these themes? Yes, to an extent. Does it succeed as a horror movie and as a story? Some parts do, while others fall flat. Ghost Game has a lot of impressive ideas that it doesn't push far enough, and it seemingly only realized this just a few minutes before the end credits rolled. But by then, it was too late. If nothing else, audiences can at least walk away with the knowledge that boredom is better than getting slaughtered in a so-called haunted house for the sake of internet clout.

Ghost Game hits theaters for limited run October 18, 2024 and Video On Demand October 22, 2024.

Follows a thrill-seeking couple who set their target in an haunted house and endure various incidents as they witness a family going mad.

• Excellent cast portraying difficult characters
• Great haunted house ambience
• Great digital horror premise with a good twist
• Pacing is too slow and plodding for short runtime
• Art direction is underwhelming
• Digital horror and haunted house elements left unfinished

The Personal History, Adventures, Experiences & Observations of Peter Leroy

702: In movies, . . .

What a piece of work i am, chapter 26 concludes.

IN MOVIES, there are always clues. A spy will walk into a deserted square in Bratislava and we, the viewers, will know—from the way the shadows fall, the stillness in the air, the unusual way that the pigeons are pecking at crumbs—that this is a setup, that he’s walking into a trap, but the clues in life are subtle, unreliable, and often misleading, so we rarely spot the setup or see the ambush coming.      When Ariane arrived at Sunrise Cove, she saw the surprise on the faces of her coworkers, and when she leaned around the corner of Mr. Murray’s office door, she saw the surprise on his face, too—in fact, she told herself that he looked as if he had never expected to see her in the place again—but she didn’t see that he was discomfited by her sudden appearance, that he wished she had stayed away.      “Ariane,” he said.      “Back at last,” she said.      “I wasn’t expecting you.”      “I thought I’d surprise you—and everybody.”      “Well, you have. You have.”      “I’m—you know—fully recovered. Rarin’ to go. I thought I’d kind of say hi to everybody before I got back to work. Guy around?”      “Come in, Ariane,” he said. “Come in and close the door.”      “Oh? Okay.”      Mr. Murray seemed tired and embarrassed, and Ariane hadn’t a clue why. She closed the door. She sat down. Mr. Murray opened his desk drawer, took an envelope from it, and tossed it onto the desk. Ariane recognized it, because of the two pieces of masking tape on it. It was the envelope she had found taped to the back of the drawer in Guy’s bedside table, the envelope that had held the money.      She could hardly keep from smiling. Guy had been found out, without her having to say or do a thing. All she had to do was keep Mr. Murray from guessing that she had known anything about it.      “What’s the story?” she asked.      “I think you can tell me, can’t you?” He had adopted the manner of a detective from a series of B movies he had enjoyed twenty years earlier.      “What makes you think that?” asked Ariane.      “Oh, come on, Ariane,” said Mr. Murray. “You’re disappointing me. That makes twice.”       What the hell, she thought. I might as well just tell him what I know. “Okay,” she said. “I found this when I was cleaning Guy’s room—”      “What?” said Mr. Murray. He seemed not to understand her.      “The envelope,” she said. “It was taped—”      “It was taped to the top of your locker,” said Mr. Murray.      “What?”      “It was taped to the top of your locker. Up where nobody would be likely to see it. That’s where Guy found it.”      She grabbed the envelope and looked inside. The mismatched pair of earrings was there, and a couple of the other cheaper pieces.      “Oh, shit,” she said.      “Watch it,” said Mr. Murray.      “You don’t believe this?”      “I saw it there myself,” he said. “Guy was worried about you, and he was going to see if there was anything you needed, so he went through your locker. And that’s how he—”      “Where is that bastard?”      “I don’t think you appreciate how upset he was.”      “Oh, I know how upset he was. Where is he?”      Mr. Murray got up and came around the desk. He took Ariane’s arm. “Look, Ariane,” he said. “I don’t want any trouble about this.”      “Look, Mr. Murray,” she said, “let me explain—” He began pulling her from her chair. “What is this?”      “I told you, I don’t want any trouble. You’re a local girl—I don’t want to—accuse you of anything. I don’t want a lot of noise about this. I don’t want trouble , you understand?”      “No. I don’t understand. Let go of me.”      “I want you out of here,” he said. “Just walk away.” He did not let go of her arm. He pulled her toward the door. “Walk away, keep your mouth shut, and I’ll just consider this a mistake—a passing thing—a little mischief. Okay? Nothing more. Just go away.”

[to be continued]

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Die Alone Review: A Badass Carrie-Anne Moss Throws Down with Zombies

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As the French saying goes, "Il n'y a pas d'avenir" — or, "There is no future." In the face of the apocalypse , that's indeed the literal perspective, and with the increasingly trying times we live in, those experiencing less severe but still headache-inducing issues might feel the same way about things, like a tiny apocalypse. The feeling of hopelessness has been explored on the big screen time and time again, both in a literal and figurative sense, and is particularly prominent in the zombie subgenre of cinema . Releasing today, Die Alone paints a twisted picture of this genre with a savage brushstroke.

From writer-director Lowell Dean, the gruesome apocalyptic thriller also benefits from a strong turn by the timeless Carrie-Anne Moss (though she still feels underutilized). While Die Alone is a bit derivative of other post-apocalyptic movies, the surprisingly gory moments compensate for the occasionally thin script. The direction is also deliriously disorienting in a pretty good way, and the film incorporates some surreal moments, surprise twists, and even bits of humor that keep it moving well.

Toward Emma, Forever Ago?

In a dystopian future, a pandemic has ravaged society, leaving behind a landscape overrun by zombie-like creatures. A young man with amnesia teams up with a tough survivalist to track down his missing girlfriend. Along the way, they encounter a mysterious figure whose presence may unlock the secrets of the past​.

• It's great to see Carrie-Anne Moss back in a role like this, and she kicks butt.
• Some surprisingly gruesome moments, surreal bits of humor, and unexpected twists keep it fresh.
• Die Alone is derivative of other zombie movies.
• The script is a little thin, and the best actors feel underutilized.

Die Alone maintains the badass-ery of Moss' image from The Matrix but strips her of its iconic latex outfits and replaces them with gritty, dirt-encrusted attire marred by years of fending off an entirely different army of villains. Before we witness the monstrous beings — and even Moss' presence, for that matter — there's young Ethan (Douglas Smith), who awakens from an awful nightmare with seemingly no recollection of how he got to this equally awful part of town when we first meet him. All he has is a bandage on his left arm that reads "Emma" with a heart around it, and off we go as he quests to find the long-lost love of his life.

