|
#Like (2019)
|
|
|
|
2.11
|
1:31:57
|
1,920 x 1,076
|
2,901 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
#Stuck (2014)
|
|
|
|
1.80
|
1:23:34
|
1,920 x 808
|
2,030 kbps
|
|
5.1
|
|
17 bits / 48 kHz
|
1,055 kbps
|
|
$upercapitalist (2012)
|
|
|
|
2.84
|
1:42:23
|
1,920 x 816
|
2,628 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,343 kbps
|
|
'Til Death Do Us Part (2017)
|
|
|
|
1.64
|
1:40:45
|
1,920 x 800
|
1,950 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
(500) Days of Summer (2009)
|
|
|
|
|
10.76
|
1:35:07
|
3,840 x 1,600
|
13,393 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,794 kbps
|
|
*batteries not included (1987)
|
|
|
|
|
8.30
|
1:46:29
|
1,920 x 1,036
|
8,020 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,136 kbps
|
|
+1 (2013)
|
|
|
|
2.59
|
1:36:13
|
1,920 x 808
|
2,375 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,471 kbps
|
|
...and Justice for All (1979)
|
|
|
|
12.01
|
1:59:04
|
1,920 x 1,080
|
13,251 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,192 kbps
|
|
.com for Murder (2002)
|
|
|
|
9.06
|
1:37:03
|
1,920 x 1,036
|
9,417 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
611 kbps
|
|
1 Buck (2017)
|
|
|
|
4.12
|
1:28:38
|
1,920 x 852
|
3,743 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,916 kbps
|
|
10 Cloverfield Lane (2016)
|
|
|
|
|
|
8.34
|
1:43:35
|
3,840 x 1,600
|
8,837 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,686 kbps
|
|
10 Minutes Gone (2019)
|
|
|
|
|
|
5.26
|
1:28:13
|
3,840 x 2,080
|
5,451 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,079 kbps
|
|
10 Rillington Place (1971)
|
|
|
|
|
5.54
|
1:50:58
|
1,788 x 1,080
|
6,568 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
579 kbps
|
|
10 Things I Hate About You (1999)
|
|
|
|
10.98
|
1:37:30
|
3,840 x 2,076
|
14,687 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,439 kbps
|
|
10,000 BC (2008)
|
|
|
|
4.38
|
1:48:56
|
1,920 x 796
|
4,227 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,521 kbps
|
|
10.0 Earthquake (2014)
|
|
|
|
2.42
|
1:27:15
|
1,920 x 1,080
|
3,334 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
100 Days to Live (2021)
|
|
|
|
1.31
|
1:27:11
|
1,920 x 792
|
1,761 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
100 Girls (2000)
|
|
|
|
3.65
|
1:34:47
|
1,912 x 1,080
|
4,868 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
100 Streets (2016)
|
|
|
|
3.20
|
1:33:32
|
1,920 x 800
|
3,965 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
938 kbps
|
|
101 Dalmatians (1996)
|
|
|
|
6.94
|
1:42:38
|
1,920 x 1,080
|
9,043 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
102 Dalmatians (2000)
|
|
|
|
5.66
|
1:40:10
|
1,920 x 1,036
|
7,448 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
10x10 (2018)
|
|
|
|
2.65
|
1:26:56
|
1,920 x 720
|
1,897 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,473 kbps
|
|
12 Angry Men (1957)
|
|
|
|
|
62.07
|
1:35:57
|
3,840 x 2,076
|
91,953 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
653 kbps
|
|
12 Days of Christmas Eve (2004)
|
|
|
|
|
3.96
|
1:28:18
|
1,904 x 1,080
|
6,198 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
12 Men of Christmas (2009)
|
|
|
|
5.12
|
1:27:30
|
1,912 x 1,080
|
7,734 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
12 Pound Balls (2017)
|
|
|
|
2.61
|
1:19:13
|
1,920 x 1,080
|
4,585 kbps
|
|
2.0
|
|
48 kHz
|
123 kbps
|
|
12 Years a Slave (2013)
|
|
|
|
|
7.36
|
2:14:12
|
1,920 x 800
|
5,931 kbps
|
|
5.1
|
|
14 bits / 96 kHz
|
1,917 kbps
|
|
127 Hours (2011)
|
|
|
|
|
6.85
|
1:33:42
|
1,920 x 1,040
|
7,377 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,088 kbps
|
|
13 (2010)
|
|
|
|
3.76
|
1:30:33
|
1,920 x 796
|
4,871 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,075 kbps
|
|
13 Going on 30 (2004)
|
|
|
|
4.53
|
1:37:48
|
1,920 x 1,038
|
5,286 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,346 kbps
|
|
13 Hours: The Secret Soldiers of Benghazi (2016)
|
|
|
|
|
14.07
|
2:24:28
|
3,840 x 1,600
|
11,275 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,658 kbps
|
|
1408 (2007)
|
|
|
|
5.47
|
1:52:26
|
1,920 x 794
|
3,739 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,228 kbps
|
|
15 Minutes (2001)
|
|
|
|
7.80
|
2:00:42
|
1,920 x 816
|
5,790 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,460 kbps
|
|
15 Things You Didn't Know About Bigfoot (#1 Will Blow Your Mind) (2019)
|
|
|
|
3.24
|
1:24:14
|
1,920 x 1,080
|
4,871 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
16 Blocks (2006)
|
|
|
|
2.45
|
1:41:48
|
1,920 x 794
|
2,272 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,171 kbps
|
|
1969 (1988)
|
|
|
|
7.26
|
1:35:45
|
1,920 x 1,036
|
9,587 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,265 kbps
|
|
1984 (1985)
|
|
|
|
|
12.62
|
1:50:39
|
1,920 x 1,036
|
15,726 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
606 kbps
|
|
1st Born (2019)
|
|
|
|
2.15
|
1:19:24
|
1,920 x 1,004
|
3,499 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
1UP (2022)
|
|
|
|
|
4.93
|
1:40:49
|
1,920 x 1,080
|
4,030 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,973 kbps
|
|
2 Fast 2 Furious (2003)
|
|
|
|
|
|
15.87
|
1:47:35
|
3,840 x 1,636
|
18,744 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,372 kbps
|
|
20 Million Miles to Earth (1957)
|
|
|
|
6.70
|
1:22:33
|
1,920 x 1,040
|
10,403 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,216 kbps
|
|
20,000 Leagues Under the Sea (1955)
|
|
|
|
9.12
|
2:07:02
|
1,920 x 744
|
8,391 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,881 kbps
|
|
2001: A Space Odyssey (1970)
|
|
|
|
|
|
14.92
|
2:28:49
|
3,840 x 1,744
|
12,988 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,365 kbps
|
|
2010: The Year We Make Contact (1984)
|
|
|
|
|
6.31
|
1:55:55
|
1,920 x 800
|
6,525 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,260 kbps
|
|
2012 (2009)
|
|
|
|
|
|
15.14
|
2:37:50
|
3,840 x 1,600
|
10,908 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,815 kbps
|
|
2012: Doomsday (2008)
|
|
|
|
5.13
|
1:25:19
|
1,920 x 1,080
|
8,014 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
593 kbps
|
|
2025: The World Enslaved by a Virus (2021)
|
|
|
|
1.84
|
1:31:23
|
1,920 x 1,080
|
2,651 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
2036 Origin Unknown (2018)
|
|
|
|
4.21
|
1:34:42
|
1,920 x 804
|
3,392 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,979 kbps
|
|
2050 (2018)
|
|
|
|
1.13
|
1:46:35
|
1,920 x 812
|
1,139 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
2067 (2020)
|
|
|
|
4.39
|
1:54:19
|
1,920 x 792
|
2,586 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,904 kbps
|
|
2099: The Soldier Protocol (2019)
|
|
|
|
1.55
|
1:25:21
|
1,920 x 796
|
1,958 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
21 (2008)
|
|
|
|
4.58
|
2:02:41
|
1,920 x 796
|
3,928 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,417 kbps
|
|
21 Bridges (2019)
|
|
|
|
|
11.23
|
1:40:28
|
3,840 x 1,600
|
12,857 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,147 kbps
|
|
21 Grams (2004)
|
|
|
|
14.90
|
2:04:38
|
1,920 x 1,040
|
15,992 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,121 kbps
|
|
21 Jump Street (2012)
|
|
|
|
|
|
6.80
|
1:49:37
|
3,840 x 1,600
|
7,244 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,628 kbps
|
|
211 (2018)
|
|
|
|
3.03
|
1:27:05
|
1,920 x 1,036
|
3,740 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
2149: The Aftermath (2016)
|
|
|
|
2.38
|
1:16:57
|
1,920 x 804
|
3,793 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
22 Jump Street (2014)
|
|
|
|
|
|
10.08
|
1:51:57
|
3,840 x 1,600
|
11,149 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,740 kbps
|
|
25th Hour (2003)
|
|
|
|
13.80
|
2:14:45
|
1,920 x 800
|
13,407 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,255 kbps
|
|
27 Dresses (2008)
|
|
|
|
6.16
|
1:50:49
|
1,920 x 800
|
5,081 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,875 kbps
|
|
28 Days Later... (2003)
|
|
|
|
11.34
|
1:57:34
|
1,920 x 1,040
|
10,355 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,455 kbps
|
|
28 Weeks Later (2007)
|
|
|
|
8.74
|
1:40:06
|
1,920 x 1,038
|
8,965 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,529 kbps
|
|
2:22 (2017)
|
|
|
|
2.94
|
1:38:54
|
1,920 x 800
|
2,848 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,411 kbps
|
|
3 Days to Kill (2014)
|
|
|
|
5.84
|
2:02:19
|
1,920 x 804
|
3,205 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,626 kbps
|
|
3 Days with Dad (2019)
|
|
|
|
2.34
|
1:34:55
|
1,920 x 812
|
2,891 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
3 Ninjas (1992)
|
|
|
|
3.98
|
1:35:47
|
1,920 x 1,036
|
5,729 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
3 Ninjas: High Noon at Mega Mountain (1998)
|
|
|
|
3.18
|
1:34:19
|
1,908 x 1,080
|
4,594 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
3 Ninjas: Kick Back (1994)
|
|
|
|
4.62
|
1:33:28
|
1,920 x 1,080
|
6,946 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
3 Ninjas: Knuckle Up (1995)
|
|
|
|
5.83
|
1:27:44
|
1,920 x 1,080
|
9,280 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
30 Minutes or Less (2011)
|
|
|
|
|
4.12
|
1:23:03
|
1,920 x 800
|
4,069 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,029 kbps
|
|
30,000 Leagues Under the Sea (2007)
|
|
|
|
3.79
|
1:25:21
|
1,920 x 1,080
|
6,043 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
3000 Miles to Graceland (2001)
|
|
|
|
6.45
|
2:04:59
|
1,920 x 808
|
6,142 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,245 kbps
|
|
3022 (2020)
|
|
|
|
|
2.46
|
1:31:40
|
1,920 x 720
|
1,270 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,569 kbps
|
|
3096 Days (2013)
|
|
|
|
3.75
|
1:49:50
|
1,920 x 804
|
2,184 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,709 kbps
|
|
32 Weeks (2020)
|
|
|
|
1.23
|
1:22:14
|
1,920 x 1,080
|
1,909 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
3:10 to Yuma (2007)
|
|
|
|
|
9.71
|
2:02:25
|
3,840 x 1,600
|
7,321 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
3:15 (1986)
|
|
|
|
7.98
|
1:25:31
|
1,904 x 1,080
|
12,652 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
709 kbps
|
|
40 Days and 40 Nights (2002)
|
|
|
|
8.74
|
1:35:29
|
1,920 x 1,080
|
11,902 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,196 kbps
|
|
40-Love (2021)
|
|
|
|
2.35
|
1:38:53
|
1,920 x 800
|
2,755 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
400 Days (2016)
|
|
|
|
3.77
|
1:30:05
|
1,920 x 816
|
2,636 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,355 kbps
|
|
47 Hours to Live (2019)
|
|
|
|
1.59
|
1:31:14
|
1,920 x 804
|
2,102 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
47 Meters Down (2017)
|
|
|
|
4.93
|
1:37:26
|
1,920 x 804
|
4,241 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,014 kbps
|
|
47 Meters Down: Uncaged (2019)
|
|
|
|
|
15.25
|
1:29:45
|
3,840 x 1,600
|
21,081 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
48 Christmas Wishes (2017)
|
|
|
|
2.15
|
1:24:02
|
1,920 x 1,080
|
3,013 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
48 Hrs. (1982)
|
|
|
|
|
32.82
|
1:36:35
|
3,840 x 2,076
|
45,505 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,135 kbps
|
|
4:44 Last Day on Earth (2012)
|
|
|
|
|
1.81
|
1:21:50
|
1,920 x 1,076
|
2,473 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
696 kbps
|
|
50 First Dates (2004)
|
|
|
|
|
4.38
|
1:39:04
|
1,920 x 800
|
4,853 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,473 kbps
|
|
50/50 (2011)
|
|
|
|
|
6.41
|
1:40:03
|
1,920 x 1,080
|
6,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,091 kbps
|
|
500 MPH Storm (2013)
|
|
|
|
3.13
|
1:26:51
|
1,916 x 1,080
|
3,827 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,335 kbps
|
|
52 Pick-Up (1986)
|
|
|
|
4.15
|
1:50:17
|
1,920 x 1,040
|
4,051 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,335 kbps
|
|
55 Steps (2018)
|
|
|
|
3.89
|
1:54:05
|
1,920 x 804
|
1,942 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,938 kbps
|
|
5th of July (2019)
|
|
|
|
3.55
|
1:42:43
|
1,920 x 800
|
3,554 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,387 kbps
|
|
6 Below: Miracle on the Mountain (2017)
|
|
|
|
|
4.07
|
1:38:06
|
1,920 x 696
|
2,819 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,117 kbps
|
|
6 Days (2017)
|
|
|
|
|
3.61
|
1:34:34
|
1,920 x 804
|
2,542 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,929 kbps
|
|
6 Underground (2019)
|
|
|
|
|
15.48
|
2:08:11
|
3,840 x 1,600
|
16,507 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
65 (2023)
|
|
|
|
|
5.85
|
1:32:43
|
3,840 x 1,608
|
6,269 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,762 kbps
|
|
7 Seconds (2005)
|
|
|
|
3.28
|
1:35:58
|
1,920 x 1,040
|
3,478 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,420 kbps
|
|
8 Heads in a Duffel Bag (1997)
|
|
|
|
4.04
|
1:35:15
|
1,920 x 1,010
|
5,022 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,052 kbps
|
|
8 Million Ways to Die (1986)
|
|
|
|
9.79
|
1:55:38
|
1,920 x 1,080
|
11,885 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
240 kbps
|
|
8-Bit Christmas (2021)
|
|
|
|
|
|
3.72
|
1:37:43
|
3,840 x 1,608
|
4,677 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
80 for Brady (2023)
|
|
|
|
|
|
4.45
|
1:39:38
|
3,840 x 2,080
|
5,742 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
86 Melrose Avenue (2021)
|
|
|
|
1.28
|
1:23:42
|
1,920 x 804
|
1,547 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
8MM (1999)
|
|
|
|
4.54
|
2:03:18
|
1,920 x 812
|
4,291 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
975 kbps
|
|
9 (2009)
|
|
|
|
3.23
|
1:19:24
|
1,920 x 1,036
|
2,485 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,345 kbps
|
|
9 to 5 (1980)
|
|
|
|
12.03
|
1:49:22
|
1,920 x 1,036
|
14,567 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,181 kbps
|
|
96 Souls (2016)
|
|
|
|
2.13
|
1:52:19
|
1,920 x 808
|
2,330 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
97 Minutes (2023)
|
|
|
|
1.78
|
1:33:49
|
1,920 x 804
|
2,075 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
99 Homes (2014)
|
|
|
|
3.83
|
1:52:14
|
1,920 x 796
|
3,775 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,110 kbps
|
|
A Baby at any Cost (2022)
|
|
|
|
2.68
|
1:27:25
|
1,920 x 1,080
|
4,163 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Babysitter's Guide to Monster Hunting (2020)
|
|
|
|
|
|
6.58
|
1:35:31
|
3,840 x 1,744
|
9,063 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
A Bad Idea Gone Wrong (2017)
|
|
|
|
1.61
|
1:21:20
|
1,920 x 1,076
|
2,443 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Bad Moms Christmas (2017)
|
|
|
|
5.27
|
1:44:37
|
3,840 x 1,592
|
6,053 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,152 kbps
|
|
A Beautiful Day in the Neighborhood (2019)
|
|
|
|
|
7.42
|
1:48:45
|
3,840 x 2,076
|
6,014 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,750 kbps
|
|
A Beautiful Mind (2001)
|
|
|
|
5.81
|
2:15:19
|
1,920 x 1,040
|
2,805 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,344 kbps
|
|
A Bengal for Christmas (2023)
|
|
|
|
1.28
|
45:03
|
1,920 x 1,080
|
3,832 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Bigger Splash (2016)
|
|
|
|
|
|
5.75
|
2:04:18
|
1,920 x 1,036
|
5,294 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,325 kbps
|
|
A Birder's Guide to Everything (2013)
|
|
|
|
2.86
|
1:26:23
|
1,920 x 820
|
4,289 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
A Boy and His Dog (1975)
|
|
|
|
7.95
|
1:30:36
|
1,920 x 816
|
11,847 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
715 kbps
|
|
A Boy Called Christmas (2021)
|
|
|
|
|
5.24
|
1:43:30
|
3,840 x 1,604
|
6,454 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
A Boy Named Charlie Brown (1969)
|
|
|
|
4.90
|
1:26:05
|
1,424 x 1,080
|
6,754 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,397 kbps
|
|
A Bronx Tale (1993)
|
|
|
|
|
|
26.21
|
2:01:31
|
3,840 x 2,072
|
27,461 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,277 kbps
|
|
A Bug's Life (1998)
|
|
|
|
|
|
8.87
|
1:34:54
|
3,840 x 1,632
|
9,825 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,541 kbps
|
|
A Call to Spy (2020)
|
|
|
|
3.63
|
2:04:22
|
1,920 x 1,036
|
3,197 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
975 kbps
|
|
A Charlie Brown Christmas (1965)
|
|
|
|
|
|
3.32
|
25:32
|
2,880 x 2,160
|
15,883 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,702 kbps
|
|
A Charlie Brown Thanksgiving (1973)
|
|
|
|
|
1.79
|
25:26
|
2,880 x 2,160
|
7,300 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,744 kbps
|
|
A Christmas Break (2020)
|
|
|
|
1.61
|
1:29:42
|
1,920 x 1,080
|
2,351 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Christmas Carol (1938)
|
|
|
|
5.63
|
1:09:13
|
1,480 x 1,080
|
11,066 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
586 kbps
|
|
A Christmas Carol (2009)
|
|
|
|
3.73
|
1:35:49
|
1,920 x 800
|
2,570 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,008 kbps
|
|
A Christmas Mystery (2022)
|
|
|
|
|
2.18
|
1:27:04
|
3,840 x 1,608
|
3,190 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Christmas Number One (2021)
|
|
|
|
2.52
|
1:56:16
|
1,920 x 816
|
2,720 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Christmas Story (1983)
|
|
|
|
|
26.00
|
1:33:23
|
3,840 x 2,076
|
39,183 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
676 kbps
|
|
A Christmas Story 2 (2012)
|
|
|
|
3.85
|
1:25:26
|
1,920 x 1,080
|
3,176 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,276 kbps
|
|
A Christmas Wish (2011)
|
|
|
|
2.79
|
1:36:51
|
1,920 x 1,080
|
3,476 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Cinderella Story (2004)
|
|
|
|
7.68
|
1:35:12
|
1,904 x 1,080
|
7,925 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,627 kbps
|
|
A Clockwork Orange (1972)
|
|
|
|
|
22.91
|
2:16:36
|
3,584 x 2,160
|
20,839 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,170 kbps
|
|
A Countess from Hong Kong (1967)
|
|
|
|
6.04
|
1:47:54
|
1,920 x 1,036
|
7,791 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
223 kbps
|
|
A Crafty Christmas Romance (2020)
|
|
|
|
2.09
|
1:24:45
|
1,920 x 1,080
|
3,302 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Crooked Somebody
|
|
|
|
1.70
|
1:42:39
|
1,920 x 792
|
1,260 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,115 kbps
|
|
