may offer a confusing plot, but its 2.35:1 anamorphic widescreen transfer provides a pristine visual presentation. Tony Scott's numerous cuts and high-flying style mesh nicely with the sharp picture, which allows him to film intricate technology clearly. The images remain bright, and little grain exists on the screen throughout the feature.

This release also includes a top-notch 5.1-channel Dolby Digital transfer, which combines with the visuals to offer an excellent experience. The primary speakers offer considerable power, and the rear speakers help to generate a complex sound field. There are fewer action scenes than the typical Jerry Bruckheimer blockbuster, but there still are plenty of opportunities for impressive audio. The car chase sequence includes booming sound, and the opening explosion also works. This transfer falls a bit short of the premier releases, but it does provide a memorable presentation.

The Surveillance Window includes a solid collection of extras and even resists the temptation to include a "this is theoretically possible" documentary. Those can be worthwhile in small doses, but often overdo the film's scientific importance. It would have been nice to see a more substantial look at the production, but the featurettes do offer some worthy details. The disc also includes five deleted scenes and three extended scenes, with optional commentary by Tony Scott available for all of them. We learn about a personal connection between Elle Fanning's Abbey and Claire and see more scenes depicting Carlin's attachment to the attractive woman. There is nothing groundbreaking here and the cuts are understandable, but they do offer a few interesting details to support the primary story.

This featurette presents the difficulty in finding a piece of water to shoot the explosion. We also hear about the construction of the explosion from the special-effects guys. Surprisingly, there was minimal use of CGI, which led to an explosion rising more than 300 feet off the ground.

I can't really picture Denzel Washington as a "Doug," but he does provide a believable performance. The model for this character was real-life ATF agent Jerry Rudden, who was involved with investigation the Oklahoma City bombing. We hear from this advisor, Denzel, and Bruckheimer about Carlin's creation.

This extremely brief featurette covers these three broad topics by focusing on Paula Patton's makeup to become a dead body. We hear from Costume Designer Jake Garber and Patton about the preparation and see some quick behind-the-scenes footage.

No, this is not a misprint. One of the featurettes does have the same name as the feature. It focuses on the time lab set, which started out as a science-fiction design but was created in more realistic fashion. The idea for the surveillance footage partially came from the London bombing, which showcased a lot of video material.

Tony Scott loves cameras, lots of them. He's also excited about technology, and we observe a new technique to craft a three-dimensional image from multiple cameras. By adding colors to this creation and then shifting to the set, Scott is able to generate some worthy shots.

This featurette provides behind-the-scenes footage of the car chase, which is one of the film's most impressive scenes. Stunt Coordinator Chuck Picerni and Director of Photography Paul Cameron discuss the unique remote control crane for better filming of stunt vehicles and the crazy, dangerous stunts involved with this chase.

I would have enjoyed hearing more than four minutes about the decision to remain in New Orleans following Hurricane Katrina. We do hear comments from Bruckheimer and Scott about their choice that are interesting, and the actors discuss their response to the difficult situation.

We hear lots of praise from everyone for these three guys, who have participated in numerous quality (and sometimes awful) productions. Scott discusses how Bruckheimer reins him in, which scares me a bit since his style is still over-the-top. We also her about Scott's use of multiple cameras for long takes, which allows him to cut a lot but also works well for the actors.

This segment includes one of my favorite behind-the-scenes moments in a long time: During a fight sequence at the compound, we hear one of the crew members yelling "fight! fight! fight!" in the background. Taken out of context, this would appear to be some random guy urging on a fistfight. We also see footage of a few other key moments, including the ambulance crash and the explosion.

This very quick featurette looks at the gunfight and explosions on the ferry. The big surprise is that Jim Caviezel actually participated in the car scene while attached to a strange cage. This was a dangerous stunt, and even daring actors wouldn't normally take on this type of scene.

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