The Movie That Introduced the World to Fast Zombies Before 28 Days Later

Long before 28 Days Later, Nightmare City, released in 1980 and directed by Umberto Lenzi, amped up the speed and savagery of the zombie film.

Through flashbacks revealed only in Ethan's restless sleep, we see him fall head over heels with the young woman of his dreams (Kimberly-Sue Murray), as they navigate a U.S. overrun by a strange virus in the vein of 28 Days Later . Along the way, Ethan is saved and helped by Mae (Moss), a graceful and seasoned presence whose soul is withering against the apocalyptic backdrop. But can you blame the crossbow and rifle-wielding survival expert's soul for dying out? Hey, she still makes time for the finer things, such as dancing elegantly at night to the classics on vinyl once she brings the perpetually distressed Ethan to safety under her roof. But once the sun rises, they're off to hunt for food again.

Carrie-Anne Moss & Frank Grillo Save the Day

Moss is reliably magnetic in her heroine role, and her humorous and awkwardly sexual chemistry with the younger Smith makes for a lovely balance against the gruesomely violent sequences that both precede and follow their more intimate moments. It's a hoot seeing her own the screen and wield any number of menacing weapons throughout this new film of hers. It's also a neat throwback to her work in Memento to see her helping an amnesiac with a broken memory.

Related: Director of George Romero's Final Script Updates Us on His Last Zombie Movie

Then there's Frank Grillo, who has a small but juicy enough supporting turn to fill the harrowing third act of Die Alone . It's as if director Lowell pitched him with, "Do your vintage Grillo grit, but with a cowboy edge. Get me?" His character Kai supplies an ominous plot development in the ever-revealing flashbacks, but it's the kind of role Grillo can play in his sleep. Nonetheless, a splash of Grillo is better than none.

As for the rest of the feature, it might all feel a bit derivative of past zombie-laced horror bonanzas, and what amounts to a third-act twist is pretty predictable, but some surprising story beats might just be enough to keep you glued. From Quiver Distribution, Die Alone is now available in theaters, on demand and on digital platforms like Fandango at Home and on Prime Video through the link below:

Watch Die Alone

• Movie and TV Reviews

Hardware Reviews

Bowers & Wilkins 702 S3 Signature shines bright

Fri, 11/10/2024

Bowers & Wilkins 702 S3 Signature

Bowers & Wilkins have established a working pattern over the last decade or so that sees certain models from their upper ranges upgraded to Signature status after they have been on the market for a while. We saw this most recently with the 801 Signature and this year the 700 series has seen three of its number assume the same suffix. Of these the 702 S3 Signature is the biggest and thus, theoretically at least, the best.

What do you get for the extra £1,500 asking price of the Signature version? If you look at the comparison chart on the 702 S3 Signature web page that lists the basic specs next to the standard model the answer would appear to be nothing. However, you can see the fabulous midnight blue metallic paintwork or Datuk gloss veneer finishes and there are changes under these shiny skins that have a greater bearing on performance. Not least is an upgraded crossover with Mundorf Evo capacitors, better inductors and high frequency caps with Mundorf Angelique lead out wires. There are also much larger air-core inductors for the bass drivers and doubled up Bevenbi bypass caps.

The cable terminals are low lead brass types with a chrome finish as seen on 800 series models. And for the 702 S3 Signature Bowers have introduced a higher quality spider in the three bass drivers. The midrange remains a woven six inch Continuum cone with biomimetic suspension and slimline FST surround while the tweeter is a decoupled carbon dome that’s housed in an aluminium chamber atop the cabinet. The grille on this driver has however changed, this was developed for the 800 Signature models and is more open than that on the standard 702 S3, which made an obvious difference when the two models were demonstrated. The sound becoming notably more open with vocals being projected better and timing improving. Some of these characteristics will be down to the crossover changes etc but the grille is not an insignificant element. Given that it costs no more I asked why it hadn’t been phased into the 700 series, but apparently that’s not how manufacturing works on the sort of scale that Bowers & Wilkins does it.

The 702 S3 Signature is a substantial and elegant speaker, it stands over 113cm high on its plinth and weighs a respectable 35 kilos plus (78 lbs), I didn’t fancy carrying one. However the packaging allows each cabinet to be stood upside down so that a plinth can be attached to the base. Initially I assumed that this plinth was provided to enhance stability and pass tilt tests but one look at the base reveals a large reflex port that needs to have some space beneath it in order to breathe. The supplied plinth leaves a suitable gap thanks to metal spacers and means that this speaker should be a bit more tolerant of placement near boundaries than rear ported types. Both spikes and half round feet are supplied for carpet or solid floor use, I am not a spike fan so went for the white rubber dome feet. This is not a choice that many brands offer but shows that thought has gone into all aspects of the design.

Sound quality

I have found that the more affordable Bowers & Wilkins speakers sound best when they are placed fairly close to the wall and firing at right angles to it, eg with no toe-in. That proved to be the case with the 702 S3 Signatures which gave an even tonal balance with only 30cm between them and the rear wall. This factor will vary significantly with room shape, construction and furnishings of course and my room is if anything a little bass light. The perceived balance of this speaker is that it is designed for spaces with greater bass reinforcement and more soft furnishings, which probably accounts for the majority of UK sitting rooms.

If you like tight, fast, precise and expansive sound the 702 S3 Signature is bang on the money. They deliver oodles of detail in a coherent and dynamic style with excellent bass extension and control. Put on Big Boi and Dre Present… Outkast and you get a tight, deep pulse that propels the groove in no uncertain fashion, the vocals clear and well defined and the beat at the centre of the action. With the live e.s.t. 30 album the soundstage is huge, and the beauty of some pieces palpable to all. The more I played them the clearer it became that the 702 S3 Signatures share a characteristic found in many big Bowers designs; the desire to play at high volume, or to put it another way, they sound better when the level is raised. Which is no bad thing if the neighbours don’t mind.

They time well for a three-way too, it’s always harder to get high coherence out speakers with higher order crossovers but this one is on the money, this is because the bass is so well defined and never appears to blur leading edges in the midband and above. It is as fast and nimble as the rest of the tonal range which means that it’s not as forgiving of coarser mixes but really revels in decent ones. One such being Nepalese Bliss by the Irresistible Force, this is presented with maximum low end girth and mountains of detail, it’s not an audiophile production by any standards and that much can be heard but the way that these speakers control its energy is impressive. I upped the BPM with Floating Points’ Les Alpx and things got very lively indeed, if you fancy a living room rave, look no further.

