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Cypher
[Blu-ray 4K]
Blu-ray ALL - Australia - Umbrella Review written by and copyright: James-Masaki Ryan (9th October 2025). |
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The Film
 "Cypher" (2002) Morgan Sullivan (played by Jeremy Northam) starts a new job at Digicorp, in which he is given an unusual assignment. He is given a new identity as Jack Thursby, and assigned to attend rival company conventions where he would mingle as well as secretly record the convention speeches that are transmitted to Digicorp. At one convention he meets Rita Foster (played by Lucy Liu), who secretly tells him that the convention speeches are actually not being transmitted to Digicorp at all and that there was something sinister underneath. Morgan learns that all the convention attendees are from Digicorp and are being secretly brainwashed. With his eyes opened, he is then recruited by rival company Sunway, in which they would like him to feed corrupted data back to Digicorp. But is this other company trustworthy? Canadian filmmaker Vincenzo Natali made international waves in 1997 with his debut feature film “Cube”, a science fiction thriller shot on a small budget and taking place in a single environment. While he was offered similar styles of films, he was looking to direct something more expansive, and a script about futuristic corporate espionage by screenwriter Brian King. The story had multiple locations, setups, twists and turns and was quite different from “Cube”, but still shared the sense of paranoia, confusion, and twists with the characters and setting. While the story starts as a seemingly simple case of a company man whose job is to steal rival company information in the least dangerous way possible, it’s a story that has more questions about what is really going on behind the scenes than one would initially believe. With the main character opening his eyes to the fact that there is much more going on than what he is given, and that he is seemingly chosen to be awakened to the fact, it is hard not to compare the film to “The Matrix” or “Dark City”, two at the time fairly recent films that reinvigorated the existential sci-fi genre with a modern twist. Audiences could even go back further to works like “Blade Runner” and “THX-1138” was well. “Cypher” shares a similar vision, but rather than focusing on action sequences, it is closer to psychological films like “Seconds” and “The Manchurian Candidate”, both happening to be John Frankenheimer directed features. In addition, it is visually interesting as it does not sit in a comfortable time and space. There are futuristic elements to be found in the technological aspects, though elements like suburban life and the home do not seem futuristic at all. As for the offices, the men’s suited fashion is more 1960s influenced. The mix of the classic and the futuristic has its similarities with works like “Brazil”, which seems out of place with reality in general. The character of Morgan is well played by Jeremy Northam who plays a simple every man in the role, but is one who changes little by little with each scene that peels a layer off the reality he perceives. It is a difficult role as it is not showy in terms of action or emotion, but through subtleties, such as when he has to think of his new identity while travelling at conventions, his time at home with his wife, and so forth. The character of Rita may not appear as often though her role is quite important as the person tasked to awaken Morgan and show him what lurks behind the curtain. Lucy Liu is more than capable in serious scenes and being in control of various situations faced. Liu was the most recognizable face at the time with her success in television and film and it helped that Northam in comparison was not. While Northam was an established actor on screen, the British actor was usually in secondary roles. His casting was a very good choice, as audiences did not have preconceived notions and made his character easier to believe. While the performances are good and the premise is interesting, the story gets quite confusing very quickly. At first it seems Digicorp is the bad guy. Then Sunway seems to be the good guys, but then they are also entrapping Morgan doing dirty work for them. But then he finds there is someone else behind the curtain manipulating the double crossing. One can quickly get lost trying to figure out who is doing what and what for. There are a lot of unexplained things such as what these companies are really doing and their intent. When one gets to the final twist, some audiences might be able to see it coming, but then it still brings up many other questions to logic. The script has a lot of ideas and there are a lot of moments that are done very well. Unfortunately the confusion of some of the pieces not quite fitting together makes things frustrating overall, and it might be better to try not to make sense of every detail. “Cypher” was independently