A Cry in the Dark (1988)
|
|
|
|
10.90
|
2:01:42
|
1,920 x 800
|
12,402 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
418 kbps
|
|
A Cure for Wellness (2017)
|
|
|
|
7.16
|
2:26:33
|
1,920 x 1,080
|
2,821 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,171 kbps
|
|
A Dangerous Method (2011)
|
|
|
|
5.25
|
1:39:26
|
1,920 x 1,038
|
4,816 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,740 kbps
|
|
A Dark Foe (2020)
|
|
|
|
1.96
|
1:54:04
|
1,920 x 792
|
2,075 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Dark Reflection (2016)
|
|
|
|
2.46
|
1:41:52
|
1,920 x 792
|
3,066 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Day of Judgment (1981)
|
|
|
|
14.20
|
1:36:49
|
1,920 x 1,080
|
20,476 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
526 kbps
|
|
A Deadly Lullaby (2020)
|
|
|
|
1.65
|
1:26:55
|
1,920 x 1,076
|
2,486 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Dennis the Menace Christmas (2007)
|
|
|
|
3.38
|
1:27:31
|
1,916 x 1,080
|
5,409 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
A Dog's Way Home (2019)
|
|
|
|
3.74
|
1:35:54
|
1,920 x 804
|
4,223 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,358 kbps
|
|
A Dry White Season (1989)
|
|
|
|
18.20
|
1:46:45
|
1,920 x 1,036
|
23,182 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,226 kbps
|
|
A Family Man (2017)
|
|
|
|
3.00
|
1:50:14
|
1,920 x 796
|
1,236 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,660 kbps
|
|
A Fantastic Fear of Everything (2012)
|
|
|
|
4.86
|
1:40:12
|
1,920 x 1,036
|
3,712 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,226 kbps
|
|
A Feral World (2020)
|
|
|
|
4.05
|
1:44:34
|
1,920 x 1,080
|
4,903 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Few Good Men (1992)
|
|
|
|
|
28.12
|
2:18:01
|
3,840 x 1,600
|
27,016 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,150 kbps
|
|
A Fish Called Wanda (1988)
|
|
|
|
20.62
|
1:48:04
|
1,920 x 1,036
|
24,262 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,051 kbps
|
|
A Fish in the Bathtub (1999)
|
|
|
|
5.55
|
1:36:39
|
1,912 x 1,036
|
7,514 kbps
|
|
2.0
|
|
18 bits / 48 kHz
|
704 kbps
|
|
A Fistful of Dollars (1967)
|
|
|
|
26.02
|
1:39:47
|
3,840 x 1,632
|
36,423 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
901 kbps
|
|
A Flash of Beauty: Bigfoot Revealed (2022)
|
|
|
|
3.71
|
1:34:27
|
1,920 x 960
|
5,168 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
452 kbps
|
|
A Fork in the Road (2010)
|
|
|
|
7.18
|
1:44:59
|
1,912 x 1,080
|
9,154 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Ghost Story (2017)
|
|
|
|
4.23
|
1:32:08
|
1,432 x 1,080
|
3,773 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,801 kbps
|
|
A Gift Wrapped Christmas (2015)
|
|
|
|
2.44
|
1:27:53
|
1,920 x 1,080
|
3,746 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Girl Like Her (2015)
|
|
|
|
2.71
|
1:31:32
|
1,920 x 1,076
|
3,857 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Gnome Named Gnorm (1990)
|
|
|
|
3.21
|
1:26:07
|
1,920 x 1,080
|
5,216 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
A Good Day to Die Hard (2013)
|
|
|
|
|
|
9.93
|
1:41:11
|
1,920 x 1,040
|
9,066 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,981 kbps
|
|
A Good Marriage (2014)
|
|
|
|
1.89
|
1:41:49
|
1,920 x 790
|
1,807 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
844 kbps
|
|
A Good Person (2023)
|
|
|
|
4.18
|
2:08:12
|
1,920 x 800
|
2,293 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,375 kbps
|
|
A Good Woman (2004)
|
|
|
|
4.63
|
1:33:07
|
1,920 x 1,072
|
6,481 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Good Woman Is Hard to Find (2020)
|
|
|
|
3.17
|
1:36:56
|
1,920 x 800
|
2,226 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,455 kbps
|
|
A Goofy Movie (1995)
|
|
|
|
3.58
|
1:17:41
|
1,920 x 1,028
|
6,268 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
A Guide to Dating at the End of the World (2022)
|
|
|
|
1.96
|
1:21:28
|
1,920 x 1,080
|
3,054 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Guide to Recognizing Your Saints (2006)
|
|
|
|
3.24
|
1:39:58
|
1,920 x 1,036
|
3,837 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
796 kbps
|
|
A Guy Thing (2003)
|
|
|
|
6.18
|
1:41:30
|
1,920 x 1,038
|
5,134 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,579 kbps
|
|
A Hard Day's Night (1964)
|
|
|
|
|
36.51
|
1:27:41
|
3,780 x 2,160
|
56,165 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,431 kbps
|
|
A Haunted House (2013)
|
|
|
|
|
4.89
|
1:26:25
|
1,920 x 1,040
|
5,396 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,709 kbps
|
|
A Haunted House 2 (2014)
|
|
|
|
3.79
|
1:26:54
|
1,920 x 1,036
|
3,922 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,319 kbps
|
|
A Haunting in Venice (2023)
|
|
|
|
|
12.25
|
1:43:17
|
3,840 x 2,072
|
16,201 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
A Hologram for the King (2016)
|
|
|
|
|
6.20
|
1:38:10
|
1,920 x 802
|
6,186 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,854 kbps
|
|
A Kid Like Jake (2018)
|
|
|
|
2.57
|
1:29:17
|
1,920 x 1,032
|
3,307 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
815 kbps
|
|
A Kind of Murder (2016)
|
|
|
|
3.80
|
1:35:31
|
1,912 x 1,080
|
2,756 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,944 kbps
|
|
A League of Their Own (1992)
|
|
|
|
|
|
26.10
|
2:08:00
|
3,840 x 1,604
|
27,645 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,540 kbps
|
|
A Life Less Ordinary (1997)
|
|
|
|
9.94
|
1:44:08
|
1,920 x 800
|
9,850 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,809 kbps
|
|
A Little Bit of Heaven (2011)
|
|
|
|
5.05
|
1:46:29
|
1,920 x 816
|
5,898 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
896 kbps
|
|
A Little Game (2014)
|
|
|
|
2.63
|
1:31:29
|
1,920 x 1,080
|
3,891 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Lonely Place to Die (2011)
|
|
|
|
3.92
|
1:39:03
|
1,920 x 804
|
4,110 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,554 kbps
|
|
A Long Way Down (2014)
|
|
|
|
3.55
|
1:35:52
|
1,920 x 800
|
2,371 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,934 kbps
|
|
A Lot Like Love (2005)
|
|
|
|
6.06
|
1:46:52
|
1,920 x 1,034
|
5,100 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,018 kbps
|
|
A Man Apart (2003)
|
|
|
|
10.24
|
1:49:36
|
1,920 x 812
|
11,918 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,451 kbps
|
|
A Man Called Otto (2023)
|
|
|
|
|
|
8.30
|
2:06:09
|
3,840 x 2,072
|
8,645 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
A Man, a Woman and a Bank (1979)
|
|
|
|
6.11
|
1:41:33
|
1,904 x 1,080
|
8,293 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
319 kbps
|
|
A Matter of Causality (2021)
|
|
|
|
1.62
|
1:37:44
|
1,920 x 1,080
|
2,152 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Million Miles Away (2023)
|
|
|
|
|
|
5.65
|
2:02:07
|
3,840 x 2,076
|
6,167 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
A Million Ways to Die in the West (2014)
|
|
|
|
5.86
|
2:14:45
|
1,920 x 800
|
3,203 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,026 kbps
|
|
A Monster Calls (2017)
|
|
|
|
4.26
|
1:48:15
|
1,920 x 804
|
2,559 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,067 kbps
|
|
A Most Violent Year (2015)
|
|
|
|
3.33
|
2:04:56
|
1,920 x 796
|
1,041 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,775 kbps
|
|
A Nanny for Christmas (2010)
|
|
|
|
3.34
|
1:27:49
|
1,916 x 1,080
|
4,999 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
A New Leaf (1971)
|
|
|
|
7.73
|
1:42:26
|
1,920 x 1,080
|
10,561 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
238 kbps
|
|
A Nice Girl Like You (2020)
|
|
|
|
4.80
|
1:34:11
|
1,920 x 804
|
4,098 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,203 kbps
|
|
A Night at the Roxbury (1998)
|
|
|
|
|
6.67
|
1:21:57
|
1,920 x 1,080
|
8,004 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,647 kbps
|
|
A Nightmare on Elm Street (1984)
|
|
|
|
7.17
|
1:31:14
|
1,912 x 1,080
|
6,783 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,464 kbps
|
|
A Nightmare on Elm Street (2010)
|
|
|
|
4.44
|
1:35:32
|
1,920 x 800
|
3,475 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,179 kbps
|
|
A Nightmare on Elm Street 2: Freddy's Revenge (1985)
|
|
|
|
7.31
|
1:25:37
|
1,920 x 1,080
|
8,748 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,470 kbps
|
|
A Nightmare on Elm Street 3: Dream Warriors (1987)
|
|
|
|
6.98
|
1:36:32
|
1,920 x 1,080
|
6,921 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,429 kbps
|
|
A Nightmare on Elm Street 4: The Dream Master (1988)
|
|
|
|
8.30
|
1:33:15
|
1,920 x 1,080
|
9,683 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,061 kbps
|
|
A Nightmare on Elm Street 5: The Dream Child (1989)
|
|
|
|
6.29
|
1:29:38
|
1,920 x 1,080
|
8,634 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,412 kbps
|
|
A Perfect Day (2016)
|
|
|
|
|
4.85
|
1:46:07
|
1,920 x 800
|
5,398 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,148 kbps
|
|
A Perfect Enemy (2020)
|
|
|
|
2.19
|
1:29:54
|
1,920 x 796
|
2,287 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,192 kbps
|
|
A Perfect Getaway (2009)
|
|
|
|
7.55
|
1:47:40
|
1,920 x 816
|
6,680 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,353 kbps
|
|
A Perfect Murder (1998)
|
|
|
|
6.60
|
1:47:26
|
1,920 x 1,080
|
5,735 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,059 kbps
|
|
A Perfect Plan (2020)
|
|
|
|
1.50
|
1:26:22
|
1,920 x 792
|
1,837 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Perfect World (1993)
|
|
|
|
6.50
|
2:18:18
|
1,920 x 800
|
5,436 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,287 kbps
|
|
A Quiet Place (2018)
|
|
|
|
|
|
|
9.75
|
1:30:15
|
3,840 x 1,600
|
13,178 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,279 kbps
|
|
A Quiet Place Part II (2021)
|
|
|
|
|
|
12.93
|
1:37:01
|
3,840 x 1,604
|
17,738 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,337 kbps
|
|
A Rainy Day in New York (2019)
|
|
|
|
5.96
|
1:32:24
|
1,920 x 956
|
8,117 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,110 kbps
|
|
A River Runs Through It (1992)
|
|
|
|
|
49.43
|
2:03:27
|
3,840 x 2,076
|
56,334 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
986 kbps
|
|
A Room Full of Nothing (2019)
|
|
|
|
1.43
|
1:25:57
|
1,920 x 1,080
|
2,194 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
A Scanner Darkly (2006)
|
|
|
|
|
2.64
|
1:40:25
|
1,916 x 1,080
|
3,128 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Score to Settle (2019)
|
|
|
|
|
3.79
|
1:43:43
|
1,920 x 804
|
2,232 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,005 kbps
|
|
A Serious Man (2009)
|
|
|
|
5.69
|
1:45:36
|
1,920 x 1,040
|
5,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,638 kbps
|
|
A Shaun the Sheep Movie: Farmageddon (2019)
|
|
|
|
|
5.91
|
1:26:51
|
3,840 x 1,608
|
6,915 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,828 kbps
|
|
A Shock to the System (1990)
|
|
|
|
6.76
|
1:27:55
|
1,920 x 1,036
|
9,957 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,053 kbps
|
|
A Shot in the Dark (1965)
|
|
|
|
4.79
|
1:42:20
|
1,920 x 816
|
6,492 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
213 kbps
|
|
A Simple Favor (2018)
|
|
|
|
|
|
10.08
|
1:56:50
|
3,840 x 1,920
|
9,185 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,166 kbps
|
|
A Simple Plan (1998)
|
|
|
|
5.93
|
2:01:02
|
1,896 x 1,080
|
5,868 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,145 kbps
|
|
A Soldier's Story (1984)
|
|
|
|
8.87
|
1:40:54
|
1,920 x 1,040
|
12,091 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
496 kbps
|
|
A Song for Christmas (2017)
|
|
|
|
2.43
|
1:30:46
|
1,920 x 1,080
|
3,396 kbps
|
|
5.1
|
|
48 kHz
|
439 kbps
|
|
A Star Is Born (1954)
|
|
|
|
13.20
|
2:55:56
|
1,920 x 752
|
7,515 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,221 kbps
|
|
A Star Is Born (1976)
|
|
|
|
11.13
|
2:20:06
|
1,920 x 1,080
|
8,519 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,850 kbps
|
|
A Star Is Born (2018)
|
|
|
|
|
17.90
|
2:15:45
|
3,840 x 1,600
|
17,492 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,376 kbps
|
|
A Stone in the Water (2019)
|
|
|
|
4.91
|
1:35:37
|
1,920 x 1,008
|
6,972 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
A Stranger Among Us (1992)
|
|
|
|
3.98
|
1:49:34
|
1,920 x 1,032
|
4,750 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
446 kbps
|
|
A Street Cat Named Bob (2016)
|
|
|
|
3.59
|
1:42:48
|
1,920 x 800
|
3,682 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,311 kbps
|
|
A Streetcar Named Desire (1951)
|
|
|
|
6.15
|
2:04:56
|
1,480 x 1,080
|
6,389 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
658 kbps
|
|
A Tale of Two Bunnies (2000)
|
|
|
|
6.47
|
1:28:52
|
1,920 x 1,080
|
10,197 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Taste of Christmas (2020)
|
|
|
|
3.20
|
1:31:25
|
1,920 x 1,080
|
4,790 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Thousand Words (2012)
|
|
|
|
5.08
|
1:31:30
|
1,920 x 800
|
4,873 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,071 kbps
|
|
A Tiger's Tail (2014)
|
|
|
|
3.55
|
1:21:11
|
1,920 x 1,080
|
6,034 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Time to Kill (1996)
|
|
|
|
|
4.90
|
2:29:30
|
1,920 x 808
|
3,458 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,233 kbps
|
|
A Twist of Christmas (2018)
|
|
|
|
2.31
|
1:27:48
|
1,920 x 1,080
|
3,537 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Very Brady Sequel (1996)
|
|
|
|
|
14.15
|
1:29:53
|
1,904 x 1,080
|
18,983 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,553 kbps
|
|
A Very British Christmas (2020)
|
|
|
|
3.26
|
1:30:32
|
1,920 x 1,080
|
4,512 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
A Very Charming Christmas Town (2020)
|
|
|
|
2.51
|
1:28:47
|
1,920 x 1,080
|
3,815 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Very Country Christmas: Homecoming (2020)
|
|
|
|
2.63
|
1:25:02
|
1,920 x 1,080
|
4,234 kbps
|
|
5.1
|
|
48 kHz
|
192 kbps
|
|
A Very Harold & Kumar Christmas (2011)
|
|
|
|
|
5.42
|
1:36:16
|
1,920 x 798
|
7,604 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
A View to a Kill (1985)
|
|
|
|
18.39
|
2:11:16
|
3,840 x 1,626
|
16,321 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,727 kbps
|
|
A Violent Separation (2019)
|
|
|
|
3.49
|
1:47:00
|
1,920 x 1,036
|
3,353 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,316 kbps
|
|
A Walk Among the Tombstones (2014)
|
|
|
|
3.63
|
1:54:05
|
1,920 x 804
|
1,630 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,921 kbps
|
|
A Walk in the Woods (2015)
|
|
|
|
7.41
|
1:44:38
|
1,920 x 800
|
8,949 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,191 kbps
|
|
A Walk to Remember (2002)
|
|
|
|
6.92
|
1:42:26
|
1,920 x 812
|
6,083 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,586 kbps
|
|
A Welcome Home Christmas (2020)
|
|
|
|
3.42
|
1:27:50
|
1,920 x 1,080
|
5,343 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
A Wrinkle in Time (2018)
|
|
|
|
|
8.28
|
1:49:37
|
3,840 x 1,608
|
8,007 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,805 kbps
|
|
A.C.O.D. (2013)
|
|
|
|
4.04
|
1:27:43
|
1,920 x 1,080
|
4,469 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,127 kbps
|
|
A.I. Artificial Intelligence (2001)
|
|
|
|
|
13.67
|
2:25:51
|
1,920 x 1,080
|
9,944 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,470 kbps
|
|
Abandon (2002)
|
|
|
|
2.61
|
1:38:35
|
1,920 x 816
|
3,143 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Abandoned (2021)
|
|
|
|
3.47
|
1:26:37
|
1,920 x 1,080
|
4,544 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,196 kbps
|
|
ABBA: The Movie (1979)
|
|
|
|
5.50
|
1:35:17
|
1,920 x 822
|
6,452 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,804 kbps
|
|
Abbott and Costello Go to Mars (1953)
|
|
|
|
8.93
|
1:16:36
|
1,464 x 1,080
|
16,444 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
239 kbps
|
|
Abbott and Costello in the Foreign Legion (1950)
|
|
|
|
4.73
|
1:19:36
|
1,464 x 1,080
|
8,250 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
258 kbps
|
|
Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953)
|
|
|
|
14.28
|
1:16:39
|
1,464 x 1,080
|
26,370 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
296 kbps
|
|
Abbott and Costello Meet Frankenstein (1948)
|
|
|
|
4.88
|
1:22:48
|
1,474 x 1,080
|
7,923 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
519 kbps
|
|
Abbott and Costello Meet the Invisible Man (1951)
|
|
|
|
7.02
|
1:22:18
|
1,456 x 1,080
|
11,667 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
549 kbps
|
|
Abbott and Costello Meet the Keystone Kops (1955)
|
|
|
|
8.17
|
1:18:51
|
1,920 x 1,036
|
14,489 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
343 kbps
|
|
Abbott and Costello Meet the Killer, Boris Karloff (1949)
|
|
|
|
9.55
|
1:24:26
|
1,480 x 1,080
|
15,944 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
242 kbps
|
|
Abbott and Costello Meet the Mummy (1955)
|
|
|
|
10.15
|
1:19:27
|
1,920 x 1,036
|
17,743 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
544 kbps
|
|
Abducted (2021)
|
|
|
|
1.47
|
1:34:14
|
1,920 x 808
|
1,847 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Abducted on Prom Night (2023)
|
|
|
|
1.81
|
1:27:33
|
1,920 x 1,080
|
2,727 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Abduction (2011)
|
|
|
|
6.69
|
1:45:59
|
1,920 x 800
|
4,791 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,240 kbps
|
|
Abnormal Attraction (2018)
|
|
|
|
2.61
|
1:47:15
|
1,920 x 1,080
|
3,260 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
About a Boy (2002)
|
|
|
|
5.13
|
1:41:13
|
1,920 x 816
|
3,694 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,560 kbps
|
|
About Cherry (2012)
|
|
|
|
|
3.24
|
1:42:11
|
1,920 x 1,080
|
3,286 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,248 kbps
|
|
About Last Night (2014)
|
|
|
|
3.00
|
1:40:14
|
1,920 x 800
|
2,955 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,330 kbps
|
|
About Last Night... (1986)
|
|
|
|
6.93
|
1:53:13
|
1,920 x 1,040
|
7,596 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,161 kbps
|
|
About My Father (2023)
|
|
|
|
3.43
|
1:29:45
|
1,920 x 800
|
2,917 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,557 kbps
|
|
About Schmidt (2002)
|
|
|
|
5.62
|
2:05:26
|
1,920 x 1,076
|