The above observations were made with my Moor Amps Angel 6 , 150W power amplifier, which has plenty of muscle to control these speakers. Out of interest I also tried a Rega Elex which while a little on the inexpensive side is a very nimble and articulate amp, it pulled out loads of detail and atmosphere from Frank Zappa’s Roxy Performances release but was ultimately a little bit too lean for these B&Ws. They require warmer power and as I happened to have a Sugden IA-4 integrated amp while the 702 S3 Signatures were in the room I put the two together. This proved to be a very good idea, the Class A nature of the Sugden seemed to balance the eagerness of the Bowers & Wilkins perfectly, producing expansive three dimensional imaging. You get the energy without any sharp edges and this allows musical tension to build superbly, which makes the material more interesting and engaging. The way that this pairing tracked low level dynamics was also very impressive, by revealing changes in note volume and attack/decay they paint a much richer picture of each performance and draw the listener in.

Many of the above are typical Class A characteristics of course but the 702 S3 Signatures proved equal to the task of revealing them, and the fact that the Sugden is only a 33 Watt amplifier was clearly not an issue. These speakers are not inefficient but they need a relaxed yet firm amplifier to give of their best. They can be explicit in the rendering of detail and you need to pick an amplifier that can work with this degree of exposure and not sound forward or edgy. They are very revealing for their asking price, and that means that the quality of source and amplifier will be obvious. The upside is that with a sympathetic pairing you get to hear more than comparably priced competitors, vocals for instance can be very clear which makes lyrical comprehension a lot easier. Ditto the bass is solid and well extended, you get a lot of air moving capability for your buck, it’s tight and clean too.

Bowers & Wilkins always come through when it comes to trickling down critical tech from their flagships to more affordable models like the 702 S3 Signature. The changes that the Signature element brings in are not insignificant in the final mix and move what was already a very capable loudspeaker up to the next division. This combined with the fabulous finish and high build quality make the 702 S3 Signature a hard act to beat.

Type: reflex loaded 3-way floorstanding loudspeaker Crossover frequency: not specified Drive units: Bass: 3x 165mm Aerofoil cone Midrange: 150mm Continuum cone FST Tweeter: 25mm decoupled Carbon dome Nominal frequency response: 28Hz – 33kHz Nominal/minimum impedance: 8 Ohms/3.1 Ohms Connectors: bi-wire binding posts Sensitivity: 90dB @ 2.83v/1m Dimensions HxWxD: 1138 x 192 x 354mm Weight: 33.4kg Finishes: Midnight blue metallic, Datuk gloss Warranty: 5 years

Bowers & Wilkins T 0800 232 1513 http://www.bowers-wilkins.co.uk

floorstanding loudspeakers

Jason Kennedy

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• Cover Story | Joe Lycett

‘The Crime Is Mine’ movie review: a fun yet poignant French farce

Since the early 2000s, François Ozon has made some of the greatest modern French films, like the comedy musical 8 Women and the erotic thriller Swimming Pool . Exploring a range of genres, Ozon’s output has remained decidedly unique, and in recent years, he has been somewhat prolific, releasing nine films in the past decade.

The Crime Is Mine is now receiving its UK release – despite Ozon’s next feature, When Fall Is Coming , recently debuting at a film festival. While Ozon is producing work at an incredibly fast rate, that somehow hasn’t stopped him from creating movies that are any less interesting. With The Crime Is Mine , the filmmaker has successfully tried his hand at a 1930s-era crime farce, proving his ability to adapt to new genres and time periods with ease.

The movie begins by introducing us to a struggling lawyer, Pauline, who is attempting to hide from her landlord. He comically tries to break her door down before she opens it, leading him to fly through into the apartment. Some might call this clichéd, but it’s clear that Ozon is making a playful homage to certain films from the era that used physical, screwball humour as a main selling point.

We soon learn that Pauline and her roommate, an aspiring actor named Madeleine, have not been able to afford rent. Then, the latter returns home, telling Pauline that a producer, Montferrand, tried to rape her. He had attempted the assault after she defiantly stood in opposition against his suggestion that she become his mistress if she wants to land a role in his play.

Straight away, Ozon lays the themes of the film out on the table. This might be a movie set in the 1930s that strives to emulate various techniques used by filmmakers during this time, but the themes explored are sadly timeless. While the #MeToo movement has exposed Hollywood abuses of power over the past few years – predominantly by powerful male figures in the industry – Ozon’s film emphasises that this has been an ongoing issue since the beginning.

While Madeleine deals with the fact she’s just fought off a sexual predator – and that her boyfriend wants to marry an heiress for money, leaving her to be his mistress – she then finds out that Montferrand has been murdered. Instead of refuting the suggestion that she killed him, she decides, with Pauline as her lawyer, to falsely admit to the crime and frame her defence as a powerful stand against misogyny.

Ozon expertly crafts a narrative that takes the issues at hand seriously, while also imbuing the film with plenty of humour in appropriate places. Thus, The Crime Is Mine manages to strike the balance between exploring poignant topics and also being an enjoyable and fun viewing experience. There is a real emphasis on female solidarity explored within the film, with Pauline and Madeleine showing an unwavering sense of support for each other.

Isabelle Huppert’s eccentric Odette Chaumette, a fading film star, is a particular highlight, with the actor showing her comedic strengths here. Even though she causes initial conflict, Ozon knows that in a film centred around the power of female friendship and support, it would be silly to make her an antagonistic character. Thus, her interactions with the other characters are a joy to watch, and it’s refreshing to see such a display of feminine unity.

Visually striking, with some poignant lines sprinkled throughout (Pauline comments on women being treated like children when it comes to their rights, but adults when it comes to their crimes), the movie proves that a lighthearted movie can still carry significant depth. While The Crime Is Mine isn’t a life-changing, unforgettable movie, it’s a more than enjoyable French farce that harks back to the early days of cinema.

Maari (TV Series)

Episode #1.702 (2024).

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Bowers & Wilkins 702 Signature review

A unique finish and audio refinements make for a truly premium package tested at £4499 / $6499 / au$8499.

What Hi-Fi? Verdict

While you'll be paying a premium for the Signature version of Bowers & Wilkins 702 loudspeakers, it does come with a bump in sound quality – breathing new life into your music – and a uniquely stunning Datuk Gloss finish.

Rich and musical

Extended bass and highs

Room-filling sound

Lowish impedance

Why you can trust What Hi-Fi? Our expert team reviews products in dedicated test rooms, to help you make the best choice for your budget. Find out more about how we test.

