"To crush your enemies, see them driven before you, and to hear the lamentation of the women,"
                    —The Blu-ray format, when asked what's best in life

After two grueling years of Blu blood and HD DVD-struction, the great and fabled Format War is behind us. Countless legions perished and many more were abandoned on the battlefields. We that remain have cast our gaze into the abyss and shivered at what we saw.

And now, the upside. In the wake of this epic conflict, the studios have finally come together under a common banner and turned their focus to a nobler pursuit: taking every last cent of our economically-strained cash.

While some people were worried that a sudden lack of competition would be disastrous for Blu-ray, studios are releasing more titles than ever before. Best of all, as consumers become more educated with each passing visit to Best Buy, technical quality is becoming more of a legitimate selling point for your average consumer.

So . . . which studios should warrant their affections? Which production houses are failing to capitalize on this expanding market? Who's delivering the goods? Who needs to try harder? I can tell you, since I review Blu-ray releases for High Def Digest. Check out my report card for each major studio.

Disney / Buena Vista
Grade: B
With gorgeous, resonant, and feature-packed heavy-hitters like the Pirates of the Caribbean films, Ratatouille, Cars, and Lost: The Complete Third Season, Disney exploded onto the Blu-ray scene and quickly earned the admiration and adulation of early adopters. In 2008, Disney has proven they still have the ability to impress. Diverse titles like Kill Bill, The Nightmare Before Christmas, No Country For Old Men, Enchanted, and Gone Baby Gone have arrived with crystal-clear video presentations, engaging PCM and Dolby TrueHD audio tracks, and an onslaught of engaging supplemental material, including a few notable Profile 1.1 exclusives.

But 2008 has also proven Disney isn't beyond reproach. While in the minority, a few anticipated releases were wrecked by dehabilitating technical issues, production shortcuts, and the use of recycled masters. Gangs of New York (a personal favorite and just one particular example) suffers from one of the most disappointing high-def transfers I've ever had the displeasure of viewing — edge enhancement, artifacting, texture-blurring Digital Noise Reduction (DNR), and, I kid you not, bizarre vertical stripes that appear atop the image, rendering the Oscar winner unwatchable. The image was so bad, I felt like skipping past Disney and e-mailing my local congressman.

Still, it's tough to really assess the studio's full 2008 performance when so many exciting fall and winter releases are looming on the horizon. Sleeping Beauty looks to be an absolute godsend when it comes to HD exclusive content — it includes PiP commentary, immersive audio interactivity, original recording session experiences, and a reservoir of innovative BD-Live features. Then there's Wall-E, Prince Caspian, and Lost: The Complete Fourth Season, all of which are set to demonstrate Disney's continued commitment to high definition and the online functionality and interactive possibilities of Blu-ray.  If November and December is everything they've promised, the studio will easily close out the year with an 'A.'

With Blu-ray releases like its 1966 Batman: The Movie, Fox dabbled in exclusive high-def extras, snazzy interactive experiences, and unexpected surprises.

Fox
Grade: C
With a variety of 2008 releases still to come, Fox still has a lot of baggage to shed before they can compete with other studios. Consumers have railed on message boards about Fox's pricing ($38.98 is their go-to MSRP), hit-or-miss picture quality, and insistence on using DNR to "clean up" classic films like Patton and The Longest Day. The studio has also made a habit of withholding definitive versions of a title — presumably so future releases can milk more cash out of rabid fanbases — while editing or cutting DVD featurettes and documentaries to avoid producing a 2-disc release. More distressingly, Fox seems perfectly content with the underwhelming video transfers they've slapped on beloved releases like Predator and Butch Cassidy and the Sundance Kid, and Master and Commander.

Thankfully, the studio has shown some promise this year. With The Sand Pebbles and Batman: The Movie, Fox proved they could produce strikingly remastered classics (sans DNR). And with 27 Dresses and Deception they showed they're able to offer gorgeous new releases. And with blaring actioners like I, Robot and Aliens vs. Predator: Requiem they demonstrated they could pair reference-quality video and audio together. It helps that Fox has dabbled (with titles like Sunshine, Batman: The Movie, and Independence Day) in exclusive high-def extras, snazzy interactive experiences, and unexpected surprises. With some more work and BD-Live exploitation, their discs could be a blast.

Ultimately, it's a shame Fox is so schizophrenic — if they could squash their shrewd, transparent business practices and invest their efforts into the preservation and presentation of every film they release, they would earn serious respect among Blu-ray fans and quickly become the studio to beat in 2009.

Lionsgate
Grade: C+
Lionsgate may not seem like a Blu-ray power player with just twenty releases in 2008 but, when it comes to high-definition audio, the little studio that could has really led the charge this year. Every Lionsgate release has included uncompressed PCM or lossless DTS-HD Master Audio tracks — even their TV seasons, straight-to-video animation, and catalog classics. To further sweeten the pot, the vast majority of these BDs also boast 7.1 surround sound. Admittedly, the quality of a few tracks (on catalog titles in particular) have been called into question, but it's nice to see a studio fully embrace hardware potential and give consumers something to get excited about.