3,390 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,022 kbps
|
|
Above Suspicion (2021)
|
|
|
|
4.02
|
1:44:38
|
1,920 x 800
|
2,883 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,611 kbps
|
|
Above the Law (1988)
|
|
|
|
|
8.48
|
1:39:16
|
1,904 x 1,080
|
10,840 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,386 kbps
|
|
Above the Shadows (2019)
|
|
|
|
1.99
|
1:50:58
|
1,920 x 800
|
1,930 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Abraham Lincoln: Vampire Hunter (2012)
|
|
|
|
5.64
|
1:45:01
|
1,920 x 800
|
3,468 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,224 kbps
|
|
Absolutely Anything (2017)
|
|
|
|
|
4.28
|
1:25:30
|
1,920 x 804
|
3,668 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,498 kbps
|
|
Absolutely Fabulous: The Movie (2016)
|
|
|
|
4.84
|
1:30:44
|
1,920 x 804
|
4,245 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,390 kbps
|
|
Accepted (2006)
|
|
|
|
|
4.89
|
1:33:06
|
1,920 x 816
|
4,486 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,029 kbps
|
|
Accident Man (2018)
|
|
|
|
4.46
|
1:45:29
|
1,920 x 804
|
2,859 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,189 kbps
|
|
Accidental Love (2015)
|
|
|
|
10.74
|
1:40:41
|
1,920 x 1,080
|
11,888 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,374 kbps
|
|
Ace the Case (2016)
|
|
|
|
2.04
|
1:34:23
|
1,920 x 1,076
|
2,711 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ace Ventura: Pet Detective (1994)
|
|
|
|
|
7.32
|
1:26:01
|
1,920 x 1,080
|
8,329 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,848 kbps
|
|
Ace Ventura: When Nature Calls (1995)
|
|
|
|
|
5.85
|
1:34:04
|
1,920 x 800
|
5,675 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
3,223 kbps
|
|
Aces: Iron Eagle III (1992)
|
|
|
|
7.86
|
1:39:00
|
1,912 x 1,080
|
9,966 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,393 kbps
|
|
Across 110th Street (1973)
|
|
|
|
9.40
|
1:41:19
|
1,920 x 1,040
|
12,984 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
295 kbps
|
|
Across the Hall (2009)
|
|
|
|
2.97
|
1:33:15
|
1,904 x 1,080
|
3,118 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,435 kbps
|
|
Across the Universe (2007)
|
|
|
|
|
17.82
|
2:13:18
|
3,840 x 1,600
|
16,218 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,918 kbps
|
|
Act of Valor (2012)
|
|
|
|
5.51
|
1:50:17
|
1,920 x 800
|
3,767 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,382 kbps
|
|
Action Jackson (1988)
|
|
|
|
8.04
|
1:35:58
|
1,904 x 1,080
|
11,435 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
558 kbps
|
|
Action Point (2018)
|
|
|
|
5.12
|
1:24:38
|
1,920 x 800
|
4,810 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,844 kbps
|
|
Action U.S.A. (1989)
|
|
|
|
25.65
|
1:36:52
|
1,920 x 1,036
|
34,861 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,048 kbps
|
|
Acts of Vengeance (2017)
|
|
|
|
3.87
|
1:27:20
|
1,920 x 1,036
|
3,096 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,244 kbps
|
|
Ad Astra (2019)
|
|
|
|
|
|
14.11
|
2:03:02
|
3,840 x 1,608
|
14,035 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,374 kbps
|
|
Adam Sandler: 100% Fresh (2018)
|
|
|
|
9.40
|
1:13:52
|
3,840 x 2,160
|
17,441 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Adaptation. (2002)
|
|
|
|
|
19.74
|
1:54:56
|
3,840 x 2,076
|
22,324 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,264 kbps
|
|
Addams Family Values (1993)
|
|
|
|
10.38
|
1:34:12
|
1,916 x 1,080
|
12,637 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,138 kbps
|
|
Addicted to Fresno (2015)
|
|
|
|
2.19
|
1:25:21
|
1,920 x 1,080
|
3,227 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Addicted to Love (1997)
|
|
|
|
2.66
|
1:40:28
|
1,904 x 1,080
|
3,144 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Adele One Night Only (2021)
|
|
|
|
2.22
|
1:27:53
|
1,920 x 1,080
|
2,967 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Admission (2013)
|
|
|
|
4.60
|
1:47:07
|
1,920 x 800
|
3,338 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,810 kbps
|
|
Adopt a Highway (2019)
|
|
|
|
4.24
|
1:21:08
|
1,920 x 1,080
|
4,688 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,784 kbps
|
|
Adore (2013)
|
|
|
|
3.84
|
1:51:28
|
1,920 x 804
|
3,623 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,303 kbps
|
|
Adrenaline (2022)
|
|
|
|
2.38
|
1:15:16
|
1,920 x 1,076
|
3,586 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
942 kbps
|
|
Adrift (2018)
|
|
|
|
5.02
|
1:36:48
|
1,920 x 804
|
3,536 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,890 kbps
|
|
Adult Beginners (2015)
|
|
|
|
3.49
|
1:32:05
|
1,920 x 1,024
|
2,693 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,740 kbps
|
|
Advantageous (2015)
|
|
|
|
1.84
|
1:31:33
|
1,920 x 1,012
|
2,233 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Adventure Harbor (2021)
|
|
|
|
2.48
|
1:28:48
|
1,920 x 1,080
|
3,779 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Adventures in Babysitting (1987)
|
|
|
|
16.98
|
1:42:17
|
1,920 x 1,036
|
20,518 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,247 kbps
|
|
Adverse (2021)
|
|
|
|
2.38
|
1:34:04
|
1,920 x 800
|
2,976 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Afflicted (2015)
|
|
|
|
3.26
|
1:25:45
|
1,920 x 1,040
|
2,932 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,514 kbps
|
|
After All These Years (2013)
|
|
|
|
2.36
|
1:26:48
|
1,916 x 1,080
|
3,671 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
After Class (2019)
|
|
|
|
3.01
|
1:33:34
|
1,920 x 804
|
2,107 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,490 kbps
|
|
After Earth (2013)
|
|
|
|
3.30
|
1:40:03
|
1,920 x 800
|
3,237 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,488 kbps
|
|
After Hours (1985)
|
|
|
|
|
27.85
|
1:37:21
|
3,840 x 2,076
|
40,267 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
691 kbps
|
|
After Midnight (1989)
|
|
|
|
2.83
|
1:32:56
|
1,920 x 1,036
|
3,903 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
461 kbps
|
|
After Midnight (2019)
|
|
|
|
3.47
|
1:23:27
|
1,920 x 804
|
2,964 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,985 kbps
|
|
After the Sunset (2004)
|
|
|
|
5.93
|
1:37:27
|
1,920 x 800
|
7,490 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,225 kbps
|
|
After the Wedding (2019)
|
|
|
|
2.14
|
1:52:08
|
1,920 x 796
|
1,667 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,068 kbps
|
|
After We Fell (2021)
|
|
|
|
3.30
|
1:38:50
|
3,840 x 1,744
|
4,393 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
After Yang (2021)
|
|
|
|
3.21
|
1:35:45
|
1,920 x 1,080
|
2,309 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,496 kbps
|
|
After.Life (2009)
|
|
|
|
2.58
|
1:42:53
|
1,920 x 794
|
2,562 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,031 kbps
|
|
Afterlife of the Party (2021)
|
|
|
|
|
6.00
|
1:48:50
|
3,840 x 1,600
|
7,106 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Aftermath (2017)
|
|
|
|
3.27
|
1:33:58
|
1,920 x 800
|
2,338 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,643 kbps
|
|
Against All Odds (1984)
|
|
|
|
7.97
|
2:01:22
|
1,920 x 1,040
|
8,072 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,327 kbps
|
|
Against the Clock (2019)
|
|
|
|
4.27
|
1:42:13
|
1,920 x 804
|
2,840 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,137 kbps
|
|
Against the Night (2017)
|
|
|
|
3.03
|
1:25:25
|
1,904 x 1,080
|
4,363 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
713 kbps
|
|
Age of Consent (1969)
|
|
|
|
15.79
|
1:46:31
|
1,920 x 1,040
|
20,595 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
627 kbps
|
|
Agent Cody Banks (2003)
|
|
|
|
7.42
|
1:42:08
|
1,920 x 816
|
6,604 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,790 kbps
|
|
Agent Cody Banks 2: Destination London (2004)
|
|
|
|
5.99
|
1:40:03
|
1,920 x 816
|
5,105 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,469 kbps
|
|
AI Love You (2022)
|
|
|
|
2.48
|
1:35:29
|
1,920 x 800
|
3,073 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Aileen Wuornos: American Boogeywoman (2021)
|
|
|
|
2.85
|
1:25:40
|
1,920 x 1,036
|
4,121 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ain't Them Bodies Saints (2013)
|
|
|
|
2.16
|
1:36:00
|
1,920 x 800
|
2,257 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
959 kbps
|
|
Air (2015)
|
|
|
|
2.23
|
1:34:29
|
1,920 x 804
|
1,991 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,390 kbps
|
|
Air (2023)
|
|
|
|
|
3.84
|
1:54:10
|
3,840 x 2,080
|
4,239 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Air America (1990)
|
|
|
|
7.03
|
1:52:37
|
1,920 x 820
|
4,990 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,950 kbps
|
|
Air Bud (1997)
|
|
|
|
5.23
|
1:37:34
|
1,920 x 1,080
|
6,949 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
721 kbps
|
|
Air Force One (1997)
|
|
|
|
|
|
24.83
|
2:04:34
|
3,840 x 1,600
|
24,970 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,558 kbps
|
|
Airborne (1993)
|
|
|
|
3.49
|
1:30:15
|
1,904 x 1,080
|
5,308 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Airborne (2011)
|
|
|
|
2.56
|
1:21:52
|
1,920 x 816
|
1,644 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,840 kbps
|
|
Airheads (1994)
|
|
|
|
5.33
|
1:32:14
|
1,920 x 1,040
|
6,705 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,565 kbps
|
|
Airliner Sky Battle (2020)
|
|
|
|
2.00
|
1:29:05
|
1,920 x 792
|
2,565 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Airplane II: The Sequel (1982)
|
|
|
|
|
|
7.65
|
1:24:10
|
3,840 x 2,076
|
12,754 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
283 kbps
|
|
Airplane vs. Volcano (2014)
|
|
|
|
4.83
|
1:30:45
|
1,920 x 1,080
|
4,353 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,263 kbps
|
|
Airplane! (1980)
|
|
|
|
|
|
17.09
|
1:27:44
|
3,840 x 2,160
|
24,822 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,063 kbps
|
|
Airport '77 (1977)
|
|
|
|
10.35
|
1:53:21
|
1,920 x 816
|
12,806 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
264 kbps
|
|
Airport (1970)
|
|
|
|
7.83
|
2:16:35
|
1,920 x 816
|
5,575 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,627 kbps
|
|
Airport 1975 (1974)
|
|
|
|
10.29
|
1:46:25
|
1,920 x 816
|
13,158 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
687 kbps
|
|
Akira (1991)
|
|
|
|
|
|
8.61
|
2:04:45
|
3,840 x 2,074
|
8,002 kbps
|
|
5.1
|
|
16 bits / 96 kHz
|
1,876 kbps
|
|
Alabama Moon (2009)
|
|
|
|
4.63
|
1:39:45
|
1,920 x 816
|
5,289 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,350 kbps
|
|
Aladdin (1992)
|
|
|
|
|
4.33
|
1:30:39
|
3,584 x 2,160
|
5,181 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,647 kbps
|
|
Aladdin (2019)
|
|
|
|
|
9.85
|
2:07:59
|
3,840 x 1,608
|
9,137 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,872 kbps
|
|
Alaska (1996)
|
|
|
|
7.47
|
1:49:10
|
1,920 x 796
|
9,573 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Alex & Emma (2003)
|
|
|
|
4.86
|
1:35:56
|
1,916 x 1,080
|
6,872 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Alex & The List (2018)
|
|
|
|
|
4.95
|
1:52:22
|
1,920 x 800
|
3,521 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,781 kbps
|
|
Alex Cross (2012)
|
|
|
|
8.11
|
1:41:23
|
1,916 x 1,080
|
9,938 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,514 kbps
|
|
Alex of Venice (2015)
|
|
|
|
2.39
|
1:26:32
|
1,920 x 800
|
3,512 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Alexander (2004)
|
|
|
|
8.52
|
3:26:47
|
1,920 x 792
|
4,511 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,388 kbps
|
|
Alexander and the Terrible, Horrible, No Good, Very Bad Day (2014)
|
|
|
|
|
3.39
|
1:21:05
|
1,920 x 796
|
2,970 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,006 kbps
|
|
Algorithm (2014)
|
|
|
|
1.36
|
1:30:28
|
1,920 x 1,034
|
1,960 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Ali (2001)
|
|
|
|
7.67
|
2:36:32
|
1,920 x 800
|
5,899 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,117 kbps
|
|
Ali G Indahouse (2002)
|
|
|
|
4.47
|
1:27:02
|
1,920 x 1,040
|
6,008 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,343 kbps
|
|
Alice (2022)
|
|
|
|
2.06
|
1:39:44
|
1,920 x 788
|
2,567 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Alice Fades Away (2021)
|
|
|
|
2.29
|
1:16:14
|
1,920 x 1,080
|
3,655 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Alice Goodbody (1974)
|
|
|
|
7.12
|
1:21:57
|
1,904 x 1,080
|
11,834 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
600 kbps
|
|
Alice in Wonderland (2010)
|
|
|
|
|
6.37
|
1:48:35
|
1,920 x 1,080
|
5,022 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,373 kbps
|
|
Alice Through the Looking Glass (2016)
|
|
|
|
|
|
7.94
|
1:52:58
|
1,920 x 1,036
|
5,799 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,264 kbps
|
|
Alice, Darling (2022)
|
|
|
|
|
2.94
|
1:29:26
|
3,840 x 1,600
|
4,058 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Alien (1979)
|
|
|
|
|
16.25
|
1:56:37
|
3,840 x 1,600
|
17,505 kbps
|
|
3/1.1
|
|
24 bits / 48 kHz
|
2,433 kbps
|
|
Alien 3 (1992)
|
|
|
|
6.81
|
2:24:53
|
1,920 x 804
|
3,170 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,558 kbps
|
|
Alien Addiction (2018)
|
|
|
|
3.93
|
1:37:02
|
1,920 x 800
|
2,651 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,144 kbps
|
|
Alien Conquest (2021)
|
|
|
|
2.51
|
1:27:37
|
1,920 x 800
|
2,762 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,333 kbps
|
|
Alien from L.A. (1988)
|
|
|
|
6.05
|
1:27:15
|
1,920 x 1,036
|
8,361 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,564 kbps
|
|
Alien Hunter (2003)
|
|
|
|
5.61
|
1:31:47
|
1,920 x 1,080
|
5,161 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,583 kbps
|
|
Alien Nation (1988)
|
|
|
|
5.15
|
1:29:55
|
1,920 x 820
|
4,837 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,362 kbps
|
|
Alien Outbreak (2020)
|
|
|
|
2.71
|
1:24:42
|
1,920 x 800
|
3,371 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,205 kbps
|
|
Alien Outpost (2015)
|
|
|
|
6.22
|
1:32:03
|
1,920 x 1,080
|
6,725 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,942 kbps
|
|
Alien Resurrection (1997)
|
|
|
|
6.66
|
1:56:09
|
1,920 x 816
|
5,462 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,749 kbps
|
|
Alien Tornado (2012)
|
|
|
|
|
11.33
|
1:27:30
|
1,920 x 1,080
|
17,229 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,309 kbps
|
|
Alien vs. Predator (2004)
|
|
|
|
6.36
|
1:48:41
|
1,920 x 804
|
4,744 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,632 kbps
|
|
Alien: Covenant (2017)
|
|
|
|
|
13.86
|
2:02:03
|
3,840 x 1,600
|
13,094 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,156 kbps
|
|
Alienated (2021)
|
|
|
|
1.70
|
1:08:38
|
1,920 x 816
|
2,905 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Aliens (1986)
|
|
|
|
|
33.30
|
2:34:28
|
3,840 x 2,072
|
29,530 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,326 kbps
|
|
Aliens in the Attic (2009)
|
|
|
|
7.55
|
1:25:48
|
1,920 x 1,036
|
9,520 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,077 kbps
|
|
Aliens vs. Predator: Requiem (2007)
|
|
|
|
5.08
|
1:41:05
|
1,920 x 800
|
3,492 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,705 kbps
|
|
Alita: Battle Angel (2019)
|
|
|
|
|
|
11.20
|
2:01:57
|
3,840 x 1,608
|
10,311 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,830 kbps
|
|
Alive (1993)
|
|
|
|
4.16
|
2:06:25
|
1,904 x 1,080
|
4,448 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
All About Steve (2009)
|
|
|
|
|
|
7.32
|
1:39:00
|
1,920 x 1,036
|
7,270 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,320 kbps
|
|
All About the Benjamins (2002)
|
|
|
|
7.59
|
1:37:39
|
1,920 x 792
|
9,881 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,252 kbps
|
|
All At Once (2016)
|
|
|
|
5.40
|
1:52:05
|
1,920 x 804
|
5,490 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,412 kbps
|
|
All Creatures Here Below (2018)
|
|
|
|
|
3.75
|
1:31:24
|
1,920 x 800
|
3,327 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,548 kbps
|
|
All Dogs Go to Heaven (1989)
|
|
|
|
9.48
|
1:24:35
|
1,920 x 1,040
|
14,672 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,376 kbps
|
|
All Dogs Go to Heaven 2 (1996)
|
|
|
|
6.66
|
1:22:48
|
1,920 x 1,040
|
7,750 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,755 kbps
|
|
All Eyez on Me (2017)
|
|
|
|
5.59
|
2:19:37
|
1,920 x 804
|
2,751 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,979 kbps
|
|
All for Nikki (2020)
|
|
|
|
1.68
|
1:29:11
|
1,920 x 792
|
2,061 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
All I Need (2016)
|
|
|
|
2.97
|
1:23:06
|
1,920 x 1,008
|
4,154 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
964 kbps
|
|
All Is Lost (2013)
|
|
|
|
|
4.45
|
1:45:45
|
1,920 x 800
|
2,638 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,387 kbps
|
|
All Monsters Attack (1969)
|
|
|
|
6.93
|
1:09:44
|
1,920 x 808
|
13,608 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
613 kbps
|
|
All My Life (2020)
|
|
|
|
6.78
|
1:31:29
|
3,840 x 1,608
|
7,717 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,884 kbps
|
|
All Night Long (1981)
|
|
|
|
5.94
|
1:27:55
|
1,920 x 1,032
|
9,431 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
246 kbps
|
|
All of Me (1984)
|
|
|
|
4.54
|
1:31:41
|
1,920 x 1,040
|
6,866 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
All Quiet on the Western Front (2022)
|
|
|
|
|
|
10.74
|
2:26:58
|
3,840 x 1,604
|
9,101 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,356 kbps
|
|
All Roads Lead Home (2008)
|
|
|
|
3.42
|
1:52:36
|
1,912 x 1,080
|
4,117 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
All Roads Lead to Rome (2016)
|
|
|
|
2.44
|
1:31:15
|
1,920 x 800
|
3,638 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
All the Boys Love Mandy Lane (2006)
|
|
|
|
5.96
|
1:30:29
|
1,920 x 792
|
5,944 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,486 kbps
|
|
All the Bright Places (2020)
|
|
|
|
|
4.21
|
1:48:03
|
3,840 x 1,604
|
4,807 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
All the Money in the World (2017)
|
|
|
|
|
|
|
12.33
|
2:12:42
|
3,840 x 1,600
|
11,687 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,609 kbps
|
|
All the President's Men (1976)
|
|
|
|
11.03
|
2:18:22
|
1,920 x 1,080
|
11,160 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
248 kbps
|
|
All the Real Girls (2003)
|
|
|
|
2.08
|
1:47:32
|
1,920 x 816