This review and test originally appeared in Australian Hi-Fi magazine, one of What Hi-Fi? ’s sister titles from Down Under. Click here for more information about Australian Hi-Fi , including links to buy individual digital editions and details on how to subscribe.

I was a great fan of B&W’s 702 loudspeaker design, and of the Series 2 version of it that followed, which was a significant improvement. So I was intrigued when the famous British company announced that it was releasing a special ‘Signature’ version of the 702, because I wondered how such an evolved design could be further improved. I was lucky enough to be given the chance to find out, and what follows is what I discovered.

• Best stereo amplifiers 2020: best integrated amps for every budget

Unique cabinet finish

Extracting the first of my review pair of speakers from its packaging revealed one difference straight away: a new finish, one that I’d never seen before on any B&W speaker (or on any other brand I can think of). It turned out to be a veneer B&W calls Datuk Gloss that is apparently unique because B&W says that the veneers on any pair will be slightly different to the veneers on any other pair, because no two models share the same grain pattern.

B&W sources this essentially “ebony-coloured” veneer from a specialist timber company called Alpi that is based in Italy, and says it sources its timbers only from sustainable forests. Bowers & Wilkins then adds value and improves the appearance by adding nine clear finish coats to the veneer, including multiple lacquers, to give every 702 Signature cabinet a deep, lustrous appearance.

I decided to examine the unpacked speaker very closely before unboxing the other of the pair, and noticed two other small changes, which were that B&W has changed the colour of the metal trim rings around its tweeter and midrange driver from black to silver. Presumably these silver trims rings are also unique to the 702 Signature.

One thing that did surprise me about my examination was that it wasn’t until I looked at the rear panel of the speaker that I discovered a fairly small, unobtrusive and decidedly discreet but quite elegant metal badge with the lettering ‘702 Signature’ and ‘Bowers & Wilkins’ on it. If I’d been responsible for the design, I probably would have put this badge on the front baffle or the grille, so it was more ‘in your face’.

Look as hard as I might, I could not find any other differences between the 702 Signature and the models that preceded it, but it transpired that the other difference were ‘under the hood’, so to speak.

B&W says that it has significantly upgraded the quality of all the capacitors and resistors used in the 702 Signature’s crossover network, increased the voltage rating of the low-pass section’s bipolar capacitor and sourced its bypass capacitors from famous German manufacturer Mundorf.

Tweeter on top

Unlike most loudspeakers, where the tweeter is installed on the front baffle, usually at the top, the 702 Signature’s tweeter is mounted in a separate, acoustically and mechanically isolated housing that sits on top of the cabinet. This housing is made from black-painted aluminium and, including the tweeter, weighs around one kilogram.

B&W started positioning its tweeters like this when the late John Bowers and his research team discovered that the frequency response errors and phase irregularities produced when a tweeter was mounted on a baffle disappeared when it was located separately from the main cabinet.

The 25mm dome diaphragm contained at the front of the housing has what B&W calls a ‘carbon’ dome and a unique construction whereby the front portion of the dome is formed from a 30-micron-thick sheet of aluminium onto which an ultra-thin carbon coating is applied by vapour deposition. This is attached to an inner section of carbon material that’s 300-microns thick and profiled to match the curve of the main dome.

B&W says this dual-layer construction pushes the frequency of the dome’s first break-up mode up to 47kHz, or more than an octave above the highest frequency perceptible by the human ear.

• Best subwoofers: deep bass for music and movies

Fixed suspension transducer

The midrange driver in the 702 Signature is exactly the same as the one in the 702 S2 apart from the difference in colour in the trim rings. However, it’s a driver that is unique because whereas most cone midrange drivers have a flexible rubber or foam surround suspension, this particular B&W midrange driver does not. It is what the company calls a ‘Fixed Suspension Transducer’ or ‘FST’, so-called because the cone is attached to a narrow polymer ring that stretches and contracts to accommodate the cone’s movement.

B&W says FSTs have improved transient response and, because there’s no flexible suspension to reflect energy back across the cone surface, they have less dynamic distortion. The FST’s cone is made from a woven composite fabric B&W calls ‘Continuum’.

As for that trim ring, it’s not just cosmetic, to hide the driver fixings – it does double duty as a tuned mass damper (TMD). 

Also, despite it appearing to be solidly mounted to the front baffle, the 702 Signature’s FST is isolastically mounted so that its performance cannot be adversely affected by cabinet vibrations.

The three 165mm diameter bass drivers on the 702 Signature have cones made using the same triple-layer ‘sandwich’ technique B&W originally developed for its 800 Series, where two outer layers enclose an inner layer. 

The outer layers on the cones of the 702 Signature’s drivers are made from paper and the inner layer from expanded polystyrene (EPS). The company says that the multi-layer construction technique avoids the abrupt transition from pistonic to break-up mode behaviour that usually impairs the openness and neutrality of drive units with cones made from a single uniform material.

As with all recent-model B&W speakers, the flared exit of the 702 Signature’s rear-mounted bass reflex port is made from a dimpled polypropylene material that minimises air turbulence at the mouth of the port… a design trade-marked by the company under the name ‘Flowport.’

As you’d expect of a model in the 702 Signature’s league, the speaker terminal plate facilitates bi-amping or bi-wiring through the provision of two pairs of large, multi-way colour-coded terminals.

Also as you’d expect of any pair of tall, heavy speakers with fairly narrow cabinet dimensions, the 702 Signatures have a relatively high centre-of-gravity. This would normally mean they’d be relatively easy to tip over except that B&W supplies two very substantial base-plates which should be attached to the speakers before installation to improve stability. 

Listening sessions

The rear-firing ports on the 702 Signatures mean that the speakers’ bass response will be affected by their proximity to the rear walls, but it will also be affected if you elect to install the foam port plugs that B&W supplies, which are two-stage types so you can block off a port completely, half-block it or, of course, not use the plugs at all. 

B&W’s Owner’s Manual has an excellent description of the different sonic effects the different combinations will have on the bass response, plus it also has three very good – and very accurate – graphs showing how the low-frequency response will be affected.

I found that no matter where I positioned the speakers in relation to the rear wall, or what port configuration I used, the bass response from the B&W 702 Signatures was impressively extended, so that with music, it easily accommodated the lowest note on a piano (27Hz). And from using them as front channels when watching movies, the movie sound effects proved to me that the low-frequency response went even lower than 27Hz.