produced on a low budget of $7.5 million, much lower than the similar works listed above. There are some impressive visuals like the brainwashing bug like machines, and the attention to detail in the architecture and wardrobes. Though due to the budget there are some constraints made, such things like the conventions looking quite small, the elevator shaft and helicopter CGI not looking that great even back in 2002. One thing that they did a great job on was the color correction. This was an early example of post production digital color correction, in which the 35mm shot footage was digitally color corrected, with the Digicorp scenes having a muted tone while the Sunway having a warmer tone. This may be a standard in today’s world but even in the early 2000s it was standard to have a production shot on traditional film to be color corrected photochemically instead. For this production, the digitally color corrected finished feature was then printed back to 35mm for its final form. The film first screened at the Sitges International Film Festival in 2002 followed by festival screenings in various countries in 2003. It received a scattered theatrical release as the distribution rights differed country to country, such as Japan, France, and Australia in 2003. Miramax picked up the US distribution rights though it did not seem to know how to market it properly, dumping it to direct-to-DVD three years later in 2005. While it did win a few awards at Fantasporto, Sitges, and the Brussels International Festival of Fantasy Film, the film failed to find an audience, grossing less than $1 million. Due to the cult success of “Cube” especially through the DVD format, the film was given a second chance on DVD with some feature loaded special editions being released in the UK, France, and Germany – though on the opposite side, Miramax in the US gave their DVD release no extras at all. With the mixed reception it originally had and not having much of a rediscovery on DVD, the film seemed like an unlikely candidate for a special edition Blu-ray, let alone a 4K UltraHD release. But Umbrella has given the interesting but frustrating film quite a lavish special edition on the 4K format for a worldwide first. Note this is a region ALL 4K UltraHD + standard Blu-ray set
Video
Umbrella presents the film in the 1.78:1 aspect ratio in 2160p HEVC with HDR10 / Dolby Vision Grading on the 4K UltraHD disc and in 1080p AVC MPEG-4 on the standard Blu-ray disc. The production was shot and edited on 35mm film, digitally color corrected and the finished feature printed back to 35mm film for distribution. While it was theatrically screened in the 1.85:1 aspect ratio, it is slightly opened to 1.78:1, which was also the ratio for the previous DVD and Blu-ray releases. There is no detailed information on the transfer source, whether it is from the original negative or the master film with color correction and completed visual effects, or a combination of both. The transfer is quite sharp, especially in the early scenes in Digicorp with the muted colors being well defined and detail being very sharp. Film grain is not heavy though it is noticeable, and there are few if any damage marks to be found. Colors play an important part of the film as the differing places have a distinct look with specific places and situations. White balance can be blown out in certain scenes though this is intentional. Not everything looks particularly great. The silo/elevator sequence has some fairly unconvincing CGI even for 2002 standards, and when upscaled to 4K and looked at with eyes of audiences more than twenty years later, they do not hold up particularly great. Film grain is more noticeable in these scenes since the main color on screen is white, so it can be certain that these portions were mastered from the finished feature film master. The 4K transfer looks fairly strong throughout and the Dolby Vision layer gives an extra boost to the colors, even in the muted scenes. The film is not particularly a benchmark for showing off 4K, as the film never shows off true vibrancy for rich colors on screen, but it is still a very good transfer overall. The film's runtime is 95:10.
Audio
English DTS-HD Master Audio 5.1 English LPCM 2.0 stereo There are two audio tracks available on both discs. A lossless 5.1 track and an uncompressed 2.0 stereo track. The film was mixed in 5.1 and has always been presented in 5.1 since the DVD releases. Dialogue is mostly centered, while the surrounding channels are used for music cues and effects. It is fairly well balanced, though the flashback sequences sound effects are sometimes mixed quite loudly, though it seems to be an intentional choice. There are no issues with audio damage such as hiss or pops to speak of, and everything is quite clear throughout. The downmixed 2.0 stereo is also good, but the 5.1 is the better option if capable. There are optional English HoH subtitles for the main feature in a white font, which are well timed and easy to read.