|
2,548 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
All the Right Moves (1983)
|
|
|
|
9.65
|
1:30:25
|
1,920 x 1,036
|
12,177 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,099 kbps
|
|
All Things to All Men (2013)
|
|
|
|
5.88
|
1:25:02
|
1,920 x 816
|
6,621 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,282 kbps
|
|
All Tied Up (1994)
|
|
|
|
2.10
|
1:30:03
|
1,920 x 1,036
|
3,109 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
All-American Murder (1991)
|
|
|
|
7.12
|
1:33:23
|
1,920 x 1,036
|
9,405 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,506 kbps
|
|
All-Star Superman (2011)
|
|
|
|
|
2.35
|
1:16:34
|
3,840 x 2,156
|
3,013 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,379 kbps
|
|
Allan Quatermain and the Lost City of Gold (1987)
|
|
|
|
14.78
|
1:39:36
|
1,920 x 812
|
20,654 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
584 kbps
|
|
Allegiant (2016)
|
|
|
|
|
|
7.73
|
2:00:33
|
3,840 x 1,600
|
6,867 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,304 kbps
|
|
Alley Cat (1984)
|
|
|
|
21.16
|
1:22:53
|
3,840 x 2,160
|
36,263 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
292 kbps
|
|
Alleycats (2016)
|
|
|
|
3.99
|
1:41:06
|
1,920 x 792
|
2,615 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,039 kbps
|
|
Allied (2016)
|
|
|
|
|
|
5.13
|
2:04:35
|
3,840 x 1,600
|
3,200 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,685 kbps
|
|
Alligator (1980)
|
|
|
|
|
40.35
|
1:30:51
|
3,840 x 2,076
|
62,908 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
671 kbps
|
|
Almost Famous (2000)
|
|
|
|
|
|
25.33
|
2:41:31
|
3,840 x 2,076
|
21,033 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,410 kbps
|
|
Almost Friends (2016)
|
|
|
|
3.69
|
1:41:45
|
1,920 x 804
|
2,167 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,017 kbps
|
|
Almost Heroes (1998)
|
|
|
|
4.17
|
1:30:26
|
1,920 x 1,064
|
6,219 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Almost Summer (1978)
|
|
|
|
4.91
|
1:28:44
|
1,920 x 1,036
|
7,223 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
705 kbps
|
|
Aloft (2015)
|
|
|
|
2.56
|
1:36:54
|
1,920 x 804
|
2,501 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,278 kbps
|
|
Aloha (2015)
|
|
|
|
6.31
|
1:44:38
|
1,920 x 1,036
|
7,332 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,303 kbps
|
|
Alone (2020)
|
|
|
|
2.70
|
1:37:52
|
1,920 x 796
|
2,706 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,240 kbps
|
|
Alone in the Dark (1982)
|
|
|
|
5.82
|
1:33:13
|
1,920 x 1,036
|
8,355 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
577 kbps
|
|
Alone in the Dark (2005)
|
|
|
|
5.45
|
1:39:47
|
1,904 x 1,080
|
6,313 kbps
|
|
5.1
|
|
48 kHz
|
1,509.75 kbps
|
|
Alone Together (2022)
|
|
|
|
2.13
|
1:41:07
|
1,920 x 804
|
1,945 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,067 kbps
|
|
Alone Wolf (2020)
|
|
|
|
2.23
|
1:40:55
|
1,920 x 956
|
2,525 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Along Came a Spider (2001)
|
|
|
|
7.54
|
1:43:10
|
1,920 x 816
|
6,492 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,970 kbps
|
|
Along Came Polly (2004)
|
|
|
|
|
7.01
|
1:30:15
|
1,920 x 1,036
|
7,498 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,615 kbps
|
|
Alpha (2018)
|
|
|
|
|
2.87
|
1:35:20
|
1,920 x 800
|
3,007 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,302 kbps
|
|
Alpha Code (2020)
|
|
|
|
2.30
|
1:37:26
|
1,920 x 812
|
2,734 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Alpha Gateway (2018)
|
|
|
|
3.54
|
1:30:28
|
1,920 x 804
|
2,620 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,982 kbps
|
|
Alpha Rift (2021)
|
|
|
|
3.83
|
1:32:29
|
1,920 x 814
|
4,471 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,451 kbps
|
|
Alphabet City (1984)
|
|
|
|
4.41
|
1:25:09
|
1,920 x 1,036
|
6,712 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
698 kbps
|
|
Alt Space (2020)
|
|
|
|
2.20
|
1:20:37
|
1,920 x 1,080
|
3,676 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Altered States (1980)
|
|
|
|
4.81
|
1:42:44
|
1,920 x 1,080
|
3,253 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,446 kbps
|
|
Alvin and the Chipmunks (2007)
|
|
|
|
9.18
|
1:31:14
|
1,920 x 1,038
|
11,272 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,134 kbps
|
|
Alvin and the Chipmunks Meet Frankenstein (1999)
|
|
|
|
2.35
|
1:18:04
|
1,614 x 1,080
|
3,617 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
693 kbps
|
|
Alvin and the Chipmunks Meet the Wolfman (2000)
|
|
|
|
1.99
|
1:16:54
|
1,614 x 1,080
|
3,091 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
600 kbps
|
|
Alvin and the Chipmunks: The Road Chip (2015)
|
|
|
|
|
5.10
|
1:32:00
|
1,920 x 1,036
|
3,984 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,947 kbps
|
|
Alvin and the Chipmunks: The Squeakquel (2009)
|
|
|
|
8.98
|
1:28:34
|
1,920 x 1,036
|
11,480 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,037 kbps
|
|
Always (1989)
|
|
|
|
9.65
|
2:02:23
|
1,920 x 1,040
|
7,809 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,478 kbps
|
|
Am I a Serial Killer? (2019)
|
|
|
|
1.61
|
1:26:16
|
1,920 x 1,080
|
2,453 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Amateur Night (2016)
|
|
|
|
3.13
|
1:29:18
|
1,920 x 804
|
1,845 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,163 kbps
|
|
Amazing Grace (2019)
|
|
|
|
14.64
|
1:29:21
|
1,920 x 1,080
|
19,883 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,579 kbps
|
|
Amazon Queen (2021)
|
|
|
|
2.60
|
1:25:57
|
1,920 x 1,036
|
4,108 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Amber's Descent (2021)
|
|
|
|
2.06
|
1:31:57
|
1,920 x 812
|
2,815 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ambulance (2022)
|
|
|
|
|
9.37
|
2:16:20
|
3,840 x 1,608
|
8,104 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,726 kbps
|
|
Ambushed (2013)
|
|
|
|
3.08
|
1:37:05
|
1,920 x 816
|
3,064 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,481 kbps
|
|
Amelia (2009)
|
|
|
|
4.06
|
1:51:21
|
1,920 x 812
|
2,295 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,929 kbps
|
|
American Assassin (2017)
|
|
|
|
|
11.72
|
1:51:45
|
3,840 x 1,604
|
12,741 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,266 kbps
|
|
American Badger (2021)
|
|
|
|
1.59
|
1:21:51
|
1,920 x 1,036
|
2,145 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
American Beauty (1999)
|
|
|
|
|
7.17
|
2:01:40
|
1,920 x 818
|
6,805 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,635 kbps
|
|
American Buffalo (1996)
|
|
|
|
3.94
|
1:27:37
|
1,920 x 1,040
|
5,187 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,253 kbps
|
|
American Carnage (2022)
|
|
|
|
3.72
|
1:41:06
|
1,920 x 796
|
2,155 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,118 kbps
|
|
American Fiction (2023)
|
|
|
|
|
2.86
|
1:56:41
|
3,840 x 1,628
|
2,856 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
American Gigolo (1980)
|
|
|
|
11.89
|
1:56:36
|
1,920 x 1,080
|
13,754 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
837 kbps
|
|
American Graffiti (1973)
|
|
|
|
|
12.40
|
1:52:30
|
3,840 x 1,632
|
12,648 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,549 kbps
|
|
American Heist (2015)
|
|
|
|
5.26
|
1:34:40
|
1,920 x 804
|
4,488 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,469 kbps
|
|
American History X (1998)
|
|
|
|
|
7.30
|
1:58:53
|
1,920 x 1,078
|
7,090 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,703 kbps
|
|
American Honey (2016)
|
|
|
|
5.38
|
2:43:12
|
1,440 x 1,080
|
3,530 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,193 kbps
|
|
American Hustle (2013)
|
|
|
|
|
5.74
|
2:18:04
|
1,920 x 800
|
4,695 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,252 kbps
|
|
American Illuminati (2017)
|
|
|
|
2.40
|
1:06:36
|
1,920 x 1,080
|
4,934 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
American Loser (2008)
|
|
|
|
2.24
|
1:34:14
|
1,920 x 1,068
|
3,280 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
American Made (2017)
|
|
|
|
|
|
9.58
|
1:54:54
|
3,840 x 2,076
|
7,722 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,240 kbps
|
|
American Me (1992)
|
|
|
|
6.59
|
2:05:51
|
1,920 x 1,040
|
6,229 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,269 kbps
|
|
American Muscle (2014)
|
|
|
|
2.64
|
1:17:35
|
1,920 x 816
|
1,885 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,987 kbps
|
|
American Night (2021)
|
|
|
|
7.43
|
2:03:54
|
3,840 x 1,596
|
5,659 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,929 kbps
|
|
American Ninja (1985)
|
|
|
|
7.68
|
1:35:53
|
1,920 x 1,040
|
10,760 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
700 kbps
|
|
American Pastoral (2016)
|
|
|
|
3.79
|
1:48:17
|
1,920 x 808
|
2,520 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,483 kbps
|
|
American Pie (1999)
|
|
|
|
|
3.86
|
1:35:38
|
1,920 x 1,040
|
4,463 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,316 kbps
|
|
American Pie 2 (2001)
|
|
|
|
|
6.50
|
1:50:41
|
1,920 x 1,040
|
4,790 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,620 kbps
|
|
American Pie Presents: Band Camp (2005)
|
|
|
|
7.62
|
1:34:14
|
1,904 x 1,080
|
8,077 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,493 kbps
|
|
American Pie Presents: Beta House (2007)
|
|
|
|
6.12
|
1:28:19
|
1,904 x 1,080
|
6,413 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,511 kbps
|
|
American Pie Presents: The Book of Love (2009)
|
|
|
|
6.94
|
1:33:34
|
1,920 x 1,080
|
7,189 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,432 kbps
|
|
American Pie Presents: The Naked Mile (2006)
|
|
|
|
5.91
|
1:41:50
|
1,920 x 1,038
|
4,826 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,479 kbps
|
|
American Psycho (2000)
|
|
|
|
|
8.54
|
1:42:05
|
3,840 x 1,600
|
9,128 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,841 kbps
|
|
American Reunion (2012)
|
|
|
|
|
9.45
|
1:53:51
|
1,920 x 1,040
|
8,902 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,976 kbps
|
|
American Siege (2021)
|
|
|
|
5.51
|
1:30:37
|
1,920 x 800
|
5,876 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,829 kbps
|
|
American Traitor: The Trial of Axis Sally (2021)
|
|
|
|
2.89
|
1:48:52
|
1,920 x 796
|
1,096 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,704 kbps
|
|
American Ultra (2015)
|
|
|
|
|
5.02
|
1:35:42
|
1,920 x 1,036
|
5,079 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,425 kbps
|
|
American Underdog (2021)
|
|
|
|
|
5.71
|
1:52:09
|
3,840 x 1,608
|
5,814 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,471 kbps
|
|
American Violence (2017)
|
|
|
|
4.56
|
1:46:58
|
1,920 x 806
|
2,386 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,720 kbps
|
|
American Violet (2009)
|
|
|
|
4.12
|
1:42:53
|
1,920 x 784
|
2,661 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,069 kbps
|
|
American Wedding (2003)
|
|
|
|
|
3.53
|
1:43:23
|
1,920 x 812
|
3,608 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,278 kbps
|
|
American Wisper (2020)
|
|
|
|
1.91
|
1:30:21
|
1,920 x 1,080
|
2,830 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
American Woman (2018)
|
|
|
|
3.92
|
1:51:55
|
1,920 x 796
|
4,187 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
822 kbps
|
|
American Woman (2019)
|
|
|
|
1.66
|
1:26:46
|
1,920 x 796
|
2,360 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Amish Grace (2010)
|
|
|
|
1.92
|
1:28:54
|
1,920 x 1,076
|
2,445 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Amistad (1997)
|
|
|
|
|
15.45
|
2:34:43
|
1,920 x 1,036
|
10,747 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,543 kbps
|
|
Ammonite (2020)
|
|
|
|
5.00
|
1:57:33
|
3,840 x 2,076
|
4,947 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,138 kbps
|
|
Amnesia (1997)
|
|
|
|
11.13
|
1:27:37
|
1,904 x 1,080
|
17,615 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
575 kbps
|
|
Amnesiac (2014)
|
|
|
|
3.60
|
1:24:30
|
1,920 x 800
|
2,755 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,345 kbps
|
|
Amsterdam (2022)
|
|
|
|
|
|
4.30
|
2:14:15
|
3,840 x 1,608
|
3,397 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Amy (2015)
|
|
|
|
7.57
|
2:08:00
|
1,920 x 1,040
|
5,687 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,777 kbps
|
|
An All Dogs Christmas Carol (1998)
|
|
|
|
1.29
|
1:13:26
|
1,448 x 1,080
|
2,360 kbps
|
|
2.0
|
|
48 kHz
|
160 kbps
|
|
An American Christmas Carol (1979)
|
|
|
|
4.97
|
1:36:56
|
1,440 x 1,080
|
6,702 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
636 kbps
|
|
An American Crime (2007)
|
|
|
|
6.34
|
1:37:35
|
1,904 x 1,080
|
8,271 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,033 kbps
|
|
An American Pickle (2020)
|
|
|
|
|
5.71
|
1:28:25
|
3,840 x 2,076
|
8,976 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
An American Werewolf in London (1981)
|
|
|
|
|
20.56
|
1:37:16
|
3,840 x 2,076
|
29,178 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,073 kbps
|
|
An American Werewolf in Paris (1997)
|
|
|
|
|
28.17
|
1:37:55
|
3,840 x 2,076
|
39,324 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,852 kbps
|
|
An Evening with Beverly Luff Linn (2018)
|
|
|
|
3.88
|
1:48:07
|
1,920 x 1,036
|
2,341 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,793 kbps
|
|
An Eye for an Eye (1981)
|
|
|
|
11.59
|
1:45:04
|
1,920 x 1,040
|
15,515 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
272 kbps
|
|
An Innocent Man (1989)
|
|
|
|
8.20
|
1:53:43
|
1,920 x 1,028
|
8,994 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,325 kbps
|
|
An Officer and a Gentleman (1982)
|
|
|
|
10.58
|
2:04:17
|
1,920 x 1,080
|
9,483 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,704 kbps
|
|
An Unfinished Life (2005)
|
|
|
|
4.59
|
1:47:46
|
1,920 x 800
|
3,882 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,218 kbps
|
|
An Unmarried Woman (1978)
|
|
|
|
7.80
|
2:04:27
|
1,920 x 1,036
|
8,375 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
591 kbps
|
|
Anaconda (1997)
|
|
|
|
4.19
|
1:29:20
|
1,920 x 796
|
3,987 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,731 kbps
|
|
Anaconda 3: Offspring (2008)
|
|
|
|
6.46
|
1:31:18
|
1,904 x 1,080
|
6,640 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,482 kbps
|
|
Anacondas: The Hunt for the Blood Orchid (2004)
|
|
|
|
9.72
|
1:36:44
|
1,920 x 800
|
10,391 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,996 kbps
|
|
Anacondas: Trail of Blood (2009)
|
|
|
|
3.93
|
1:28:32
|
1,904 x 1,080
|
5,158 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,200 kbps
|
|
Analyze That (2002)
|
|
|
|
|
6.12
|
1:35:47
|
1,920 x 1,080
|
7,907 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,235 kbps
|
|
Analyze This (1999)
|
|
|
|
|
4.38
|
1:43:31
|
1,920 x 1,080
|
4,743 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,316 kbps
|
|
Anastasia (1997)
|
|
|
|
4.85
|
1:34:11
|
1,920 x 808
|
3,690 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,680 kbps
|
|
Anatomy of a Murder (1959)
|
|
|
|
|
35.87
|
2:40:36
|
3,840 x 2,076
|
29,933 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,038 kbps
|
|
Ancestral World (2020)
|
|
|
|
2.87
|
1:19:54
|
1,920 x 800
|
3,790 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,345 kbps
|
|
Anchorman 2: The Legend Continues (2013)
|
|
|
|
|
5.34
|
2:23:15
|
1,920 x 800
|
2,708 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,623 kbps
|
|
Anchorman: The Legend of Ron Burgundy (2004)
|
|
|
|
|
|
7.15
|
1:37:23
|
1,920 x 1,080
|
7,655 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,851 kbps
|
|
And You Thought Your Parents Were Weird (1991)
|
|
|
|
4.11
|
1:32:08
|
1,918 x 1,080
|
6,168 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Andron (2015)
|
|
|
|
2.19
|
1:36:16
|
1,920 x 790
|
2,878 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Andy the Talking Hedgehog (2019)
|
|
|
|
2.63
|
1:16:29
|
1,920 x 1,080
|
4,272 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Anesthesia (2016)
|
|
|
|
3.87
|
1:29:40
|
1,920 x 1,036
|
3,594 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,580 kbps
|
|
Angel (1983)
|
|
|
|
7.26
|
1:32:57
|
1,920 x 1,036
|
9,975 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,209 kbps
|
|
Angel Face (1953)
|
|
|
|
5.73
|
1:31:53
|
1,472 x 1,080
|
8,561 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
373 kbps
|
|
Angel Flight Down (1996)
|
|
|
|
5.96
|
1:32:03
|
1,920 x 1,080
|
9,047 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Angel Has Fallen (2019)
|
|
|
|
|
12.83
|
2:01:03
|
3,840 x 1,604
|
13,602 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,566 kbps
|
|
Angel Heart (1987)
|
|
|
|
|
47.63
|
1:53:12
|
3,840 x 2,076
|
58,980 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,258 kbps
|
|
Angel III: The Final Chapter (1988)
|
|
|
|
11.28
|
1:39:32
|
1,920 x 1,036
|
15,450 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
768 kbps
|
|
Angel of Mine (2019)
|
|
|
|
2.98
|
1:38:38
|
1,920 x 802
|
1,626 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,704 kbps
|
|
Angel Town (1990)
|
|
|
|
5.84
|
1:45:42
|
1,920 x 1,080
|
7,041 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
870 kbps
|
|
Angela (1995)
|
|
|
|
9.01
|
1:41:53
|
1,920 x 1,040
|
12,436 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Angels & Demons (2009)
|
|
|
|
|
|
6.29
|
2:26:16
|
1,920 x 800
|
2,974 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,181 kbps
|
|
Angels with Dirty Faces (1938)
|
|
|
|
4.65
|
1:37:19
|
1,480 x 1,080
|
6,228 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
611 kbps
|
|
Angels: The Mysterious Messengers (1994)
|
|
|
|
0.49
|
1:32:06
|
352 x 240
|
682 kbps
|
|
1.0
|
|
12 bits / 16 kHz
|
71 kbps
|
|
Anger Management (2003)
|
|
|
|
|
4.15
|
1:45:58
|
1,920 x 800
|
4,163 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,438 kbps
|
|
Animals (2019)
|
|
|
|
4.20
|
1:49:01
|
1,920 x 802
|
2,838 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,673 kbps
|
|
Animalympics (1980)
|
|
|
|
7.14
|
1:18:08
|
1,480 x 1,080
|
12,411 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
676 kbps
|
|
Anna (2013)
|
|
|
|
5.98
|
1:38:43
|
1,920 x 804
|
7,606 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,067 kbps
|
|
Annabelle (2014)
|
|
|
|
2.94
|
1:38:48
|
1,920 x 796
|
1,772 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,490 kbps
|
|
Annabelle Comes Home (2019)
|
|
|
|
2.33