The B&W Signature 702s were also capable of playing loud at these low frequencies. I was able to achieve room-shaking levels when playing Bach’s Toccata and Fugue in D Minor , for example. The tonal quality of the bass was also wonderful, with beautifully rich-sounding ‘Ds’ at the bottom of the runs and a resonating chordal sound at the conclusion of the arpeggios.

But it wasn’t just organ music that demonstrated the rich bottom-end sound of the B&W 702 Signatures. The speakers’ bass response also worked wonderfully well for all musical genres – the sound of kick drums was full-fledged and meaty, and the sounds of both double-bass and electric bass were rendered rich and full, with nice detailing. 

This excellent bass response was perfectly matched to the midrange response, so that combined, the two presented a soundfield that presented aurally as a gloriously full sound-stage extending right across the space between the left and right speakers. 

If you listen to Claudia Tellini sing her multi-tracked interpretation of Roger Waters’ classic Pink Floyd hit, Money (from Stazioni Sonore's Who’s Got Its Own ), which has everything from solo vocal to speech to scat as well as ‘harmony’ you can’t fail to appreciate how B&W’s FST midrange driver delivers the sound of her voice to perfection. Its low distortion will also allow you to admire the perfection of Tellini’s articulation and pitching.

I am a huge fan of getting tweeters away from front baffles, indeed removing them from anything that could possibly affect the motion of their domes – and therefore their sound quality – but the sweet, pure and uncoloured treble sound I heard from the 702 Signatures wasn’t just down to the facts that the tweeter is physically isolated and radiates its sound without any interference from the main front baffle; it was also down to that new carbon dome design. 

A great way to test the ability of any tweeter is to play the title track of Norah Jones’ Day Breaks where the tweeter has to simultaneously handle cymbals, violin, pedal steel guitar and Hammond B-3 organ along with the harmonics of the soprano sax… it can get very busy and, if the tweeter is not up to the task, it will sound congested and mushy.

The B&W 702 Signature’s carbon-dome tweeter handled all these sounds in its stride, whilst still maintaining that sense of ‘air’ around the highs that only the finest tweeters can manage. The resolving power allowed me to hear each sound in its own acoustic, with the tonalities of the individual instruments separated from each other. If you listen, make sure you pay attention to the sound of the harmonics of the higher notes of Jones’ piano on the following track ( Peace ) as well as the higher harmonics of Wayne Shorter’s soprano sax.

Final verdict

The best thing about these B&W 702 Signature loudspeakers is that everything you play through them will sound great, because they will make whatever music you play through them sound richer, more musical, and more exciting and, in a way, almost “larger-than-life”, yet at the same time not, because they also deliver true-to-life sound... albeit without monitor-like accuracy.

As to whether you think it is worth paying the premium over the standard B&W 702 S2 to gain the improvement in sound quality, the exclusivity of the Datuk Gloss finish and the cachet of owning a ‘Signature’ version, that will be a matter between you and your wallet.

• Best speakers 2020: budget to premium

Lab test report

The overall in-room frequency response measured by Newport Test Labs for the B&W 702 Signature is shown in Graph 1. Acquired using pink noise as a test signal, this response is not smoothed, but it is averaged to compensate for the inherent random nature of pink noise and for microphone position relative to the midrange driver and tweeter in particular. 

However, although the speaker was floor-standing for this measurement, it was more than four metres from any other boundary, so there’s none of the usual low-frequency boundary effects that would be found in a typical domestic living room.

You can see that the response between 100Hz and 13kHz is very flat and exceedingly linear, so that it can be contained in its entirety with a 2.6dB envelope. So normalised, the response would be 100Hz to 13kHz ±1.3dB. 

However, using the industry-standard deviation of ±3dB, the response as graphed is 44Hz to 20kHz ±3dB, though in this case the upper graphing limit is 20kHz (see next paragraph). This correlates almost perfectly with B&W’s specification for this model of 46Hz–28kHz ±3dB.

In order to more closely examine the high-frequency response of the B&W 702 Signature, particularly above 20kHz, Newport Test Labs switched to a gating measurement technique that simulates the response that would be obtained in an anechoic chamber and allows up to 1Hz frequency resolution. This response is shown in Graph 2, below. 

The increased resolution shows the response between 700Hz and 10kHz is not quite so ‘flat’ as the pink noise measurement suggests, yet the peaks and dips shown in Graph 2 would not be audible to the human ear: it would ‘hear’ the response shown in Graph 1. 

Nonetheless the peaks and dips are still within ±3dB, therefore fall within specification.

You can see that although Graph 1 shows the B&W 702 Signature’s frequency response falling to –3dB at 20kHz, it actually rises above 20kHz to peak at around 30kHz before falling again to –3dB at 38kHz. 

This means that if you combine the results gained from the two tests, Newport Test Labs measured the response of the B&W 702 Signature as being significantly better than B&W’s specification, with a measured result of 44Hz to 38kHz ±3dB.

I was interested to see how the frequency response Newport Test Labs measured of the B&W 702 Signature compared with its measurement of the B&W 702 S2 and they’re to all purposes identical. 

So I feel I can recycle the comment I made about the S2 model at that time, to whit: “Although its frequency response is not as flat as some B&W speakers Newport Test Labs has measured in the past, [its] frequency response is still admirably flat and linear and Newport Test Labs’ measurement of it exceeded B&W’s own specification by a good margin.”

The low-frequency response of the B&W 702 Signature, as measured by Newport Test Labs using a near-field measurement technique to eliminate room effects, is shown in Graph 3 above. 

You can see that the bass drivers’ output rolls off more steeply below about 80Hz to a minima at 26Hz when the cabinet’s ports are not blocked (bass reflex) but less steeply when the port is blocked (infinite baffle).

Interestingly, the peak output of the bass reflex port occurs right down at 20Hz, well below the frequency I’d have expected it to be, namely 26Hz, to coincide with drivers’ minima. This would partly be to ensure better alignment in infinite baffle mode, but I’d guess was also the result of listening sessions, rather than computer sessions.

You can see that B&W’s engineers seem to be allowing the midrange driver’s response to roll off naturally, without any electronic filtering, with the roll-off commencing at 550Hz, but the measurement technique is not reliable at this frequency, so I won’t place too much importance on this. Nonetheless, it is obvious that the midrange driver is flat up to around 1.3kHz, after which it’s rolled off so the tweeter can take over.

Graph 4 (above) shows the impedance of the B&W 702 Signature, and it’s pretty low, with a minimum impedance of 3.1Ω at 120Hz, and staying at or below 5Ω from 80Hz right out to 1kHz. This would seem to be rather at odds with B&W’s ‘nominal’ specification of 8Ω. 