Unfortunately, even though Lionsgate has made great strides in overall picture quality from 2007, too many titles still hit the market with haphazard transfers and underwhelming supplemental support. For every 3:10 to Yuma or Rambo that features an excellent transfer and a generous helping of high-def extras, there's a Black Mask or Belly that hits with mediocre video and lackluster standard extras. As it stands, if Lionsgate could infuse their passion for high-def audio with every aspect of a release, they'd be a true industry leader.

MGM
Grade: F
Seeing as MGM has only released 5 titles in 2008 (distributed by way of Fox), the late-October lure of a half-dozen Bond titles is the only thing earning the studio any serious attention. They tried classic war films with A Bridge Too Far and Battle of Britain, but their uneventful DTS-HD Master Audio tracks and spotty video transfers didn't score them any points. More recently, they took a shot at classic horror with Carrie and The Amityville Horror, but had the same mixed audio/video results. And just to be annoying, MGM inexplicably left every DVD supplement available for these four titles on the cutting-room floor. If I didn't know any better, I'd think MGM hates its own films.

In fact, their lone, semi-respectable release of 2008 was a straight-to-video Stargate tie-in, but it's hardly worth mentioning. With little more to offer than a decent technical presentation and a slim collection of extras, a niche title release like Stargate: Continuum reveals how insignificant a force MGM has become in the high-def market. Still, mark my words: If the studio manages to turn water into wine with their upcoming slate of Bond flicks (and starts dipping into the wealth of catalog classics at their disposal), MGM may finally be able to stand alongside Blu-ray's more aggressive studios.

Paramount / Dreamworks
Grade: B+
Of all the shakeups that occurred during the BD/HD war, Paramount's business strategy was perhaps the most embarrassing. In August 2007, the studio shocked high-def enthusiasts with the news that they were switching to HD DVD exclusivity and abandoning the Blu-ray format. Imagine their surprise when Warner jumped ship first thing in 2008 and left HD DVD in a death spin. So it was, with few options and little to brag about, that Paramount took some time off to recuperate and plan for the future.

Well, for a studio that could have whimpered back with its tail between its legs, Paramount seems to have reemerged with a mission. First, the studio reinstated all its previous BD releases that had been pulled from the market. Second, they hit film fans with a one-two combination in the form of Cloverfield and There Will Be Blood — both of which benefited from exceptional video and audio presentations. Finally, they unleashed a steady avalanche of oft-requested titles like The Godfather Collection (which was actually re-mastered at Warner Bros.), Transformers, Bee Movie, Iron Man, and Indiana Jones and the Kingdom of the Crystal Skull, all of which have looked and sounded phenomenal. Through it all, Paramount has forged ahead with BD-Live connectivity, exclusive online featurettes (instead of the usual trailer collection other studios offer), and an enthusiasm for delivering bonus content to make each release worth every penny.

My only complaint: Their catalog releases aren't as faithful or impressive as they could be. Face/Off and Sum of All Fears suffer at the hands of heavy DNR, Patriot Games and Clear and Present Danger are hindered by technical mishaps and poorly remastered prints, and some older releases are plagued by contrast inconsistencies. Regardless, everything looks to be on track for an exciting future. If all continues as promised and the studio overcomes its catalog woes, Paramount will be a Blu-ray juggernaut come 2009.

The Warner Bros. Blu-ray Speed Racer looks amazing, but the disc is limited to a 640-kbs audio track.

Sony
Grade: A-
As far as I'm concerned, the most consistent and dependable studio of 2008 has been Sony Pictures Home Entertainment. Strong video transfers, TrueHD audio tracks, and a slew of new releases and catalog classics have allowed Sony to lead the pack. After resolving their 2006 growing pains and exponentially improving their production standards in 2007, Sony has released hundreds of titles to great acclaim. They also have the most diverse releases on the market. Looking for award-winning foreign films? Anime features? Horror? Cult comedies? Re-mastered '50s sci-fi? Cirque du Soleil? Blockbusters? Documentaries? Hard-to-find niche titles? Live concert performances? Sony is single-handedly helping to build any and every fan's Blu-ray collection.

I also appreciate that Sony has refused to soil their films with DNR, artificial sharpening, edge enhancement, and everything else we videophiles harp about. It's nice to know there are studios that seem to have a genuine affection for their films. It's also nice to see that every production gets the same quality treatment, no matter how obscure or unknown a release actually is. Take The Fall, Persepolis, or Standard Operating Procedure — despite the fact that Sony was dealing with an artsy dreamscape, a black-and-white animated feature, and a chatty documentary respectively, all three films look fantastic, sound amazing, and really deliver a compelling high-def experience.

If anything, I really wish Sony would lead the way when it comes to exclusive features. While they've incorporated BD-Live functionality on many of their new releases and have a few exclusive PiP features under their belt, they haven't pushed the industry as much as you might expect (considering their vested interest in the success of the BD format). Ah well, Sony is out of the woods and has established themselves as an industry leader, a reliable production house, and the source of unexpected releases. Honestly, I can't wait to see what they have in store for us next year.