|
1:46:05
|
1,920 x 800
|
2,083 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,066 kbps
|
|
Annabelle: Creation (2017)
|
|
|
|
2.75
|
1:49:43
|
1,920 x 800
|
1,829 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
1,761 kbps
|
|
Annette (2021)
|
|
|
|
11.21
|
2:20:23
|
3,840 x 2,072
|
10,258 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,174 kbps
|
|
Annie (1982)
|
|
|
|
|
39.85
|
2:07:24
|
3,840 x 1,604
|
42,420 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,360 kbps
|
|
Annihilation (2018)
|
|
|
|
|
8.11
|
1:55:00
|
3,840 x 1,604
|
7,605 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,486 kbps
|
|
Anon (2018)
|
|
|
|
1.84
|
1:39:49
|
1,920 x 1,036
|
1,852 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
785 kbps
|
|
Anonymous (2011)
|
|
|
|
3.26
|
2:09:58
|
1,920 x 816
|
2,137 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,457 kbps
|
|
Another 48 Hrs. (1990)
|
|
|
|
|
24.09
|
1:35:23
|
3,840 x 2,076
|
32,628 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,522 kbps
|
|
Another Earth (2011)
|
|
|
|
5.61
|
1:32:26
|
1,920 x 1,036
|
5,576 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,111 kbps
|
|
Another Me (2014)
|
|
|
|
1.83
|
1:24:27
|
1,920 x 1,036
|
1,921 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,174 kbps
|
|
Another Stakeout (1993)
|
|
|
|
5.02
|
1:48:37
|
1,920 x 816
|
5,299 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,311 kbps
|
|
Another Us (2021)
|
|
|
|
1.66
|
1:17:24
|
1,920 x 872
|
2,837 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Another Version of You (2019)
|
|
|
|
2.39
|
1:36:36
|
1,920 x 800
|
3,151 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ant-Man (2015)
|
|
|
|
|
|
5.68
|
1:57:06
|
3,840 x 2,076
|
5,439 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,503 kbps
|
|
Ant-Man and the Wasp (2018)
|
|
|
|
|
|
5.61
|
1:58:09
|
3,840 x 1,608
|
5,210 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,582 kbps
|
|
Ant-Man and the Wasp: Quantumania (2023)
|
|
|
|
|
6.72
|
2:04:29
|
3,840 x 1,608
|
6,148 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,568 kbps
|
|
Antarctica: On the Edge (2014)
|
|
|
|
17.06
|
36:45
|
3,840 x 2,160
|
62,991 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,428 kbps
|
|
Antebellum (2020)
|
|
|
|
|
13.73
|
1:45:59
|
3,840 x 1,608
|
17,188 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,349 kbps
|
|
Antibirth (2016)
|
|
|
|
3.37
|
1:34:16
|
1,920 x 1,036
|
4,150 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
967 kbps
|
|
Antichrist (2009)
|
|
|
|
3.32
|
1:48:50
|
1,920 x 816
|
2,209 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,157 kbps
|
|
Antitrust (2001)
|
|
|
|
4.52
|
1:48:32
|
1,920 x 822
|
2,464 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,497 kbps
|
|
Antiviral (2012)
|
|
|
|
2.53
|
1:47:42
|
1,920 x 1,036
|
2,283 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,080 kbps
|
|
Antony and Cleopatra (1972)
|
|
|
|
10.22
|
2:35:29
|
1,920 x 814
|
8,720 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
691 kbps
|
|
Antz (1998)
|
|
|
|
5.62
|
1:23:22
|
1,920 x 1,032
|
6,024 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,622 kbps
|
|
Any Given Sunday (1999)
|
|
|
|
9.78
|
2:37:11
|
1,920 x 800
|
7,433 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,472 kbps
|
|
ANYA (2019)
|
|
|
|
3.83
|
1:19:46
|
1,920 x 1,080
|
6,239 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Anyone but You (2023)
|
|
|
|
|
|
4.41
|
1:43:33
|
3,840 x 1,604
|
5,446 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Anything Else (2003)
|
|
|
|
4.56
|
1:48:24
|
1,920 x 1,080
|
5,677 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
340 kbps
|
|
ANИA (2019)
|
|
|
|
|
|
5.65
|
1:59:00
|
3,840 x 1,606
|
5,097 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,698 kbps
|
|
Apache (1954)
|
|
|
|
4.18
|
1:27:23
|
1,440 x 1,080
|
6,218 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
623 kbps
|
|
Ape vs. Monster (2021)
|
|
|
|
2.18
|
1:28:02
|
1,920 x 796
|
3,166 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Aperture Kids and the Mysterious Neighbor (2021)
|
|
|
|
2.44
|
1:26:55
|
1,920 x 860
|
3,791 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Apex (2021)
|
|
|
|
4.01
|
1:33:33
|
1,920 x 800
|
2,959 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,170 kbps
|
|
Apocalypse Now (1979)
|
|
|
|
|
27.14
|
3:16:04
|
3,840 x 1,604
|
17,949 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,862 kbps
|
|
Apocalypse of Ice (2020)
|
|
|
|
2.34
|
1:29:21
|
1,920 x 804
|
2,483 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,263 kbps
|
|
Apocalypto (2006)
|
|
|
|
|
12.89
|
2:18:21
|
1,920 x 1,036
|
9,513 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,820 kbps
|
|
Apollo 11 (2019)
|
|
|
|
|
16.11
|
1:32:54
|
3,840 x 1,744
|
21,987 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,828 kbps
|
|
Apollo 13 (1995)
|
|
|
|
|
29.04
|
2:19:51
|
3,840 x 1,632
|
24,823 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,908 kbps
|
|
Apollo 18 (2011)
|
|
|
|
5.66
|
1:26:32
|
1,920 x 1,080
|
6,454 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,908 kbps
|
|
Aporia (2023)
|
|
|
|
3.59
|
1:43:47
|
1,920 x 1,032
|
3,653 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,304 kbps
|
|
April Fool's Day (1986)
|
|
|
|
4.76
|
1:28:59
|
1,920 x 1,072
|
7,201 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
April in Autumn (2018)
|
|
|
|
2.94
|
1:33:31
|
1,920 x 1,036
|
4,115 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Apt Pupil (1998)
|
|
|
|
4.14
|
1:51:11
|
1,920 x 800
|
4,017 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,307 kbps
|
|
Aquaman (2018)
|
|
|
|
|
21.34
|
2:23:19
|
3,840 x 2,160
|
19,485 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,828 kbps
|
|
Aquaman and the Lost Kingdom (2023)
|
|
|
|
|
12.32
|
2:04:08
|
3,840 x 2,160
|
12,468 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,732 kbps
|
|
Aquamarine (2006)
|
|
|
|
10.41
|
1:43:32
|
1,920 x 1,036
|
11,388 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,010 kbps
|
|
Aquarium of the Dead (2021)
|
|
|
|
1.96
|
1:25:41
|
1,920 x 796
|
2,893 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Arachnophobia (1990)
|
|
|
|
|
6.93
|
1:49:32
|
1,920 x 1,040
|
5,983 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,063 kbps
|
|
Arbitrage (2012)
|
|
|
|
3.98
|
1:47:05
|
1,920 x 1,040
|
4,453 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
869 kbps
|
|
Arbor Demon (2017)
|
|
|
|
4.17
|
1:32:53
|
1,920 x 1,080
|
3,558 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,873 kbps
|
|
Archenemy (2020)
|
|
|
|
4.34
|
1:30:15
|
1,920 x 792
|
3,697 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,190 kbps
|
|
Archive (2020)
|
|
|
|
10.16
|
1:49:08
|
1,920 x 792
|
10,023 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,316 kbps
|
|
Arctic (2018)
|
|
|
|
2.61
|
1:38:06
|
1,920 x 800
|
1,090 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,722 kbps
|
|
Are We Done Yet? (2007)
|
|
|
|
6.32
|
1:32:03
|
1,920 x 1,036
|
9,193 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Are We There Yet? (2005)
|
|
|
|
8.32
|
1:34:41
|
1,920 x 1,040
|
12,390 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Are You Here (2014)
|
|
|
|
|
5.36
|
1:53:55
|
1,920 x 1,036
|
4,408 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,322 kbps
|
|
Are You There God? It's Me, Margaret. (2023)
|
|
|
|
|
4.82
|
1:46:07
|
3,840 x 2,068
|
4,339 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,151 kbps
|
|
Argo (2012)
|
|
|
|
|
8.42
|
2:00:22
|
1,920 x 800
|
6,863 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,149 kbps
|
|
Arizona (2018)
|
|
|
|
|
11.08
|
1:23:38
|
3,840 x 1,610
|
15,937 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,023 kbps
|
|
Arizona Dream (1993)
|
|
|
|
11.42
|
2:20:24
|
1,920 x 1,032
|
10,931 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
714 kbps
|
|
Arkansas (2020)
|
|
|
|
3.94
|
1:56:56
|
1,920 x 800
|
1,605 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,214 kbps
|
|
Arlington Road (1999)
|
|
|
|
3.86
|
1:57:45
|
1,920 x 800
|
3,417 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,272 kbps
|
|
Armageddon (1998)
|
|
|
|
11.08
|
2:30:50
|
1,920 x 800
|
6,356 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,162 kbps
|
|
Armageddon Tales (2021)
|
|
|
|
2.11
|
1:34:33
|
1,920 x 808
|
3,063 kbps
|
|
2.0
|
|
48 kHz
|
127 kbps
|
|
Armageddon Time (2022)
|
|
|
|
|
13.45
|
1:53:57
|
3,840 x 1,608
|
14,202 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,698 kbps
|
|
Armed and Dangerous (1986)
|
|
|
|
|
7.64
|
1:27:32
|
1,920 x 1,040
|
11,923 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
563 kbps
|
|
Army of Darkness (1992)
|
|
|
|
|
18.97
|
1:21:09
|
3,840 x 2,064
|
29,820 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,651 kbps
|
|
Army of One (2016)
|
|
|
|
3.78
|
1:32:39
|
1,920 x 800
|
2,853 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,991 kbps
|
|
Army of One (2020)
|
|
|
|
2.60
|
1:27:15
|
1,920 x 800
|
3,055 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,215 kbps
|
|
Army of the Dead (2021)
|
|
|
|
|
|
6.03
|
2:26:28
|
3,840 x 2,160
|
5,107 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Army of Thieves (2021)
|
|
|
|
|
|
7.13
|
2:07:59
|
3,840 x 1,920
|
7,188 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Around the Block (2014)
|
|
|
|
2.67
|
1:43:31
|
1,920 x 1,064
|
2,569 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,119 kbps
|
|
Arrival (2016)
|
|
|
|
|
|
|
5.32
|
1:56:32
|
3,840 x 1,606
|
4,980 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,551 kbps
|
|
Arsenal (2017)
|
|
|
|
4.38
|
1:37:06
|
1,920 x 804
|
3,392 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,065 kbps
|
|
Art School Confidential (2006)
|
|
|
|
3.86
|
1:42:37
|
1,920 x 1,040
|
4,615 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
768 kbps
|
|
Arthur (1981)
|
|
|
|
|
4.90
|
1:37:09
|
1,912 x 1,080
|
6,537 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
680 kbps
|
|
Arthur (2011)
|
|
|
|
10.51
|
1:49:59
|
1,920 x 1,080
|
10,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,766 kbps
|
|
Arthur 2: On the Rocks (1988)
|
|
|
|
|
13.15
|
1:52:52
|
1,908 x 1,080
|
15,365 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,313 kbps
|
|
Arthur Christmas (2011)
|
|
|
|
3.68
|
1:37:33
|
1,920 x 1,040
|
3,945 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,456 kbps
|
|
As Above, So Below (2014)
|
|
|
|
4.27
|
1:33:09
|
1,920 x 1,040
|
2,830 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,725 kbps
|
|
As Cool as I Am (2013)
|
|
|
|
4.14
|
1:32:18
|
1,920 x 1,040
|
3,435 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,988 kbps
|
|
As Good as It Gets (1997)
|
|
|
|
|
|
27.58
|
2:18:40
|
3,840 x 2,076
|
25,631 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,837 kbps
|
|
As They Made Us (2022)
|
|
|
|
12.62
|
1:39:33
|
3,600 x 2,160
|
17,511 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ashanti (1979)
|
|
|
|
13.29
|
1:57:28
|
1,920 x 814
|
15,999 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Ashby (2015)
|
|
|
|
4.20
|
1:43:00
|
1,920 x 800
|
2,896 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,934 kbps
|
|
Ashgrove (2022)
|
|
|
|
1.89
|
1:32:20
|
1,920 x 708
|
1,381 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,554 kbps
|
|
Asking for It (2020)
|
|
|
|
2.14
|
1:21:04
|
1,920 x 956
|
3,554 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Aspen Extreme (1993)
|
|
|
|
6.56
|
1:57:56
|
1,920 x 1,032
|
7,457 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
498 kbps
|
|
Assassin 33 A.D. (2020)
|
|
|
|
2.31
|
1:48:25
|
1,920 x 800
|
2,414 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Assassin Club (2023)
|
|
|
|
3.67
|
1:51:18
|
1,920 x 792
|
1,771 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,942 kbps
|
|
Assassin's Creed (2016)
|
|
|
|
|
|
7.92
|
1:55:31
|
3,840 x 1,608
|
6,670 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,143 kbps
|
|
Assassination (1987)
|
|
|
|
9.50
|
1:28:11
|
1,920 x 1,040
|
15,115 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
309 kbps
|
|
Assassination Nation (2018)
|
|
|
|
5.54
|
1:48:00
|
1,920 x 796
|
4,031 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,316 kbps
|
|
Assassination of a High School President (2010)
|
|
|
|
5.81
|
1:33:03
|
1,920 x 1,080
|
7,678 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,263 kbps
|
|
Assassinaut (2019)
|
|
|
|
2.01
|
1:22:56
|
1,920 x 808
|
2,113 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,356 kbps
|
|
Assassins (1995)
|
|
|
|
8.91
|
2:12:45
|
1,920 x 1,080
|
7,585 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,021 kbps
|
|
Assault on Precinct 13 (2005)
|
|
|
|
7.21
|
1:48:42
|
1,920 x 800
|
6,168 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,321 kbps
|
|
Assault on VA-33 (2021)
|
|
|
|
2.61
|
1:29:30
|
1,920 x 1,036
|
2,918 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,249 kbps
|
|
Assault on Wall Street (2013)
|
|
|
|
2.61
|
1:38:56
|
1,920 x 1,080
|
3,333 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Asteroid-a-Geddon (2020)
|
|
|
|
3.33
|
1:27:07
|
1,920 x 802
|
2,408 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,057 kbps
|
|
Astro Loco (2021)
|
|
|
|
1.74
|
1:36:10
|
1,920 x 816
|
2,392 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Astronaut (2019)
|
|
|
|
3.35
|
1:37:31
|
1,920 x 816
|
1,903 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,012 kbps
|
|
At Any Price (2013)
|
|
|
|
4.44
|
1:44:03
|
1,920 x 816
|
3,078 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,029 kbps
|
|
At Close Range (1986)
|
|
|
|
4.14
|
1:55:46
|
1,920 x 820
|
3,844 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,276 kbps
|
|
At First Sight (1999)
|
|
|
|
6.14
|
2:08:50
|
1,920 x 1,036
|
3,259 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,561 kbps
|
|
At Night Comes Wolves (2021)
|
|
|
|
0.84
|
1:16:33
|
1,920 x 788
|
1,447 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Atlantic City (1981)
|
|
|
|
5.23
|
1:43:42
|
1,912 x 1,080
|
6,501 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
711 kbps
|
|
Atlantis, the Lost Continent (1961)
|
|
|
|
3.86
|
1:30:09
|
1,920 x 1,076
|
5,894 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
229 kbps
|
|
Atlantis: Milo's Return (2003)
|
|
|
|
1.96
|
1:20:25
|
1,800 x 1,080
|
2,086 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,406 kbps
|
|
Atlantis: The Lost Empire (2001)
|
|
|
|
4.39
|
1:35:44
|
1,920 x 800
|
3,169 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,393 kbps
|
|
Atomic Blonde (2017)
|
|
|
|
|
11.00
|
1:54:45
|
3,840 x 1,608
|
10,071 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,652 kbps
|
|
Atonement (2008)
|
|
|
|
|
8.03
|
2:02:49
|
1,920 x 1,040
|
6,125 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,232 kbps
|
|
Attack of the 50 Foot CamGirl (2022)
|
|
|
|
1.63
|
1:02:04
|
1,920 x 1,080
|
3,303 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Attack of the 50 Foot Woman (1958)
|
|
|
|
7.12
|
1:05:42
|
1,920 x 1,036
|
14,889 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
624 kbps
|
|
Attack of the Killer Tomatoes! (1978)
|
|
|
|
|
4.43
|
1:23:13
|
1,920 x 1,036
|
7,035 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
590 kbps
|
|
Attack of the Unknown (2020)
|
|
|
|
2.23
|
1:43:49
|
1,920 x 808
|
2,098 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
974 kbps
|
|
Attrition (2018)
|
|
|
|
2.04
|
1:25:10
|
1,920 x 816
|
2,165 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,257 kbps
|
|
August: Osage County (2014)
|
|
|
|
3.81
|
2:00:49
|
1,920 x 804
|
3,784 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
728 kbps
|
|
Auntie Lee's Meat Pies (1992)
|
|
|
|
15.79
|
1:40:29
|
1,920 x 1,036
|
20,936 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,553 kbps
|
|
Austin Powers in Goldmember (2002)
|
|
|
|
|
4.00
|
1:34:32
|
1,920 x 816
|
4,620 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,438 kbps
|
|
Austin Powers: International Man of Mystery (1997)
|
|
|
|
|
3.46
|
1:34:36
|
1,920 x 822
|
3,742 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,490 kbps
|
|
Austin Powers: The Spy Who Shagged Me (1999)
|
|
|
|
|
6.90
|
1:35:03
|
1,920 x 816
|
8,797 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,602 kbps
|
|
Automation (2019)
|
|
|
|
3.02
|
1:31:33
|
1,920 x 808
|
4,337 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Autumn in New York (2000)
|
|
|
|
7.70
|
1:46:15
|
1,920 x 1,040
|
6,849 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,521 kbps
|
|
Ava (2020)
|
|
|
|
5.46
|
1:36:50
|
3,840 x 1,592
|
4,884 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,189 kbps
|
|
Avatar (2009)
|
|
|
|
|
|
66.44
|
2:42:02
|
3,840 x 2,160
|
56,902 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,800 kbps
|
|
Avatar: The Way of Water (2022)
|
|
|
|
|
21.61
|
3:12:34
|
3,840 x 2,076
|
14,338 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,356 kbps
|
|
Avengement (2019)
|
|
|
|
|
6.76
|
1:27:44
|
3,840 x 1,632
|
7,745 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,284 kbps
|
|
Avengers: Age of Ultron (2015)
|
|
|
|
|
|
7.05
|
2:21:18
|
3,840 x 1,604
|
5,739 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,401 kbps
|
|
Avengers: Endgame (2019)
|
|
|
|
|
|
8.41
|
3:01:12
|
3,840 x 1,608
|
5,083 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,558 kbps
|
|
Avengers: Infinity War (2018)
|
|
|
|
|
|
|
12.41
|
2:29:22
|
3,840 x 1,608
|
10,240 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,646 kbps
|
|
Avenging Angel (1985)
|
|
|
|
9.59
|
1:33:50
|
1,920 x 1,036
|
13,838 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
792 kbps
|
|
Avenging Force (1986)
|
|
|
|
11.77
|
1:43:35
|
1,920 x 1,040
|
15,579 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
680 kbps
|
|
Average Joe (2021)
|
|
|
|
1.56
|
1:27:23
|
1,920 x 808
|
2,362 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Awake (2007)
|
|
|
|
5.71
|
1:24:05
|
1,920 x 812
|
6,705 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,014 kbps
|
|
Awake (2021)
|
|
|
|
|
3.69
|
1:35:44
|
3,840 x 1,920
|
4,732 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Awaken (2015)
|
|
|
|
3.49
|
1:28:33
|
1,920 x 1,080
|
5,189 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Awaken (2018)