Extras
DISC ONE (Blu-ray 4K) (1) Audio Commentary with critics Simon Miraudo and Tristan Fidler (2025) This new and exclusive commentary has Movie Squad podcasters Simon Miraudo and Tristan Fidler together. They talk about the film's visual style, information on the actors, the characters, their favorite scenes, works that influenced the film and the films it shares similarities with, the film's scattered release, and more. The two were not particularly experts on the film itself so there are some portions that go off topic, but it is an enjoyable listen. in English LPCM 2.0 without subtitles (2) Audio Commentary by Director Vincenzo Natali, Actor David Hewlitt, Designer Jasna Stefanovic and Writer Brian King (2003) This vintage commentary has Natali, Hewlitt, Sefanovic, and King together for a group discussion on the making of the film. Talked about are the script writing process and the name change from the original title "Company Man", information on the designs of the companies and the world setting, film references and inspirations, changes to locations, working on a small budget, behind the scenes information and a lot more. This is a lively commentary that is packed with scene specific information. Note this was previously available on some DVD releases of the film. in English LPCM 2.0 without subtitles Trailer (1:59) Umbrella's trailer for the film, remastered in 4K, but presented in HD here on the 4K disc for some reason. It has also been embedded below, courtesy of Umbrella. in 1080p AVC MPEG-4, in 1.78:1, in English LPCM 2.0 without subtitles DISC TWO (Blu-ray) (1) Audio Commentary with critics Simon Miraudo and Tristan Fidler (2025) (2) Audio Commentary by Director Vincenzo Natali, Actor David Hewlitt, Designer Jasna Stefanovic and Writer Brian King (2003) The two commentaries from the 4K disc is repeated on the standard Blu-ray. Note on DISC ONE the audio is in uncompressed LPCM while on DISC TWO they are presented in lossy Dolby Digital. in English Dolby Digital 2.0 without subtitles Director Vincenzo Natali interviewed by Claire Donner, Miskatonic Institute of Horror Studies (2025) (27:57) This new and exclusive interview with Natali conducted remotely has him discussing his initial reaction to the layered script, the quick greenlight, wanting to do something different from "Cube", the casting choices, the visual style and color palette, shooting in Toronto and much more. Natali's interview looks much sharper visually, though there is a bit of tinny echo to the audio. On the other hand, Donner's video is a bit more pixelated but she sounds clearer. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles Director of Photography Derek Rogers interviewed by Nicole McControversy (2025) (15:28) This new and exclusive interview has Rogers discussing about working with Natali on "Cube" and the intricate use of colors, plus the choices made with the visuals for "Cypher" with the color palettes for the differing scenes, use of overexposure in certain sequences, using a split diopter for deep focus, the use of digital effects, many of the in camera techniques that are not done anymore in the digital age, working on a low budget and much more. This is a great conversation and has a lot of interesting information that is surprisingly not completely covered in the other extras. It is a remotely conducted interview, illustrated with clips and stills from the film. the interviewer, McControversy is never shown on camera, nor are her questions. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles Writer Brian King interviewed by Nicole McControversy (2025) (14:56) This new and exclusive interview has King talking about the script, from the initial idea of the spy thriller, having the final twist in mind from the start, Natali's trust in King and his script without the use of re-writes by others, being on set during the production and having to make changes due to budget and time constraints, and much more. It's also interesting to note that he was interested in having Clive Owen in the lead, who happened to appear in "Gosford Park" alongside Northam in 2001. Like the previous interview, this was remotely conducted and McControversy's portions are not shown. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles "A Twisty, Underrated Sci-Fi Chiller: Dread Central on Cypher" 2024 featurette (4:08) This featurette produced by Dread Central is a quick look at "Cypher" being an underrated and underseen film, praising the narrative, the characters, and the twists, though it also includes its faults as well. Presented are clips from the film, though note they are not taken from a restored source but from existing sources. The featurette has also been embedded below, courtesy of Dread Central. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles 2003 Interview with Director Vincenzo Natali (5:34) This vintage interview has Natali discussing what he liked about the script, the influences for the film, the casting of Northam, the digital color grading process, the music, and more. It is shot in a cafe and is fairly casual in nature, yet there are some interesting points to be heard. The interview was conducted by French magazine DVDVision, and the clips for the film are presented in windowboxed form. The interview has been embedded below, courtesy of DVDVision. in 1080p (upscaled) AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 with burned-in French subtitles 2002 Q&A with Jeremy Northam and Lucy Liu (3:50) Presented here is a "Q&A" with Northam and Liu but that is a bit misleading. The two are interviewed separately, with Northam first and Liu next, with both being interviewed during the film's production for the electronic press kit. Both are clips taken from full interviews which are found in the interview reel listed below, so it's a little odd that these two shortened clips are also presented here separately. in 1080p (upscaled) AVC MPEG-4, in 1.33:1, in English LPCM 2.0 without subtitles "Making-Of" 2002 featurette (11:02) Presented here is a vintage behind the scenes featurette, which has interviews with the cast and crew, clips from the film, plus B-roll footage. Discussed are information about the characters, the effects work and the production without getting into too many spoilers. There are German titles under the names as it is taken from the German DVD release. Like the featurette above, the film clips are presented in windowboxed 1.78:1. in 480i MPEG-2, in 1.33:1, in English Dolby Digital 2.0 without subtitles Deleted/Extended Scenes with mandatory commentary by director Vincenzo Natali (18:20) Presented here are a series of deleted and extended scenes, including an unfinished alternate title sequence, additional scenes with Morgan with his wife at home, alternate flashbacks, and unused inserts. Natali gives commentary for the scenes, giving context to them as well as the decisions for deletion. This is only available to watch with his commentary. The transfer comes from a standard definition source with timecodes on the top and bottom of the screen. in 480i MPEG-2, in windowboxed 1.78:1, in English Dolby Digital 2.0 without subtitles Behind-The-Scenes with mandatory commentary by director Vincenzo Natali (21:48) Presented here is behind the scenes footage, with mandatory commentary by Natali. First are examples of the elevated entrance scene compared with before and after CGI enhancements, followed by the elevator shaft escape scene, plus behind the scenes of the helicopter escape. Natali gives some great insight into how the effects were achieved and information on shooting on location in Toronto for the outdoor sequences. Again this is only available to watch with Natali's commentary. in 480i MPEG-2, in 1.33:1, in English Dolby Digital 2.0 without subtitles 2003 Cast and Crew Interviews (190:06) Presented here is more than three hours of EPK interviews with the cast and crew during the film's production. Interviewed separately, sometimes on set or in studio or elsewhere, in order are director Natali, actors Northam, Liu, Timothy Webber, Nigel Bennett, cinematograher Rogers, visual effects supervisor Bob Munroe, production designer Stefanovic, editor Bert Kish, "Cube" writer André Bijelic, followed by a group interview with Natali, Hewlett, Stefanovic, and King. There are a lot of topics covered, with the actors discussing their characters and the story, while the crew members discuss the visuals and technical aspects. The group interview is an all encompassing interview with behind the scenes discussion and is a retrospective look for the DVD, as it was shot well after the film's release as Natali mentions that his next film had already been completed. While there is a lot to be uncovered, it is a lot to go through and there is a lot of repeated material throughout. Many of the interviews here are featured in clips in the "Making Of" featurette and the Q&A featurette also found on the disc. A complaint about this extra is that these interviews are not available separately, but in a single title, and not only that but in a single chapter. For over the course of more than three hours, there are no chapter stops, so if you want to skip to a different interview or come back to an interview later, there is only the option of fast-forwarding and rewinding manually. in 480i MPEG-2, in 1.33:1, in English Dolby Digital 2.0 without subtitles Trailer (1:59) The trailer also found on the 4K disc is presented here. in 1080p AVC MPEG-4, in 1.78:1, in English LPCM 2.0 without subtitles The film was released on DVD and Blu-ray in various countries, each having differing extras. This Umbrella release includes most but not all the previously released extras. Some missing are storyboards, still galleries, and some differing interviews. Other notable clips: 2024 interview with Natali on The Creative Connection Podcast 2024 interview with Natali on the making of "Cube" at the Canadian Film Fest
Packaging
The disc is packaged in a standard black keep case with reversible artwork. The artwork is identical except for the Australian M rating logos missing from the opposite side. It is also available with a slipcover exclusively at the Umbrella Webshop. It is also available in a Collector's Edition, exclusively at the Umbrella Webshop, limited to 1500 copies which also includes: - Behind the scenes material and pre-production content, new essays by Shelagh Rowan Legg and David Michael Brown - Custom artwork on rigid slipcase by Ben Turner - A3 reversible poster - 8 artcards The booklet's first essay is "The Visions of Vincenzo Natali: From Cube to In the Tall Grass" by David Michael Brown on the director's filmography. Next is "Memories of the Future" which is an excerpt from Henry M. Taylor's 2006 essay on Natali, here focusing on "Cypher". Then there is "Am I Not Your Spy Girl" by Shelagh Rowan Legg focusing mostly on the character of Rita. There are also a few pages dedicated to artwork and designs from the film's pre-production. The artcards are printed on thick cards and feature stills from the film's production without any spoilers. The poster is double sided and features the front and back of the slipcover, newly designed by artist Ben Turner. One side has Morgan and the other side has Rita. The poster is folded and held in the keep case. The keep case with the slipcover, the artcards, and the booklet fit in the outer rigid slipcase which also features new artwork. 
Overall
"Cypher" has a lot of good ideas and an intriguing setting, but the convoluted nature of the narrative does make things a bit frustrating. There is a lot to commend with the production with the visual style done on a low budget, though at times the low budget does show on screen. The Umbrella release gives the film its 4K UltraHD debut with a great transfer plus lengthy new and vintage extras. Stills comes as recommended. Umbrella Webshop Link - standard edition / limited slipcover edition. Umbrella Webshop link - Collector's Edition
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