I would personally have put the nominal impedance of this curve as 4–6Ω and if pushed to hang a single figure on it, rather than a range, then 4Ω. It will certainly present a challenging load down at 80Hz, where you can see a 4.7Ω impedance combined with a –68 degree phase angle (the phase angle is shown by the light blue trace).

Impedance graphs are also pretty good for identifying cabinet resonances, and I can’t see anything on these traces that suggests there might be any, so good work on the cabinet.

Allowing for inevitable sample and measurement variances, the impedance of the B&W 702 Signature is identical to that measured by Newport Test Labs for the B&W 702 S2.

As is mostly usual, Newport Test Labs has included a composite graph (Graph 5) that combines the various different measurements to give an overall picture of the B&W 702 Signature’s performance. 

Newport Test Labs measured the sensitivity of the B&W 702 Signature as being 90dBSPL at 1m for 2.83Veq under its standard test conditions, which means this design has well above average sensitivity and also confirms B&W’s own specification of 90dBSPL for this parameter. 

This is exactly the same result the lab measured for the B&W 702 S2 several years ago, about which I commented at the time: “The B&W 702 S2 also met its specification for sensitivity, which is a rare achievement for any loudspeaker.”

Overall, Newport Test Labs’ tests prove the B&W 702 Signature to be a very well-designed loudspeaker whose frequency response is extraordinarily linear and extended (in fact, surpassing its manufacturer’s specifications) whose sensitivity is admirably high and whose 

My only proviso would be to recommend using an amplifier that is completely comfortable driving 4Ω loads.

Australian Hi-Fi is one of What Hi-Fi?’s sister titles from Down Under and Australia’s longest-running and most successful hi-fi magazines, having been in continuous publication since 1969. Now edited by What Hi-Fi?'s Becky Roberts, every issue is packed with authoritative reviews of hi-fi equipment ranging from portables to state-of-the-art audiophile systems (and everything in between), information on new product launches, and ‘how-to’ articles to help you get the best quality sound for your home. Click here for more information about Australian Hi-Fi , including links to buy individual digital editions and details on how best to subscribe.

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Bowers & Wilkins 702 S3 Loudspeakers Reviewed

Price: $ 7,000.00

The Bowers & Wilkins 702 S3  floorstanding speakers ($7,000 per pair – buy at Crutchfield) represents the company’s latest take on the largest model in their 700 series line, which resides just below their reference 800 series. In between its predecessor the 702 S2 and this latest version, Bowers & Wilkins also introduced an upgraded, limited-edition version of the 702 S2 known as the 702 Signature. I am very familiar with both the 702 S2 and the 702 Signature having reviewed both versions. I liked the 702 Signatures so much that I purchased a pair and still have them in daily use. So, I was excited to find out from our publisher, Jerry Del Colliano, that I would be reviewing the new 702 S3. It’s not often that reviewers get to directly compare two recent versions of a loudspeaker. Usually, gear is returned before such a comparison is possible.

If you’re a regular reader of Future Audiophile, you know that Bowers & Wilkins is one of the largest  and most respected loudspeaker manufacturers in the world. As I’ve noted in previous reviews, the company is known for its attention to detail in design, investing heavily in research and development. It’s also known for the build quality of its speakers. So it’s no surprise that Bowers & Wilkins loudspeakers are used as the reference monitor of choice in numerous recording studios around the world, from Abbey Road in the U.K. to Skywalker Ranch in California. 

What Makes the Bowers & Wilkins 702 S3 Speakers Special?

• The 702 S3 floorstanding speaker has several technology upgrades taken from the reference 800 series.  These trickle-down technologies narrow the performance gap between the 702 S3 and the entry level reference 804 D4 floorstanding speaker at a fraction of the price, making them a tremendous value.
• The separate, nautilus style tweeter enclosure milled from a billet of solid aluminum has now been significantly lengthened from that of the Bowers & Wilkins 702 S2, with the aim of reducing distortion and ensuring an even cleaner upper frequency presentation.  Bowers & Wilkins has also introduced improved two-point decoupling that better isolates the nautilus tweeter assembly from the loudspeaker cabinet, ensuring a freer and more open soundstage. 
• The six-inch, completely decoupled midrange driver features a biomimetic suspension taken from the 800 series, resulting in astonishing midrange resolution in the new version versus the older 702.  Bowers & Wilkins has replaced the conventional fabric spider found in almost all other loudspeakers to dramatically reduce unwanted noise from the output of the spider as the midrange cone operates. The midrange drive unit assembly, with its aluminum chassis, features tuned mass dampers for reduced resonance.
• The three 6.5-inch bass drivers incorporate the latest generation of Bowers & Wilkins’ Aerofoil profile cone technology  to deliver deep, dynamic bass that is even cleaner and less distorted than its predecessor. 
• The Bowers & Wilkins 702 S3 cabinet has been narrowed and its front baffle has been curved to reduce cabinet diffraction.

Why Should You Care About the Bowers & Wilkins 702 S3 Speakers?

• There is an improved ease of placement with the 702 S3 due to the repositioning of the flow port to now point downward rather than the rear ported design of the previous 702 S2 and 702 Signature versions .  The new 702 S3 can be placed closer to the front wall without concerns about boomy or exaggerated bass.
• Improvements in soundstage size and accuracy have been realized.  This has been achieved through changes in both cabinet design and trickle-down driver technology from the 800 series.
• The 700 series lineup includes timbre-matched center and surround channel speaker options, as well as a matching subwoofer for those wanting to enlist their 702 S3 loudspeakers for  home theater  duty in addition to two-channel audio.

Some Things You Might Not Like About the Bowers & Wilkins 702 S3 Speakers

• The satin black MDF plinths are integral to the speaker’s flow port performance, so they are no longer optional. They must be installed, meaning the speaker requires a bit more floor space to accommodate the size of the plinth. On the plus side, Bowers & Wilkins has redesigned the plinths using a higher density MDF while making them both thicker and smaller in overall dimensions than on the previous 702 S2 model. They now look more integrated into the overall speaker design and less of the last-minute addon they appeared to be on the 702 S2. This is a major safety upgrade for anybody with small children, pets, or less-than-careful cleaning people. 
• The amplification to be paired with the 702 S3 is important, as it was with the 702 Signatures. I used a  Denon AVR-X8500HA  receiver with great results. While not so difficult that you need a flagship receiver or extra beefy  audiophile amp  to realize their potential, I would recommend something more substantial than a $500 entry level receiver. But hey, if you’re considering a $7,000 pair of loudspeakers, you’re not likely to be trying to scrimp on amplification, right? 