|
|
|
|
|
|
49.48
|
1:22:43
|
3,840 x 2,160
|
81,959 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,679 kbps
|
|
Awakenings (1991)
|
|
|
|
|
7.36
|
2:00:39
|
1,920 x 1,040
|
7,525 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,203 kbps
|
|
Away We Go (2009)
|
|
|
|
3.48
|
1:37:45
|
1,920 x 816
|
1,960 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,132 kbps
|
|
Axcellerator (2020)
|
|
|
|
3.90
|
1:31:39
|
1,920 x 1,080
|
5,457 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
B*A*P*S (1997)
|
|
|
|
5.39
|
1:32:11
|
1,896 x 1,080
|
8,152 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
BAB (2020)
|
|
|
|
3.89
|
1:38:28
|
1,920 x 956
|
5,016 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Babe (1995)
|
|
|
|
5.63
|
1:31:56
|
1,920 x 1,040
|
7,393 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,378 kbps
|
|
Babe: Pig in the City (1998)
|
|
|
|
4.88
|
1:35:44
|
1,920 x 1,040
|
3,801 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,499 kbps
|
|
Babel (2006)
|
|
|
|
|
14.63
|
2:23:13
|
1,920 x 1,040
|
13,410 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,209 kbps
|
|
Babes in Toyland (1986)
|
|
|
|
5.14
|
1:35:46
|
1,432 x 1,080
|
7,455 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Baby Boom (1987)
|
|
|
|
9.99
|
1:50:18
|
1,920 x 1,038
|
11,672 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,292 kbps
|
|
Baby Driver (2017)
|
|
|
|
|
|
16.58
|
1:52:40
|
3,840 x 1,606
|
18,185 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,879 kbps
|
|
Baby Mama (2008)
|
|
|
|
|
6.31
|
1:38:59
|
1,920 x 1,040
|
6,043 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,079 kbps
|
|
Baby Money (2021)
|
|
|
|
1.05
|
1:33:14
|
1,920 x 800
|
1,389 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Baby Ruby (2023)
|
|
|
|
2.17
|
1:33:40
|
1,920 x 804
|
2,428 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
885 kbps
|
|
Baby's Day Out (1994)
|
|
|
|
4.82
|
1:38:52
|
1,920 x 1,040
|
6,724 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Baby: Secret of the Lost Legend (1985)
|
|
|
|
4.15
|
1:32:43
|
1,920 x 816
|
5,056 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,353 kbps
|
|
Babylon (2022)
|
|
|
|
|
|
23.92
|
3:08:55
|
3,840 x 1,608
|
15,860 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,263 kbps
|
|
Babylon A.D. (2008)
|
|
|
|
|
6.42
|
1:40:58
|
1,920 x 816
|
5,764 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,337 kbps
|
|
Babysplitters (2020)
|
|
|
|
2.83
|
2:00:11
|
1,920 x 800
|
2,981 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Bachelor Party (1984)
|
|
|
|
17.80
|
1:45:29
|
1,920 x 1,040
|
23,460 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
693 kbps
|
|
Back 2 Zero (2019)
|
|
|
|
1.24
|
1:29:24
|
1,920 x 1,072
|
1,599 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Back Roads (1981)
|
|
|
|
13.62
|
1:34:46
|
1,920 x 812
|
20,298 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
280 kbps
|
|
Back Roads (2018)
|
|
|
|
1.50
|
1:41:08
|
1,920 x 1,040
|
1,736 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Back to School (1986)
|
|
|
|
15.11
|
1:36:37
|
1,920 x 1,032
|
19,161 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,234 kbps
|
|
Back to the Future (1985)
|
|
|
|
|
|
21.22
|
1:56:02
|
3,840 x 2,076
|
23,438 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,733 kbps
|
|
Back to the Future Part II (1989)
|
|
|
|
|
|
15.86
|
1:48:03
|
3,840 x 2,076
|
18,100 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,903 kbps
|
|
Back to the Future Part III (1990)
|
|
|
|
|
|
16.79
|
1:58:18
|
3,840 x 2,076
|
17,336 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,975 kbps
|
|
Backdraft (1991)
|
|
|
|
|
|
27.82
|
2:17:12
|
3,840 x 1,632
|
27,048 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,976 kbps
|
|
Bad Actress (2017)
|
|
|
|
1.97
|
1:12:33
|
1,920 x 798
|
3,668 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bad Behind Bars: Jodi Arias (2023)
|
|
|
|
1.00
|
1:26:29
|
1,920 x 952
|
1,421 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bad Biology (2008)
|
|
|
|
|
15.01
|
1:24:13
|
3,840 x 2,160
|
24,226 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,291 kbps
|
|
Bad Boys (1995)
|
|
|
|
|
|
39.78
|
1:58:50
|
3,840 x 2,076
|
46,393 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,520 kbps
|
|
Bad Boys for Life (2020)
|
|
|
|
|
|
|
9.59
|
2:03:59
|
3,840 x 1,604
|
6,886 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,176 kbps
|
|
Bad Boys II (2003)
|
|
|
|
|
|
|
37.60
|
2:26:46
|
3,840 x 1,606
|
33,167 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,505 kbps
|
|
Bad Company (1995)
|
|
|
|
1.81
|
1:48:27
|
1,920 x 802
|
1,876 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
506 kbps
|
|
Bad Company (2002)
|
|
|
|
4.48
|
1:56:49
|
1,920 x 1,080
|
4,849 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bad Country (2022)
|
|
|
|
2.72
|
1:44:22
|
1,920 x 1,072
|
2,379 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,354 kbps
|
|
Bad Day for the Cut (2017)
|
|
|
|
1.65
|
1:39:08
|
1,920 x 800
|
961 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
Bad Education (2020)
|
|
|
|
5.63
|
1:48:38
|
1,920 x 810
|
6,784 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bad Girl Island (2007)
|
|
|
|
4.00
|
1:33:17
|
1,920 x 1,080
|
5,918 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Bad Girls (1994)
|
|
|
|
5.77
|
1:40:10
|
1,920 x 1,042
|
5,069 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,180 kbps
|
|
Bad Influence (1990)
|
|
|
|
6.41
|
1:39:52
|
1,920 x 1,040
|
8,623 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
565 kbps
|
|
Bad Kids of Crestview Academy (2017)
|
|
|
|
2.42
|
1:41:15
|
1,916 x 1,080
|
3,032 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Bad Lieutenant: Port of Call New Orleans (2009)
|
|
|
|
6.71
|
2:01:53
|
1,920 x 1,040
|
4,383 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,502 kbps
|
|
Bad Match (2017)
|
|
|
|
0.88
|
1:22:46
|
1,920 x 800
|
1,139 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Bad Moms (2016)
|
|
|
|
5.32
|
1:40:57
|
1,920 x 800
|
4,181 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,356 kbps
|
|
Bad News Bears (2005)
|
|
|
|
|
8.80
|
1:53:14
|
1,920 x 1,036
|
8,028 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,093 kbps
|
|
Bad Samaritan (2018)
|
|
|
|
1.92
|
1:50:11
|
1,920 x 800
|
1,473 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,017 kbps
|
|
Bad Santa (2003)
|
|
|
|
|
3.95
|
1:39:16
|
1,920 x 1,036
|
4,273 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,415 kbps
|
|
Bad Santa 2 (2016)
|
|
|
|
|
10.91
|
1:34:48
|
3,840 x 2,076
|
13,535 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,931 kbps
|
|
Bad Teacher (2011)
|
|
|
|
|
5.86
|
1:37:38
|
1,920 x 1,040
|
6,769 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,821 kbps
|
|
Bad Therapy (2020)
|
|
|
|
3.09
|
1:37:12
|
1,920 x 804
|
1,887 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,667 kbps
|
|
Bad Times at the El Royale (2018)
|
|
|
|
|
12.58
|
2:21:38
|
3,840 x 1,608
|
10,112 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Bad Timing: A Sensual Obsession (1980)
|
|
|
|
8.40
|
2:02:09
|
1,920 x 812
|
9,564 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
278 kbps
|
|
Bad Trip (2021)
|
|
|
|
10.42
|
1:25:22
|
1,920 x 1,040
|
16,840 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bad Turn Worse (2014)
|
|
|
|
2.86
|
1:32:22
|
1,920 x 800
|
1,416 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,018 kbps
|
|
Bad Words (2014)
|
|
|
|
|
4.29
|
1:29:03
|
1,920 x 800
|
3,874 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,028 kbps
|
|
Badlands (1974)
|
|
|
|
8.49
|
1:33:58
|
1,920 x 1,036
|
12,289 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
644 kbps
|
|
Bagdad Café (1988)
|
|
|
|
|
9.75
|
1:48:39
|
1,788 x 1,080
|
11,594 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,255 kbps
|
|
Bait (2000)
|
|
|
|
2.20
|
1:59:10
|
1,920 x 802
|
2,263 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Bait (2012)
|
|
|
|
5.87
|
1:33:18
|
1,920 x 1,072
|
4,985 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,024 kbps
|
|
Baja (1995)
|
|
|
|
19.88
|
1:31:52
|
1,920 x 1,038
|
30,316 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
658 kbps
|
|
Baked in Brooklyn (2016)
|
|
|
|
4.61
|
1:26:25
|
1,920 x 1,036
|
6,199 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,432 kbps
|
|
Ballast (2008)
|
|
|
|
4.59
|
1:36:15
|
1,920 x 792
|
6,134 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
687 kbps
|
|
Balls of Fury (2007)
|
|
|
|
8.47
|
1:30:18
|
1,920 x 1,040
|
12,028 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,404 kbps
|
|
Bambi (1942)
|
|
|
|
2.75
|
1:09:50
|
1,454 x 1,080
|
2,089 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,546 kbps
|
|
Bambi II (2006)
|
|
|
|
2.66
|
1:12:21
|
1,912 x 1,080
|
1,834 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,419 kbps
|
|
Band Aid (2017)
|
|
|
|
2.54
|
1:33:45
|
1,920 x 802
|
2,963 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
918 kbps
|
|
Bandidas (2006)
|
|
|
|
5.33
|
1:32:40
|
1,920 x 812
|
4,673 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,561 kbps
|
|
Bandit (2022)
|
|
|
|
8.32
|
2:05:55
|
1,920 x 804
|
8,320 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,138 kbps
|
|
Bandits (2001)
|
|
|
|
4.76
|
2:03:01
|
1,920 x 818
|
4,370 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,165 kbps
|
|
Bang! Bang! (2020)
|
|
|
|
1.56
|
1:11:25
|
1,920 x 816
|
2,484 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bangkok Dangerous (2008)
|
|
|
|
12.13
|
1:39:13
|
1,920 x 1,080
|
12,905 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,594 kbps
|
|
Bank Shot (1974)
|
|
|
|
4.18
|
1:23:28
|
1,920 x 816
|
6,822 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
351 kbps
|
|
Bank$tas (2013)
|
|
|
|
1.66
|
1:20:08
|
1,920 x 812
|
2,319 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Bar Fight! (2022)
|
|
|
|
2.58
|
1:24:16
|
1,920 x 1,040
|
3,743 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Baraka (1993)
|
|
|
|
9.77
|
1:37:49
|
1,920 x 872
|
6,780 kbps
|
|
5.1
|
|
24 bits / 96 kHz
|
7,522 kbps
|
|
Barb and Star Go to Vista Del Mar (2021)
|
|
|
|
|
7.00
|
1:46:58
|
3,840 x 1,604
|
6,382 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,977 kbps
|
|
Barb Wire (1996)
|
|
|
|
|
25.97
|
1:38:21
|
3,840 x 2,076
|
36,347 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,451 kbps
|
|
Barbarella (1968)
|
|
|
|
8.78
|
1:38:01
|
1,920 x 816
|
12,121 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
702 kbps
|
|
Barbarian (2022)
|
|
|
|
|
2.99
|
1:42:37
|
3,840 x 2,074
|
3,532 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Barbie (2023)
|
|
|
|
|
5.48
|
1:54:04
|
3,840 x 1,920
|
5,325 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,547 kbps
|
|
Barefoot (2014)
|
|
|
|
4.73
|
1:29:20
|
1,920 x 1,080
|
5,989 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,594 kbps
|
|
Barely Lethal (2015)
|
|
|
|
|
3.99
|
1:38:47
|
1,920 x 1,040
|
2,434 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,351 kbps
|
|
Barton Fink (1991)
|
|
|
|
12.88
|
1:56:57
|
1,920 x 1,040
|
14,444 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,315 kbps
|
|
BASEketball (1998)
|
|
|
|
|
10.69
|
1:43:11
|
1,920 x 1,036
|
11,023 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,813 kbps
|
|
Basic (2003)
|
|
|
|
3.27
|
1:38:37
|
1,920 x 800
|
3,105 kbps
|
|
6.1
|
|
16 bits / 48 kHz
|
1,648 kbps
|
|
Basic Instinct (1992)
|
|
|
|
|
24.20
|
2:08:13
|
3,840 x 1,604
|
24,420 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,592 kbps
|
|
Basic Instinct 2 (2006)
|
|
|
|
6.98
|
1:55:47
|
1,912 x 1,080
|
5,581 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,050 kbps
|
|
Bastille Day (2016)
|
|
|
|
3.82
|
1:31:49
|
1,920 x 792
|
3,046 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,902 kbps
|
|
Bathory: Countess of Blood (2008)
|
|
|
|
8.55
|
2:20:38
|
1,920 x 868
|
7,411 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,295 kbps
|
|
Batman & Robin (1997)
|
|
|
|
|
|
21.06
|
2:04:52
|
3,840 x 2,076
|
22,234 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,905 kbps
|
|
Batman (1966)
|
|
|
|
6.04
|
1:44:54
|
1,920 x 1,042
|
7,349 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
892 kbps
|
|
Batman (1989)
|
|
|
|
|
|
19.36
|
2:06:18
|
3,840 x 2,076
|
20,260 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,676 kbps
|
|
Batman and Harley Quinn (2017)
|
|
|
|
|
2.12
|
1:14:12
|
3,840 x 2,156
|
2,779 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,298 kbps
|
|
Batman and Superman: Battle of the Super Sons (2022)
|
|
|
|
|
2.51
|
1:19:28
|
3,840 x 2,156
|
3,072 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,439 kbps
|
|
Batman Begins (2005)
|
|
|
|
|
|
17.08
|
2:20:04
|
3,840 x 1,600
|
13,647 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,803 kbps
|
|
Batman Forever (1995)
|
|
|
|
|
|
18.75
|
2:01:36
|
3,840 x 2,076
|
20,049 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,025 kbps
|
|
Batman Returns (1992)
|
|
|
|
|
|
14.49
|
2:06:27
|
3,840 x 2,076
|
14,649 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,748 kbps
|
|
Batman v Superman: Dawn of Justice (2016)
|
|
|
|
|
|
26.73
|
3:02:34
|
3,840 x 1,600
|
17,973 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,989 kbps
|
|
Batman vs. Robin (2015)
|
|
|
|
2.48
|
1:19:59
|
1,920 x 1,076
|
1,061 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,375 kbps
|
|
Batman: Assault on Arkham (2014)
|
|
|
|
|
3.55
|
1:15:55
|
3,840 x 2,156
|
2,856 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,835 kbps
|
|
Batman: Bad Blood (2016)
|
|
|
|
2.49
|
1:12:41
|
1,920 x 1,076
|
1,312 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,597 kbps
|
|
Batman: Gotham by Gaslight (2018)
|
|
|
|
|
1.86
|
1:17:04
|
3,840 x 2,156
|
2,068 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,380 kbps
|
|
Batman: Gotham Knight (2008)
|
|
|
|
2.22
|
1:16:00
|
1,920 x 1,076
|
3,535 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Batman: Hush (2019)
|
|
|
|
|
2.51
|
1:22:01
|
3,840 x 2,156
|
2,949 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,429 kbps
|
|
Batman: Soul of the Dragon (2021)
|
|
|
|
|
7.51
|
1:22:41
|
3,840 x 2,156
|
11,519 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,487 kbps
|
|
Batman: The Dark Knight Returns – Part 1 (2012)
|
|
|
|
2.51
|
1:16:22
|
1,920 x 1,076
|
1,591 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,104 kbps
|
|
Batman: The Dark Knight Returns – Part 2 (2013)
|
|
|
|
2.83
|
1:15:49
|
1,920 x 1,076
|
2,048 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,286 kbps
|
|
Batman: The Doom That Came to Gotham (2023)
|
|
|
|
|
8.08
|
1:30:05
|
3,840 x 2,156
|
11,477 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,366 kbps
|
|
Batman: The Killing Joke (2016)
|
|
|
|
|
4.64
|
1:16:38
|
3,840 x 2,156
|
7,428 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,227 kbps
|
|
Batman: The Long Halloween (2022)
|
|
|
|
|
5.16
|
2:48:18
|
3,840 x 2,156
|
3,346 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,040 kbps
|
|
Batman: Under the Red Hood (2010)
|
|
|
|
1.79
|
1:15:50
|
1,920 x 1,076
|
2,084 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,297 kbps
|
|
Batman: Year One (2011)
|
|
|
|
|
2.77
|
1:04:06
|
3,840 x 2,156
|
3,008 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,170 kbps
|
|
Battalion (2018)
|
|
|
|
3.32
|
1:33:40
|
1,920 x 800
|
4,003 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,068 kbps
|
|
Battle Beyond the Stars (1980)
|
|
|
|
6.25
|
1:42:38
|
1,920 x 1,074
|
5,429 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,288 kbps
|
|
Battle Drone (2018)
|
|
|
|
1.83
|
1:33:49
|
1,920 x 804
|
1,700 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,090 kbps
|
|
Battle for the Lost Planet (1986)
|
|
|
|
18.23
|
1:40:40
|
1,920 x 1,036
|
24,751 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,172 kbps
|
|
Battle for the Planet of the Apes (1973)
|
|
|
|
5.45
|
1:36:26
|
1,920 x 812
|
5,477 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,613 kbps
|
|
Battle in Seattle (2008)
|
|
|
|
8.52
|
1:39:07
|
1,920 x 1,036
|
10,969 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,342 kbps
|
|
Battle of the Sexes (2017)
|
|
|
|
|
6.09
|
2:01:39
|
1,920 x 804
|
3,258 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,909 kbps
|
|
Battle: Los Angeles (2011)
|
|
|
|
5.71
|
1:56:11
|
1,920 x 800
|
5,231 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,802 kbps
|
|
Battlefield Earth (2000)
|
|
|
|
4.65
|
1:59:02
|
1,904 x 1,080
|
4,276 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,309 kbps
|
|
Battleship (2012)
|
|
|
|
|
|
18.91
|
2:11:20
|
3,840 x 1,600
|
15,870 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,732 kbps
|
|
Bayou Caviar (2018)
|
|
|
|
4.88
|
1:51:03
|
1,920 x 804
|
3,586 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,701 kbps
|
|
Baywatch (2017)
|
|
|
|
|
|
11.30
|
2:01:23
|
3,840 x 1,608
|
10,498 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,830 kbps
|
|
Be Cool (2005)
|
|
|
|
9.41
|
1:59:37
|
1,920 x 800
|
7,634 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,623 kbps
|
|
Be Kind Rewind (2008)
|
|
|
|
|
5.16
|
1:41:43
|
1,920 x 816
|
3,313 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,942 kbps
|
|
Be My Valentine, Charlie Brown (1975)
|
|
|
|
|
1.01
|
25:13
|
2,880 x 2,160
|
5,342 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Beach Babes from Beyond (1993)
|
|
|
|
6.40
|
1:19:44
|
1,920 x 1,080
|
11,050 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Beaches (1989)
|
|
|
|
11.08
|
2:03:24
|
1,920 x 1,040
|
9,382 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,464 kbps
|
|
Bean (1997)
|
|
|
|
7.66
|
1:29:17
|
1,920 x 1,040
|
8,730 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,558 kbps
|
|
Beast (2017)
|
|
|
|
2.11
|
1:46:58
|
1,920 x 800
|
1,824 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,001 kbps
|
|
Beast of Burden (2018)
|
|
|
|
1.51
|
1:29:42
|
1,920 x 800
|
1,378 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,028 kbps
|
|
Beastly (2011)
|
|
|
|
2.48
|
1:26:09
|
1,920 x 816
|
2,783 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,342 kbps
|
|
Beasts of the Southern Wild (2012)
|
|
|
|
12.80
|
1:33:20
|