Universal
Grade: B+
Who would have thought that one of the most impressive Blu-ray workhorses and innovators of 2008 would be Universal Studios — the same company that spent the last three years sinking their time, money, and passion into a rival format. After taking a brief hiatus to reengineer their entire business strategy, Universal rematerialized in July, smeared their faces with Blu paint, and set about trouncing their competition. With sharp, faithful video transfers, a DTS-HD Master Audio surround track for every release, and a commitment to Blu-ray interactivity, functionality, and exclusive content availability, the studio has delivered a nice mix of new day-and-date releases alongside titles that previously appeared on HD DVD.

More to the point, Universal's catalog releases look and sound fantastic (as is the case with The Thing, Casino, and The Mummy films), some of their more recent films are breathtaking (try to keep your mouth closed during Eastern Promises and Doomsday), and even their comedies are presented with style (like Knocked Up and Forgetting Sarah Marshall). To top it all off, the studio remains determined to utilize Profile 1.1 and 2.0 players to their full potential. Universal's patented "U-Control" interactive PiP tracks are on nearly every release, the studio regularly offers exclusive featurettes, and the discs are generally packed with content.

Nitpicks? Sure. First and foremost, Universal still has a horde of HD DVD releases they'll be porting to Blu-ray, many of which (particularly catalog titles that appeared in the summer of 2007) were severely limited by problematic video. While Universal has generally remixed the old HD audio tracks for their new BD editions, they haven't remastered the old HD transfers. The lackluster BD release of The 40-Year-Old-Virgin is proof positive that this will be a problem in the coming months. Second, featurettes and documentary material are occasionally limited to a title's "U-Control" track. While I appreciate the interactivity, I'd also like to always be able to access individual features from the main menu.

Minor issues aside, Universal is off to a very promising start. With a full slate of exciting, potentially drool-inducing releases on the horizon including Hellboy 2, The Incredible Hulk, and Wanted, I can't help but be incredibly optimistic.

Warner Bros. / New Line Cinema
Grade: B-
Let me get this out of the way: Warner Bros. and its gaggle of production studios currently have a massive weight hanging around their collective Blu-ray necks: standard Dolby Digital audio. While every other major studio has seen the light and converted to TrueHD, uncompressed PCM, or DTS HD lossless Master Audio, Warner continues to slap 640-kbps audio tracks onto the majority of its releases. Most recently, Speed Racer (a bombastic, style-over-substance extravaganza) was denied a high-end audio mix, while Run Fatboy Run (a conversational comedy) nabbed a DTS-HD Master Audio 7.1 surround track. Perhaps the studio is eyeballing future opportunities to double-dip and re-release titles with lossless audio (as they did with Superman Returns) or perhaps they just don't see the benefit since most BD owners don't have the equipment to take advantage of high-end audio. Either way, Warner's uninspiring support needs to be resolved.

Other problems with the studio are less detrimental. While Warner has been responsible for releasing some of the finest transfers on the market (The Ultimate Matrix Collection, the aforementioned Speed Racer, 10,000 B.C., and I Am Legend look simply wonderful), they've also released a few too many technical duds. Likewise, aside from bigger 2007 releases like Blade Runner and 2001: A Space Odyssey, Warner's hasn't given many of their catalog titles the deluxe treatment they deserve. Don't misunderstand, I'm ecstatic to see a vast assortment of classics being released in high definition, but I wish they were all given the same amount of attention that Universal and Sony bestow on the majority of their older films.

Warner is also one of the more unsupportive studios when it comes to exclusive content. They've announced they have plans for BD-Live functionality, but what about additional special features, PiP interactivity, or other bells and whistles? Sometimes it seems like Warner is all too willing to toss a few pre-existing supplements on a BD disc and call it a day. Thankfully, several developments — their new DigiBook casing for catalog classics, their willingness to release multi-disc editions, and their support of niche titles and television series — is a good sign of their evolution as a Blu-ray studio.

If I sound overly critical of Warner, it's only because they've released so many titles to the market on which to consider and reflect. Despite my concerns, Warner is clearly moving in the right direction. Recent strides in audio upgrades, video quality and catalog remasters, and increased supplemental breadth shows the studio has heard the cries of their fans and are making genuine efforts to address those concerns. The problem is that Warner is such a huge beast of a company, it takes them a long time to implement changes across the board. I'm confident the studio will continue to fix these issues and embrace high definition with more tenacity than we can imagine. Mark my words: Warner will be a far more serious threat in 2009.

Weinstein Company
Grade: D-
With more upcoming releases than current releases (a promising, albeit disappointing reality), the Weinstein Company finally decided to join their industry brethren. With an opening volley that included The Mist, Lonesome Dove, and 1408, the studio has simply arrived too late to make a meaningful impact on the format this year. The Mist offered above average video and audio, but its strengths lie in its supplemental package more than anything else. 1408 was a decent effort, but left a lot to be desired. And Lonesome Dove had more than a few audio/video issues that prevented it from becoming any sort of memorable catalog achievement.

Hopefully, films Lucky Number Slevin, Awake, and Grindhouse will give us a better glimpse of exactly what Weinstein has to offer Blu-ray fans.

Kenneth Brown is a staff writer and reviewer at High Def Digest.