Listening to the Bowers & Wilkins 702 S3 Speakers…

The gloss black review samples I received were brand new and really pretty. I set up the speakers in my family room system and spent a bit of time optimizing placement of the 702 S3s, since we had just finished a complete remodel of the room, removing a large fireplace hearth from the front wall and pushing that wall back about six inches to line up with the adjoining kitchen. I spent almost two months casually listening to the new 702 S3 speakers serving up two-channel music on a daily basis, as well providing the two main channels of a 7.1.2 surround system for movies and television. After I had everything dialed in for a period of time, I sat down for critical listening of several very familiar music tracks. I brought my 702 Signature loudspeakers back into the room, too, where they had performed as the two main channels prior to the remodel. Swapping between the 702 S3 speakers and the 702 Signatures allowed for a direct comparison between the two successive models. That’s something we as reviewers seldom get to experience, what with review gear coming and going. I marked the final locations of the 702 S3 speakers with tape on the floor to ensure I placed both models in the same locations each time I swapped them.

I listened to  London Grammar’s “Lord It’s a Feeling” (Orchestral Version – Live at Abbey Road) (Qobuz via Roon, 16-bit / 44.1kHz)  because it’s well recorded, has complex layering, and covers a pretty big dynamic range.  I was blown away by how the 702 S3 revealed all of the minute details of the track. From Dot Major’s simple, quiet keyboard opening joined by softly playing violins to the James Bond-like crescendo, where the full orchestra is playing together, I was amazed at how easily I could detect each individual instrument. And yet, they all blended together so seamlessly.  It was as though I was sitting in that Abbey Roads studio with the performers in front of me rather than listening through speakers.

Imaging had pinpoint accuracy. Hanna Reid’s haunting vocal just seemed to float in the middle of the soundstage, whose width extended well beyond the speakers themselves.  There was appropriate bass weight to the trombones and kettle drums and yet I could still detect small details such as the plucking of the harp’s strings in the middle of these loudest passages.  The three bass drivers played cleanly and went deep when called upon, with no perceivable distortion, delivering the appropriate impact. This helped me be able to discern the higher frequency details even with so much bass weight present. There was so much detail and yet at the same time, so much cohesion to the orchestral instruments as a whole. When played through the 702 Signatures, I heard much of the same, but with just a bit less soundstage width and individual instrument clarity. Imaging was just a bit less precise as well. The 702 S3 speakers have better imaging and clarity, most likely due to their narrower cabinet width and curved front baffle. In narrowing the cabinet but keeping the driver dimensions the same, Bowers & Wilkins mounted the midrange and bass drivers in external pods, similar to the 800 series drivers. And according to Bowers & Wilkins, the narrower cabinet and curved baffle serve to further minimize cabinet diffraction, leading to the baffle having less effect on sound quality. My listening experience confirmed this for me. Through the 702 Signatures, I had to listen more intently to discern some of the quieter instruments when the full orchestra was playing, such as the flute and harp. Through the 702 S3 loudspeakers, the soundstage just seemed to open up, creating a bit more space between instruments.

Listening to  John Mayer’s “Gravity” from his Continuum album (Qobuz via Roon, 24-bit / 96kHz) , the Bowers & Wilkins 702 S3 speakers revealed themselves to be very quick and accurate speakers. Changes in dynamics were instantly and easily portrayed by the 702 S3 speakers. The resonance decay of the guitar strings being plucked was extended and lifelike. The buzz from snare drum rimshots was quick and realistic, as though I was listening to the drums being played live in the studio rather than from a recording. 

The 702 S3s brought out all of the bluesy depth and emotion, providing a sense of the acoustic space that Mayer was playing in. The shimmer of the cymbals felt detailed and realistic. While playing the track through the 702 S3 speakers, the acoustic picture and energy created reminded me of the times I’ve been to Buddy Guy’s Blues club, Legends, on the south side of Chicago. Before I knew it, I had listened to the remainder of the album. When played through the 702 Signatures, the soundstage was just a little narrower, with blending of the drivers a tad less seamless. I’m not talking about a huge difference, but I found the differences to be consistent across the several tracks I used for comparison. 

Do the Bowers & Wilkins 702 S3 Speakers Have Any Resale Value?

Given their quality and price, most owners will likely hold onto their Bowers & Wilkins 702 S3 loudspeakers for at least a few years before thinking about upgrading. So, don’t expect to see too many of them on the resale market for a while just yet. When they do, a pair of Bowers & Wilkins 702 S3 speakers in good condition should fetch a bigger percentage of original retail than less mainstream audiophile speaker brands, somewhere in the realm of 50 percent of retail. One issue is the shipping cost due to their almost 74-pound weight (each) so local resales will likely be the norm when a pair of 702 S3 speakers are offered for resale. 

Who Is the Competition for the Bowers & Wilkins 702 S3 Loudspeakers?

The  Focal Aria 936 K2   ($6,598 per pair)  has a similar driver complement and cabinet dimensions to the 702 S3. Its midbass and bass drivers have an aramid cone material, a modification to the regular Aria line, which utilizes a flax fiber material. It has two front ports and a downward firing vent, so placement should be equally easy to the Bowers & Wilkins 702 S3. The Aria 936 K2 only comes in an ash gray finish with a leather lined front baffle, whereas the Bowers & Wilkins 702 S3 comes in a choice of three finishes, including gloss black, satin white, and mocha, which resembles a highly grained dark walnut. Personally, I prefer the aesthetics of the Bowers & Wilkins 702 S3 over the Focal Aria 936 K2.

The  Sonus faber Sonetto VIII loudspeaker  ($6,999 per pair) is another well-respected option. The lute-shaped speaker stands a couple of inches taller and is both wider and deeper than the 702 S3 and sports three seven-inch bass drivers, a six-inch midbass driver, and a 1.15-inch tweeter. It’s also bottom vented like the 702 S3.

Final Thoughts on the Bowers & Wilkins 702 S3 Loudspeakers

The performance of the Bowers & Wilkins 702 S3 represents an improvement in clarity of details, accuracy, and soundstage width compared to its predecessors, the 702 S2 and 702 Signature. The S3 represents a significant step forward in narrowing the performance gap between itself and its reference series counterpart, the 804 D4. This is great news for those longing for the 800 Series sound but without the required  budget. To my ears, the Bowers & Wilkins 702 S3 gets you most of the way there for roughly half the price, representing a value sweet spot in the Bowers & Wilkins lineup for speakers designed for medium- to somewhat larger-sized rooms. 