1,920 x 1,040
|
16,577 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,060 kbps
|
|
Beau Is Afraid (2023)
|
|
|
|
|
7.58
|
2:59:27
|
3,840 x 2,072
|
3,330 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,715 kbps
|
|
Beautiful & Twisted (2015)
|
|
|
|
1.70
|
1:26:30
|
1,920 x 1,076
|
2,433 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Beautiful Creatures (2013)
|
|
|
|
5.47
|
2:04:02
|
1,920 x 800
|
3,312 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,000 kbps
|
|
Beautiful Disaster (2023)
|
|
|
|
4.01
|
1:36:11
|
1,920 x 800
|
3,011 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,962 kbps
|
|
Beauty and the Beast (1991)
|
|
|
|
|
6.74
|
1:24:54
|
3,840 x 2,160
|
8,485 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,867 kbps
|
|
Beauty and the Beast (2017)
|
|
|
|
|
6.56
|
2:09:17
|
3,840 x 1,604
|
5,473 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,785 kbps
|
|
Beauty Is Skin Deep (2021)
|
|
|
|
1.18
|
1:22:40
|
1,920 x 816
|
1,825 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Beavis and Butt-Head Do America (1996)
|
|
|
|
|
8.96
|
1:20:52
|
1,920 x 1,080
|
14,451 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,406 kbps
|
|
Beavis and Butt-Head Do the Universe (2022)
|
|
|
|
|
2.63
|
1:26:01
|
1,920 x 1,080
|
3,727 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beckett (2021)
|
|
|
|
|
3.72
|
1:48:17
|
1,920 x 1,036
|
4,256 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beckman (2020)
|
|
|
|
2.13
|
1:36:50
|
1,920 x 808
|
1,987 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,155 kbps
|
|
Becky (2020)
|
|
|
|
3.24
|
1:33:34
|
1,920 x 796
|
2,072 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,880 kbps
|
|
Bedazzled (1967)
|
|
|
|
|
5.85
|
1:43:46
|
1,920 x 808
|
7,608 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
461 kbps
|
|
Bedazzled (2000)
|
|
|
|
|
4.92
|
1:33:09
|
1,920 x 816
|
5,956 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,605 kbps
|
|
Bedknobs and Broomsticks (1971)
|
|
|
|
17.92
|
1:57:09
|
1,796 x 1,080
|
19,960 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,933 kbps
|
|
Bedtime Stories (2008)
|
|
|
|
|
5.43
|
1:39:14
|
1,920 x 816
|
4,489 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,339 kbps
|
|
Beerfest (2006)
|
|
|
|
|
4.39
|
1:56:27
|
1,920 x 796
|
4,761 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beethoven (1992)
|
|
|
|
|
4.51
|
1:27:01
|
1,920 x 1,040
|
6,083 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,329 kbps
|
|
Beethoven's 2nd (1993)
|
|
|
|
4.54
|
1:28:26
|
1,920 x 1,040
|
6,000 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,353 kbps
|
|
Beethoven's 3rd (2000)
|
|
|
|
3.69
|
1:38:15
|
1,920 x 1,040
|
4,735 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beethoven's 4th (2001)
|
|
|
|
4.10
|
1:33:39
|
1,920 x 1,036
|
5,958 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
315 kbps
|
|
Beethoven's 5th (2003)
|
|
|
|
3.31
|
1:30:56
|
1,920 x 1,040
|
4,570 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beetlejuice (1988)
|
|
|
|
|
15.90
|
1:32:05
|
3,840 x 2,076
|
23,351 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,359 kbps
|
|
Before and After (1996)
|
|
|
|
6.81
|
1:47:38
|
1,920 x 1,036
|
5,744 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,307 kbps
|
|
Before I Fall (2017)
|
|
|
|
2.81
|
1:38:48
|
1,920 x 800
|
1,157 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,906 kbps
|
|
Before I Go to Sleep (2014)
|
|
|
|
5.23
|
1:31:52
|
1,920 x 816
|
5,541 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,616 kbps
|
|
Before Midnight (2013)
|
|
|
|
6.84
|
1:48:55
|
1,920 x 1,036
|
6,341 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,651 kbps
|
|
Before Sunrise (1995)
|
|
|
|
5.47
|
1:41:05
|
1,920 x 1,036
|
6,365 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,386 kbps
|
|
Before Sunset (2004)
|
|
|
|
5.13
|
1:20:32
|
1,920 x 1,036
|
6,244 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,868 kbps
|
|
Before the Devil Knows You're Dead (2007)
|
|
|
|
10.64
|
1:56:43
|
1,920 x 1,040
|
12,167 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
881 kbps
|
|
Before the Fire (2021)
|
|
|
|
2.92
|
1:30:43
|
1,920 x 808
|
3,549 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,062 kbps
|
|
Before We Go (2015)
|
|
|
|
6.24
|
1:35:24
|
1,920 x 1,032
|
6,429 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,939 kbps
|
|
Before You Know It (2019)
|
|
|
|
2.47
|
1:39:12
|
1,920 x 1,038
|
3,183 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Before/During/After (2020)
|
|
|
|
2.50
|
1:22:38
|
1,920 x 800
|
4,133 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Begin Again (2014)
|
|
|
|
5.44
|
1:44:25
|
1,920 x 1,036
|
4,078 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,384 kbps
|
|
Beginners (2011)
|
|
|
|
2.00
|
1:43:59
|
1,920 x 1,040
|
1,738 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,007 kbps
|
|
Behaving Badly (2014)
|
|
|
|
4.43
|
1:36:53
|
1,920 x 1,036
|
5,517 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,026 kbps
|
|
Behind Enemy Lines (2001)
|
|
|
|
|
9.02
|
1:45:49
|
1,920 x 816
|
8,524 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,672 kbps
|
|
Behind the Curve (2018)
|
|
|
|
|
|
2.95
|
1:35:37
|
1,920 x 1,080
|
4,287 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Being Dead (2021)
|
|
|
|
2.78
|
1:34:37
|
1,920 x 816
|
4,013 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Being Flynn (2012)
|
|
|
|
3.80
|
1:41:44
|
1,920 x 804
|
2,560 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,791 kbps
|
|
Being John Malkovich (1999)
|
|
|
|
6.02
|
1:53:19
|
1,920 x 1,036
|
4,016 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,593 kbps
|
|
Being the Ricardos (2021)
|
|
|
|
|
7.23
|
2:12:08
|
3,840 x 1,600
|
7,192 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beirut (2018)
|
|
|
|
1.34
|
1:49:28
|
1,920 x 800
|
1,370 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Bell, Book and Candle (1958)
|
|
|
|
16.23
|
1:42:27
|
1,920 x 1,036
|
22,131 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
545 kbps
|
|
Belle (2014)
|
|
|
|
3.16
|
1:43:50
|
1,920 x 800
|
1,618 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,742 kbps
|
|
Belly (1998)
|
|
|
|
|
16.81
|
1:36:03
|
3,840 x 2,076
|
23,505 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,541 kbps
|
|
Belly of the Beast (2003)
|
|
|
|
7.76
|
1:31:17
|
1,892 x 1,080
|
10,480 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,688 kbps
|
|
Below (2002)
|
|
|
|
5.67
|
1:45:19
|
1,920 x 1,072
|
6,788 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
924 kbps
|
|
Below the Fold (2021)
|
|
|
|
1.42
|
1:32:28
|
1,920 x 954
|
1,806 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ben Is Back (2018)
|
|
|
|
3.07
|
1:43:18
|
1,920 x 804
|
1,721 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,537 kbps
|
|
Benchwarmers 2: Breaking Balls (2019)
|
|
|
|
3.38
|
1:30:21
|
1,920 x 1,080
|
4,715 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bend It Like Beckham (2002)
|
|
|
|
10.69
|
1:52:04
|
1,916 x 1,080
|
10,312 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,340 kbps
|
|
Beneath a Sea of Lights (2020)
|
|
|
|
1.71
|
1:32:46
|
1,920 x 800
|
2,003 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beneath the Planet of the Apes (1970)
|
|
|
|
7.81
|
1:34:42
|
1,920 x 812
|
8,802 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
Benji's Very Own Christmas Story (1978)
|
|
|
|
1.88
|
24:55
|
1,916 x 1,040
|
10,224 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
580 kbps
|
|
Benny & Joon (1993)
|
|
|
|
6.40
|
1:38:34
|
1,920 x 1,038
|
8,023 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,265 kbps
|
|
Bent (2018)
|
|
|
|
3.75
|
1:36:39
|
1,920 x 800
|
2,216 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,345 kbps
|
|
Bereavement (2010)
|
|
|
|
7.49
|
1:49:35
|
1,920 x 800
|
5,922 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,860 kbps
|
|
Beretta's Island (1994)
|
|
|
|
4.57
|
1:36:47
|
1,440 x 1,080
|
6,183 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
572 kbps
|
|
Bergman Island (2021)
|
|
|
|
3.43
|
1:52:55
|
1,920 x 800
|
3,713 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bernie (2012)
|
|
|
|
3.51
|
1:39:40
|
1,920 x 1,040
|
3,980 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,061 kbps
|
|
Berth Marks (1929)
|
|
|
|
1.29
|
20:22
|
1,418 x 1,080
|
8,894 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
195 kbps
|
|
Best Defense (1984)
|
|
|
|
5.87
|
1:33:58
|
1,920 x 1,080
|
8,724 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Best Laid Plans (1999)
|
|
|
|
4.72
|
1:33:18
|
1,920 x 1,024
|
6,095 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,151 kbps
|
|
Best Men (1997)
|
|
|
|
5.79
|
1:29:30
|
1,920 x 816
|
8,622 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Best Seller (1987)
|
|
|
|
6.04
|
1:35:26
|
1,920 x 1,040
|
8,304 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
753 kbps
|
|
Best Sellers (2021)
|
|
|
|
|
5.71
|
1:42:20
|
3,840 x 1,600
|
7,601 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Beta Test (2016)
|
|
|
|
2.89
|
1:28:06
|
1,920 x 812
|
4,304 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Betrayed (1988)
|
|
|
|
11.90
|
2:06:36
|
1,920 x 1,036
|
12,165 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,292 kbps
|
|
Better Living Through Chemistry (2014)
|
|
|
|
3.42
|
1:31:43
|
1,920 x 800
|
2,551 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,789 kbps
|
|
Better Off Dead (1985)
|
|
|
|
10.17
|
1:36:57
|
1,920 x 1,080
|
11,493 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,521 kbps
|
|
Better Watch Out (2016)
|
|
|
|
2.69
|
1:28:50
|
1,920 x 800
|
3,035 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,306 kbps
|
|
Between Two Ferns: The Movie (2019)
|
|
|
|
|
6.71
|
1:22:46
|
3,840 x 1,920
|
10,957 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Between Waves (2021)
|
|
|
|
2.16
|
1:40:37
|
1,920 x 802
|
2,683 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Between Worlds (2018)
|
|
|
|
2.85
|
1:30:18
|
1,920 x 1,036
|
3,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,134 kbps
|
|
Beverly Hills Cop (1984)
|
|
|
|
|
|
35.25
|
1:45:05
|
3,840 x 2,160
|
44,654 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,364 kbps
|
|
Beverly Hills Cop II (1987)
|
|
|
|
|
|
34.53
|
1:42:59
|
3,840 x 1,632
|
44,651 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,347 kbps
|
|
Beverly Hills Cop III (1994)
|
|
|
|
|
|
18.51
|
1:44:13
|
3,840 x 2,160
|
22,010 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,415 kbps
|
|
Beverly Hills Ninja (1997)
|
|
|
|
6.59
|
1:28:38
|
1,920 x 1,072
|
9,997 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beware! The Blob (1972)
|
|
|
|
3.98
|
1:27:10
|
1,920 x 1,038
|
6,256 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
280 kbps
|
|
Bewitched (2005)
|
|
|
|
3.85
|
1:42:02
|
1,920 x 1,080
|
4,764 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beyond Paranormal (2021)
|
|
|
|
3.24
|
1:42:48
|
1,920 x 1,080
|
3,875 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Beyond Skyline (2017)
|
|
|
|
|
4.78
|
1:46:39
|
1,920 x 800
|
2,943 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,478 kbps
|
|
Beyond the Black Rainbow (2010)
|
|
|
|
8.46
|
1:49:40
|
1,920 x 796
|
10,123 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
915 kbps
|
|
Beyond the Law (1993)
|
|
|
|
5.67
|
1:48:21
|
1,920 x 1,076
|
7,047 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Beyond the Mask (2015)
|
|
|
|
2.09
|
1:44:46
|
1,920 x 800
|
2,282 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Beyond the Reach (2015)
|
|
|
|
3.85
|
1:31:40
|
1,920 x 796
|
4,831 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,184 kbps
|
|
Beyond the Sky (2018)
|
|
|
|
3.24
|
1:22:01
|
1,920 x 952
|
2,479 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,167 kbps
|
|
Beyond the Time Barrier (1960)
|
|
|
|
11.70
|
1:14:15
|
1,920 x 1,028
|
21,926 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
633 kbps
|
|
Beyond Therapy (1987)
|
|
|
|
5.46
|
1:33:11
|
1,920 x 1,072
|
7,706 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
682 kbps
|
|
Beyond White Space (2018)
|
|
|
|
2.77
|
1:33:43
|
1,920 x 804
|
3,011 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,224 kbps
|
|
Bicentennial Man (1999)
|
|
|
|
5.74
|
2:11:27
|
1,920 x 1,040
|
5,990 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Bickford Shmeckler's Cool Ideas (2008)
|
|
|
|
3.98
|
1:27:00
|
1,920 x 1,080
|
6,164 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Big (1988)
|
|
|
|
|
10.01
|
2:10:25
|
1,920 x 1,040
|
7,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,067 kbps
|
|
Big Buck Bunny (2008)
|
|
|
|
|
1.11
|
10:35
|
3,840 x 2,160
|
11,758 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,249 kbps
|
|
Big Bully (1996)
|
|
|
|
|
4.55
|
1:30:16
|
1,920 x 1,064
|
5,726 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,486 kbps
|
|
Big Daddy (1999)
|
|
|
|
|
4.37
|
1:33:05
|
1,920 x 1,038
|
5,412 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,306 kbps
|
|
Big Fat Liar (2002)
|
|
|
|
8.44
|
1:27:47
|
1,920 x 1,040
|
10,052 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,703 kbps
|
|
Big Fish (2004)
|
|
|
|
|
27.47
|
2:05:11
|
3,840 x 2,076
|
28,930 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,482 kbps
|
|
Big Freaking Rat (2020)
|
|
|
|
2.93
|
1:25:22
|
1,920 x 1,080
|
4,027 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
881 kbps
|
|
Big Game (2014)
|
|
|
|
4.43
|
1:30:29
|
1,920 x 804
|
3,749 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,262 kbps
|
|
Big George Foreman (2023)
|
|
|
|
4.55
|
2:09:10
|
1,920 x 800
|
3,727 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,309 kbps
|
|
Big Gold Brick (2022)
|
|
|
|
3.13
|
2:12:08
|
3,840 x 1,440
|
3,005 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Big Hero 6 (2014)
|
|
|
|
|
4.97
|
1:41:52
|
3,840 x 1,608
|
4,182 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,794 kbps
|
|
Big Momma's House (2000)
|
|
|
|
7.67
|
1:38:58
|
1,920 x 1,036
|
9,915 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,184 kbps
|
|
Big Momma's House 2 (2006)
|
|
|
|
7.64
|
1:38:53
|
1,920 x 1,040
|
7,537 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,529 kbps
|
|
Big Mommas: Like Father, Like Son (2011)
|
|
|
|
10.94
|
1:52:58
|
1,920 x 800
|
10,927 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,941 kbps
|
|
Big Night (1996)
|
|
|
|
11.39
|
1:49:19
|
1,920 x 1,080
|
13,646 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,268 kbps
|
|
Big Nothing (2006)
|
|
|
|
4.24
|
1:25:33
|
1,920 x 816
|
5,956 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,136 kbps
|
|
Big Trouble (2002)
|
|
|
|
3.63
|
1:25:07
|
1,920 x 1,032
|
4,659 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
Big Trouble in Little China (1986)
|
|
|
|
7.35
|
1:39:48
|
1,920 x 812
|
7,302 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,245 kbps
|
|
Bigger Than Life (1956)
|
|
|
|
6.49
|
1:35:22
|
1,920 x 752
|
9,151 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
596 kbps
|
|
Biggles: Adventures in Time (1988)
|
|
|
|
13.44
|
1:32:14
|
1,920 x 1,036
|
20,190 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
671 kbps
|
|
Bikini Girls on Ice (2009)
|
|
|
|
11.76
|
1:21:43
|
1,920 x 1,080
|
19,093 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,508 kbps
|
|
Bikini Model Academy (2015)
|
|
|
|
3.69
|
1:24:50
|
1,920 x 1,080
|
4,683 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,538 kbps
|
|
Bill & Ted Face the Music (2020)
|
|
|
|
7.74
|
1:31:51
|
3,840 x 1,608
|
9,191 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,867 kbps
|
|
Bill & Ted's Bogus Journey (1991)
|
|
|
|
6.28
|
1:33:53
|
1,920 x 1,038
|
8,154 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,417 kbps
|
|
Bill & Ted's Excellent Adventure (1989)
|
|
|
|
|
|
28.66
|
1:29:50
|
3,840 x 1,632
|
44,214 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,450 kbps
|
|
Billion Dollar Brain (1968)
|
|
|
|
4.37
|
1:47:52
|
1,920 x 824
|
5,548 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
249 kbps
|
|
Billy Bathgate (1991)
|
|
|
|
5.79
|
1:46:42
|
1,920 x 1,028
|
6,409 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,356 kbps
|
|
Billy Lynn's Long Halftime Walk (2016)
|
|
|
|
|
14.11
|
1:52:47
|
3,840 x 2,076
|
15,505 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,393 kbps
|
|
Billy Madison (1995)
|
|
|
|
|
5.40
|
1:29:52
|
1,920 x 1,040
|
7,230 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,370 kbps
|
|
Bio-Dome (1996)
|
|
|
|
|
5.42
|
1:34:48
|
1,920 x 1,040
|
6,565 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,613 kbps
|
|
Bird Box (2018)
|
|
|
|
|
|
16.85
|
2:03:41
|
3,840 x 1,598
|
18,700 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Bird on a Wire (1990)
|
|
|
|
17.07
|
1:50:37
|
1,916 x 1,080
|
21,496 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
591 kbps
|
|
Birdman or (The Unexpected Virtue of Ignorance) (2014)
|
|
|
|
5.27
|
1:59:17
|
1,920 x 1,040
|
3,116 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,208 kbps
|
|
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)
|
|
|
|
|
7.09
|
1:48:54
|
3,840 x 1,608
|
7,613 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,699 kbps
|
|
Birdy (1984)
|
|
|
|
13.79
|
2:00:08
|
1,920 x 1,036
|
15,116 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,310 kbps
|
|
Birthday Girl (2001)
|
|
|
|
4.16
|
1:30:20
|
1,920 x 816
|
5,948 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Birthmarked (2018)
|
|
|
|
4.19
|
1:27:58
|
1,920 x 804
|
3,599 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,215 kbps
|
|
Bitch (2017)
|
|
|
|
2.37
|
1:36:34
|
1,920 x 800
|
2,606 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
899 kbps
|
|
Bitch Slap (2009)
|
|
|
|
6.16
|
1:48:45
|
1,920 x 816
|
4,344 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,758 kbps
|
|
Bitchin': The Sound and Fury of Rick James (2021)
|
|
|
|
4.00
|
1:52:20
|
1,920 x 1,080
|
4,455 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Black Adam (2022)
|
|
|
|
|
|
8.39
|
2:04:52
|
3,840 x 1,608
|
7,871 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,735 kbps
|
|
Black and Blue (2019)
|
|
|
|
|
10.89
|
1:47:55
|
3,840 x 1,604
|