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Concerning Bob Barrett’s comparison between B&W 702 S2 vs. 702 s3 speakers, he mentioned a slight sound fidelity difference between them. Bob, please indicate if this difference justifies spending an additional $2k for S3 speakers vs. s2 speakers. S2 speakers are selling for $4k on Amazon. Thanks.

As an owner of 802 D4s, you really want the D4 Bowers & Wilkins if you can find them used. I doubt it but worth a try. Maybe a floor sample?

The highs on the D4 is a massive upgrade over D3.

I’ve shot out the 805 and 801 D4s vs. their higher end Signature Models and those are even better.

The 804 is the value play but still tons more $$$ than the 702 which is an even better value but not quite as good. $10,000 more however.

Jerry, concerning B&W 804 D3 vs. 702 S3 speakers, please indicate sound fidelity comparison. Trying to justify buying used B&W 804 D3 selling for $6k. Do 702 S3 sound substantially better than 804 D3. Trying to buy used 800 series speaker at equivalent price of 702 S3 speakers.

Used is a slippery slope. We don’t really deal in used values.

If you find just the right product used then it can be good but buying something for a bargain over making sure that it is perfect for your needs/system is likely a mistake. I would wait and save a bit if needed. Personally, I sell blood to get cash and free donuts. I tried selling my body and nobody would pay. “Walk the streets for money… doesn’t care if it is wrong or right”

Concerning B&W 804 D3 vs. 702 S3 speakers, please indicate sound fidelity comparison. Trying to justify buying used B&W 804 D3 selling for $6k. Do 702 S3 sound substantially better than 804 D3. Trying to buy used 800 series speaker at equivalent price of 702 S3 speakers. Thanks.

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• Thread starter kornel221
• Start date Aug 30, 2021

Hi , I am thinking of buying akg k702., The main use will be for watching movies. I will.be connecting them to a AV receiver , and chord mojo. I already have hd660s but I am looking for something with better soundstage that could better simulate home cinema speakers. Does anyone have experience with k702 and have tried them with movies? Thanks!  

100+ Head-Fier

Hi. AKG K702 are great for movies and gaming. I had them, K701, K701 Made in Austria, K7XX and K712 PRO. Finally I choose K712, because of slighty warmer sound signature and a bit more bass which fits my preferences, but K702 were really nice too and if you want, you can easily make bassport mod to add some low frequencies. Second model worth considering are Philips Fidelio X2/X2HR - more bass (one of the bassiest open back headphones), fun V-shaped sound signature, wide soundstage.  

Hustler said: Hi. AKG K702 are great for movies and gaming. I had them, K701, K701 Made in Austria, K7XX and K712 PRO. Finally I choose K712, because of slighty warmer sound signature and a bit more bass which fits my preferences, but K702 were really nice too and if you want, you can easily make bassport mod to add some low frequencies. Second model worth considering are Philips Fidelio X2/X2HR - more bass (one of the bassiest open back headphones), fun V-shaped sound signature, wide soundstage. Click to expand...

oakparkmusicguy

I have the K7XX and the HD6XX. The 7XX gives you more of the theatrical feel but the 6XX gives you more detail and clear dialogue.  

1000+ Head-Fier

I don't think the K702 is really any good for movies/games.  

Thanks for your responses! I have decided to give them a go , will be getting them tomorrow . I am very intrigued how they will compare to my hd 660s. I will probably be doing the famous bass mod and remove the stickers behind the drivers to get a big better bass response.  

Okay so I got them today. Bought them with a deal on Amazon for 49.99£. I know they need some.burn in but I am shocked ! How they can sound so much better than my hd660s ??? I am trying them with some movies with DTS. The soundstage is amazing , the bass is a bit lacking but not as bad as everyone was saying! The vocals are super clear and the details :0 Honestly I don't believe how good they are!! I have had akg k612 in the past and sold them immediately. This are awesome! watching movies almost fells like I am using my kef q100 q200 speakers in 3.1 mode  

AKA SonyFan121, Audio Aficionado, Audioholic123, JVC steven, and others

You sound like you really like your AKG K702’s. Ahh, where do I start?! Let’s see,- the K702 has been the ONLY headphone out of around 60 different (open-back AND closed-back) headphones that I have never, ever been able to move on from. Back in 2008 they where considered state-of-the-art or TOTL alongside Sennheiser HD600 and Beyerdynamic DT880, I paid £485 for my first pair in 2008, now in 2021 they go for around £100 (around $120 U.S.D), but their current price is not indicative of how they perform versus some of the current, much more expensive state-of-the-art headphones I’ve heard at least. Indeed, I believe they still hold their own in today’s market. I enjoy using my K702 for watching movies just as much as I enjoy listening to music with them. I also use a receiver (an ageing Pioneer VSX 528) with them. I could never dream of modifying mine’s, I think my K702 sounds perfect in stock form. Oh yeah don’t get me wrong, I’ve pulled apart every other headphone I’ve ever owned (some even on the day of purchase) because of being dissatisfied with some aspect of their sound, but I never once attempted to modify any of the 4 K702’s I’ve owned since 2008. But that’s just me, everyone’s different.  

I love my K702 dearly, but I don't think they're too hot for gaming or movies, they just don't have the bass response. They're light, airy, delicate, a little mellow, and extremely wide, spacious, and natural. Which I think all that makes them superb for a lot of different kinds of music, they're seriously one of my favorite and most musical headphones I have. But for movies/games, just not a great match. I understand the K712 narrows the soundstage a bit (while still being very wide) in exchange for more bass, that might be more ideal. But they might also still be a bit too mellow. So I second someone else's recommendation of the X2HR. The highs are a little grainy and the whole thing sounds a little less natural overall, but they're very energetic and exciting with great bass response. I always have a ton of fun whenever I listen to them, be it music, gaming, or movies.  

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Celebrul 702 Reviews

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An idea with great potential goes astray between the scripting and the direction in this Romanian satire on the so-called "American Way." The Kid (Radu Beligan) is in jail, in cell number 702, which is nothing to write home about. While there, the Kid spends his time writing a book that hits the best-seller lists and soon he could buy and sell the entire prison, in theory. As sure as day follows night, he is moved into new digs that have the same bars but all the amenities anyone could want. Meanwhile, he is planning his next book project which might end up biting the hand that is currently feeding him.