13,054 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,388 kbps
|
|
Black as Night (2021)
|
|
|
|
|
4.44
|
1:28:07
|
3,840 x 1,600
|
6,575 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Black Bear (2020)
|
|
|
|
2.93
|
1:45:48
|
1,792 x 1,080
|
3,318 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Black Box (2020)
|
|
|
|
|
5.64
|
1:40:46
|
3,840 x 1,590
|
7,368 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Black Butterfly (2017)
|
|
|
|
3.90
|
1:33:34
|
1,920 x 804
|
2,756 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,208 kbps
|
|
Black Christmas (2006)
|
|
|
|
3.78
|
1:30:05
|
1,920 x 816
|
4,489 kbps
|
|
5.1
|
|
48 kHz
|
1,509.75 kbps
|
|
Black Death (2010)
|
|
|
|
9.31
|
1:41:35
|
1,920 x 796
|
11,684 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,432 kbps
|
|
Black Dog (1998)
|
|
|
|
5.50
|
1:28:19
|
1,920 x 816
|
5,209 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,704 kbps
|
|
Black Easter (2021)
|
|
|
|
2.59
|
1:53:48
|
1,920 x 800
|
2,615 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Black Hawk Down (2002)
|
|
|
|
|
|
42.70
|
2:31:51
|
3,840 x 1,600
|
38,341 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,912 kbps
|
|
Black Knight (2001)
|
|
|
|
3.78
|
1:35:38
|
1,920 x 816
|
3,971 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,683 kbps
|
|
Black Mama White Mama (1973)
|
|
|
|
8.69
|
1:26:38
|
1,920 x 1,040
|
13,760 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
598 kbps
|
|
Black Medicine (2021)
|
|
|
|
1.69
|
1:30:17
|
1,920 x 800
|
2,287 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Black Moon Rising (1986)
|
|
|
|
10.58
|
1:39:39
|
1,920 x 1,080
|
11,994 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,209 kbps
|
|
Black or White (2015)
|
|
|
|
|
4.85
|
2:01:25
|
1,920 x 798
|
2,834 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,881 kbps
|
|
Black Panther (2018)
|
|
|
|
|
|
8.14
|
2:14:34
|
3,840 x 1,608
|
7,102 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,548 kbps
|
|
Black Panther: Wakanda Forever (2022)
|
|
|
|
|
6.46
|
2:41:19
|
3,840 x 1,608
|
4,205 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,523 kbps
|
|
Black Rain (1989)
|
|
|
|
|
5.59
|
2:05:18
|
1,920 x 796
|
4,880 kbps
|
|
6.1
|
|
48 kHz
|
1,509.75 kbps
|
|
Black Rainbow (1989)
|
|
|
|
19.78
|
1:43:01
|
1,920 x 1,036
|
24,222 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,270 kbps
|
|
Black Sea (2015)
|
|
|
|
|
4.40
|
1:54:42
|
1,920 x 800
|
2,394 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,098 kbps
|
|
Black Sheep (1996)
|
|
|
|
|
7.95
|
1:26:27
|
1,920 x 1,080
|
10,144 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
3,014 kbps
|
|
Black Snake Moan (2007)
|
|
|
|
|
5.93
|
1:55:34
|
1,920 x 800
|
6,710 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Black Sunday (1977)
|
|
|
|
6.60
|
2:23:06
|
1,920 x 806
|
5,958 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Black Swan (2010)
|
|
|
|
11.73
|
1:48:07
|
1,920 x 800
|
12,509 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,026 kbps
|
|
Black Warrant (2022)
|
|
|
|
4.42
|
1:34:11
|
1,920 x 796
|
2,468 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,244 kbps
|
|
Black Water (2007)
|
|
|
|
10.11
|
1:29:17
|
1,920 x 1,036
|
12,780 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,428 kbps
|
|
Black Water (2018)
|
|
|
|
2.92
|
1:44:36
|
1,920 x 804
|
2,839 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,157 kbps
|
|
Black Water: Abyss (2020)
|
|
|
|
2.90
|
1:38:40
|
1,920 x 804
|
3,174 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,026 kbps
|
|
Black Widow (1987)
|
|
|
|
6.20
|
1:41:51
|
1,920 x 1,028
|
8,215 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
504 kbps
|
|
Black Widow (2021)
|
|
|
|
|
|
|
6.69
|
2:13:47
|
3,840 x 1,608
|
5,543 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,604 kbps
|
|
Blackbeard's Ghost (1968)
|
|
|
|
11.89
|
1:46:59
|
1,800 x 1,080
|
15,595 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Blackbird (2020)
|
|
|
|
3.40
|
1:37:50
|
1,920 x 800
|
2,243 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,725 kbps
|
|
Blackhat (2015)
|
|
|
|
|
13.68
|
2:13:28
|
3,840 x 1,596
|
11,584 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,852 kbps
|
|
Blackjack (1998)
|
|
|
|
3.96
|
1:52:29
|
1,456 x 1,080
|
4,584 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
BlacKkKlansman (2018)
|
|
|
|
|
|
19.21
|
2:14:49
|
3,840 x 1,604
|
17,650 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,747 kbps
|
|
Blacklight (2022)
|
|
|
|
|
|
3.60
|
1:44:49
|
3,840 x 1,608
|
3,936 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
970 kbps
|
|
Blackout (2022)
|
|
|
|
|
11.67
|
1:34:46
|
3,840 x 1,604
|
16,321 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,308 kbps
|
|
Blackway (2015)
|
|
|
|
5.42
|
1:30:22
|
1,920 x 800
|
5,505 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,082 kbps
|
|
Blade (1998)
|
|
|
|
|
16.24
|
2:00:15
|
3,840 x 1,608
|
17,462 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,871 kbps
|
|
Blade II (2002)
|
|
|
|
8.69
|
1:56:52
|
1,920 x 1,080
|
5,500 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,142 kbps
|
|
Blade Runner (1982)
|
|
|
|
|
|
47.36
|
1:57:31
|
3,840 x 1,600
|
55,088 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,604 kbps
|
|
Blade Runner 2049 (2017)
|
|
|
|
|
11.01
|
2:43:28
|
3,840 x 1,600
|
6,992 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,645 kbps
|
|
Blade: Trinity (2004)
|
|
|
|
6.60
|
2:02:21
|
1,920 x 814
|
4,167 kbps
|
|
6.1
|
|
24 bits / 48 kHz
|
3,550 kbps
|
|
Blades (1989)
|
|
|
|
7.52
|
1:38:27
|
1,920 x 1,036
|
10,271 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
Blades of Glory (2007)
|
|
|
|
|
6.31
|
1:33:10
|
1,920 x 1,080
|
6,676 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,016 kbps
|
|
Blame (2021)
|
|
|
|
1.06
|
1:26:22
|
1,920 x 796
|
1,523 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Blame It on Rio (1984)
|
|
|
|
9.12
|
1:39:57
|
1,920 x 1,038
|
12,340 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
726 kbps
|
|
Blankman (1994)
|
|
|
|
9.37
|
1:35:53
|
1,920 x 1,080
|
13,356 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Blast from the Past (1999)
|
|
|
|
|
4.13
|
1:52:06
|
1,920 x 800
|
3,839 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,436 kbps
|
|
Blazing Saddles (1974)
|
|
|
|
|
6.75
|
1:32:55
|
1,920 x 792
|
9,406 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
997 kbps
|
|
Bleed for This (2016)
|
|
|
|
5.48
|
1:57:03
|
1,920 x 792
|
3,828 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,868 kbps
|
|
Bleeding Heart (2015)
|
|
|
|
3.03
|
1:28:03
|
1,920 x 800
|
2,475 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,455 kbps
|
|
Blended (2014)
|
|
|
|
|
5.00
|
1:57:13
|
1,920 x 1,036
|
3,182 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,926 kbps
|
|
Bless the Child (2000)
|
|
|
|
4.13
|
1:47:48
|
1,920 x 804
|
4,270 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,218 kbps
|
|
Blind (2017)
|
|
|
|
3.45
|
1:45:32
|
1,920 x 800
|
2,079 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,600 kbps
|
|
Blind Date (1987)
|
|
|
|
5.61
|
1:35:14
|
1,920 x 802
|
7,889 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
546 kbps
|
|
Blind Dating (2006)
|
|
|
|
4.84
|
1:39:25
|
1,920 x 800
|
5,583 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,391 kbps
|
|
Blind Fury (1989)
|
|
|
|
11.07
|
1:26:29
|
1,920 x 1,072
|
17,687 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
640 kbps
|
|
Bliss (2019)
|
|
|
|
11.06
|
1:20:25
|
1,920 x 804
|
16,425 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,256 kbps
|
|
Bliss (2021)
|
|
|
|
|
12.00
|
1:43:53
|
3,840 x 1,600
|
15,898 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Blithe Spirit (2021)
|
|
|
|
3.50
|
1:39:47
|
1,920 x 800
|
1,933 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,082 kbps
|
|
Blitz (2011)
|
|
|
|
3.41
|
1:37:01
|
1,920 x 816
|
3,542 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,495 kbps
|
|
Blockers (2018)
|
|
|
|
3.94
|
1:41:57
|
1,920 x 804
|
2,806 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,731 kbps
|
|
Blonde (2022)
|
|
|
|
|
11.28
|
2:45:52
|
2,880 x 2,160
|
8,958 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Blood and Chocolate (2007)
|
|
|
|
1.97
|
1:38:19
|
1,920 x 816
|
2,227 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Blood Diamond (2006)
|
|
|
|
6.49
|
2:23:22
|
1,920 x 796
|
4,976 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,500 kbps
|
|
Blood Father (2016)
|
|
|
|
3.09
|
1:28:09
|
1,920 x 804
|
3,899 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,115 kbps
|
|
Blood Fest (2018)
|
|
|
|
3.71
|
1:32:41
|
1,920 x 936
|
2,503 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,228 kbps
|
|
Blood Money (2017)
|
|
|
|
5.23
|
1:25:27
|
1,920 x 792
|
5,574 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,188 kbps
|
|
Blood on the Crown (2021)
|
|
|
|
2.39
|
1:42:13
|
1,920 x 800
|
2,703 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Blood Out (2011)
|
|
|
|
3.50
|
1:28:39
|
1,904 x 1,080
|
4,204 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
Blood Simple (1984)
|
|
|
|
|
44.21
|
1:35:41
|
3,840 x 2,076
|
62,840 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,151 kbps
|
|
Blood Ties (2013)
|
|
|
|
4.07
|
2:07:48
|
1,920 x 804
|
3,566 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
987 kbps
|
|
Blood Work (2002)
|
|
|
|
4.92
|
1:50:30
|
1,920 x 800
|
3,365 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,010 kbps
|
|
Bloodshot (2020)
|
|
|
|
|
8.04
|
1:49:20
|
3,840 x 1,592
|
8,848 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,671 kbps
|
|
Bloodsport (1988)
|
|
|
|
|
28.30
|
1:32:14
|
3,840 x 2,160
|
41,712 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,216 kbps
|
|
Bloodthirsty (2020)
|
|
|
|
1.15
|
1:24:35
|
1,920 x 806
|
1,307 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bloody New Year (1987)
|
|
|
|
6.58
|
1:33:41
|
1,920 x 1,080
|
9,760 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
297 kbps
|
|
Blow (2001)
|
|
|
|
5.97
|
2:03:26
|
1,920 x 816
|
5,617 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,305 kbps
|
|
Blow Out (1981)
|
|
|
|
|
36.16
|
1:48:14
|
3,840 x 1,604
|
46,612 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,217 kbps
|
|
Blowback (2000)
|
|
|
|
7.36
|
1:31:15
|
1,920 x 1,056
|
10,031 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,513 kbps
|
|
Blown Away (1994)
|
|
|
|
6.22
|
2:00:43
|
1,920 x 800
|
5,792 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,586 kbps
|
|
Blue Bayou (2021)
|
|
|
|
10.42
|
1:57:00
|
1,788 x 1,080
|
9,587 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,162 kbps
|
|
Blue Beetle (2023)
|
|
|
|
|
6.78
|
2:07:27
|
3,840 x 1,604
|
6,056 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,553 kbps
|
|
Blue Crush (2002)
|
|
|
|
7.59
|
1:44:19
|
1,920 x 1,036
|
6,399 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,023 kbps
|
|
Blue Crush 2 (2011)
|
|
|
|
13.00
|
1:52:31
|
1,920 x 1,080
|
12,783 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,753 kbps
|
|
Blue Hawaii (1961)
|
|
|
|
|
19.54
|
1:41:08
|
3,840 x 1,632
|
25,069 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,591 kbps
|
|
Blue in the Face (1995)
|
|
|
|
3.76
|
1:25:46
|
1,920 x 1,040
|
4,963 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,308 kbps
|
|
Blue Jasmine (2013)
|
|
|
|
9.97
|
1:38:26
|
1,920 x 800
|
12,001 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,503 kbps
|
|
Blue Miracle (2021)
|
|
|
|
|
|
7.71
|
1:35:07
|
3,840 x 2,072
|
10,824 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Blue Sky (1994)
|
|
|
|
8.58
|
1:41:31
|
1,920 x 1,032
|
11,427 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
674 kbps
|
|
Blue Steel (1990)
|
|
|
|
10.15
|
1:41:51
|
1,920 x 1,076
|
12,893 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,366 kbps
|
|
Blue Streak (1999)
|
|
|
|
|
7.35
|
1:34:07
|
1,920 x 1,038
|
9,794 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,380 kbps
|
|
Blue Sunshine (1977)
|
|
|
|
|
53.99
|
1:34:49
|
3,840 x 2,076
|
80,033 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,486 kbps
|
|
Blue Thunder (1983)
|
|
|
|
8.00
|
1:49:15
|
1,920 x 800
|
9,013 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,471 kbps
|
|
Blue Valentine (2011)
|
|
|
|
6.07
|
1:52:04
|
1,788 x 1,080
|
6,580 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,172 kbps
|
|
Blue Valley Songbird (1999)
|
|
|
|
2.07
|
1:31:16
|
1,440 x 1,080
|
3,014 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Blue Velvet (1986)
|
|
|
|
7.81
|
2:00:31
|
1,920 x 816
|
7,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,233 kbps
|
|
Blues Brothers 2000 (1998)
|
|
|
|
6.99
|
2:03:35
|
1,920 x 1,024
|
6,313 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,779 kbps
|
|
Bob & Carol & Ted & Alice (1969)
|
|
|
|
11.03
|
1:45:26
|
1,920 x 1,040
|
14,377 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
598 kbps
|
|
Bob Lazar: Area 51 & Flying Saucers (2018)
|
|
|
|
|
2.00
|
1:37:00
|
1,920 x 1,080
|
2,731 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Bob the Butler (2006)
|
|
|
|
|
3.65
|
1:29:54
|
1,904 x 1,080
|
5,174 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bodies Bodies Bodies (2022)
|
|
|
|
|
9.05
|
1:33:53
|
3,840 x 1,608
|
11,224 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,579 kbps
|
|
Body and Soul (1981)
|
|
|
|
6.69
|
1:45:22
|
1,920 x 1,036
|
8,340 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
751 kbps
|
|
Body Bags (1993)
|
|
|
|
6.29
|
1:34:23
|
1,920 x 1,076
|
6,605 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,942 kbps
|
|
Body Brokers (2021)
|
|
|
|
6.13
|
1:52:41
|
1,920 x 800
|
4,862 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,929 kbps
|
|
Body Cam (2020)
|
|
|
|
|
2.17
|
1:36:30
|
3,840 x 1,600
|
2,823 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Body Count (1998)
|
|
|
|
4.54
|
1:24:19
|
1,920 x 1,040
|
6,282 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,427 kbps
|
|
Body Double (1984)
|
|
|
|
23.09
|
1:54:11
|
1,920 x 1,040
|
25,489 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,454 kbps
|
|
Body Heat (1981)
|
|
|
|
4.83
|
1:53:13
|
1,904 x 1,080
|
5,511 kbps
|
|
3.0
|
|
16 bits / 48 kHz
|
601 kbps
|
|
Body Melt (1993)
|
|
|
|
8.93
|
1:22:38
|
1,920 x 1,080
|
12,271 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,207 kbps
|
|
Body of Evidence (1993)
|
|
|
|
6.50
|
1:40:55
|
1,920 x 1,040
|
8,622 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
602 kbps
|
|
Body of Lies (2008)
|
|
|
|
6.04
|
2:08:18
|
1,920 x 800
|
5,384 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,356 kbps
|
|
Body Snatchers (1994)
|
|
|
|
3.55
|
1:27:08
|
1,920 x 800
|
2,272 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,553 kbps
|
|
Boeing Boeing (1966)
|
|
|
|
10.83
|
1:43:09
|
1,912 x 1,080
|
14,694 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
342 kbps
|
|
Bogus (1996)
|
|
|
|
0.87
|
1:51:29
|
720 x 480
|
887 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Bohemian Rhapsody (2018)
|
|
|
|
|
|
11.97
|
2:14:37
|
3,840 x 1,604
|
10,138 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,581 kbps
|
|
Boiler Room (2000)
|
|
|
|
9.97
|
1:59:32
|
1,912 x 1,080
|
7,389 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,550 kbps
|
|
Boiling Point (1993)
|
|
|
|
2.37
|
1:32:35
|
1,904 x 1,080
|
3,439 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Boiling Point (2021)
|
|
|
|
3.42
|
1:35:01
|
1,920 x 804
|
1,871 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,275 kbps
|
|
Bolt (2008)
|
|
|
|
3.89
|
1:36:22
|
1,920 x 1,080
|
2,519 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,253 kbps
|
|
Bombshell (2019)
|
|
|
|
|
6.97
|
1:48:46
|
3,840 x 1,608
|
6,659 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Bones (2001)
|
|
|
|
3.60
|
1:37:04
|
1,920 x 816
|
4,068 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,242 kbps
|
|
Bones and All (2022)
|
|
|
|
10.40
|
2:10:48
|
1,920 x 1,032
|
9,944 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,432 kbps
|
|
Bonnie and Clyde (1967)
|
|
|
|
6.45
|
1:50:46
|
1,916 x 1,080
|
8,144 kbps
|
|
1.0
|
|
48 kHz
|
192 kbps
|
|
Bonnie and Clyde (2013)
|
|
|
|
9.17
|
2:54:07
|
1,920 x 1,080
|
4,414 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,128 kbps
|
|
Bookies (2003)
|
|
|
|
3.22
|
1:30:00
|
1,912 x 1,080
|
4,477 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Booksmart (2019)
|
|
|
|
|
4.14
|
1:42:14
|
1,920 x 800
|
2,732 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,061 kbps
|
|
Boomerang (1992)
|
|
|
|
21.60
|
1:56:33
|
1,904 x 1,080
|
25,296 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,232 kbps
|
|
Boot Camp (2008)
|
|
|
|
6.68
|
1:39:21
|
1,920 x 1,034
|
8,063 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,565 kbps
|
|
Borat Subsequent Moviefilm (2020)
|
|
|
|
|
7.33
|
1:36:05
|
3,840 x 2,160
|
10,281 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Borat! Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
|
|
|
|
|
|
4.86
|
1:23:48
|
1,920 x 1,040
|
5,626 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,669 kbps
|
|
Bordertown (2008)
|
|
|
|
7.65
|
1:52:03
|
1,920 x 1,080
|
6,417 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,361 kbps
|
|
Boris and Natasha (1992)
|
|
|
|
6.17
|
1:27:42
|
1,920 x 1,040
|
9,849 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Born a Champion (2021)
|
|
|
|
|
|
9.58
|
1:51:13
|
3,840 x 1,604
|
11,309 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,013 kbps
|
|
Born in East L.A. (1987)
|
|
|
|
3.98
|
1:24:22
|
1,920 x 1,036
|
6,482 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
270 kbps
|
|
Born of Fire (1987)
|
|
|
|
9.36
|
1:23:36
|
1,920 x 1,036
|
15,391 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
629 kbps
|
|
Born on the Fourth of July (1989)
|
|
|
|
17.67
|
2:24:10
|
1,920 x 816
|
12,823 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,726 kbps
|
|
Born to Ride (2011)
|
|
|
|
4.45
|
1:30:07
|
1,904 x 1,080
|
5,520 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,539 kbps
|
|
Boss Level (2020)
|
|
|
|
|
15.37
|
1:41:00
|
3,840 x 1,608
|
18,643 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,136 kbps
|
|
Bottle Rocket (1996)
|
|
|
|
10.49
|
1:31:44
|
1,920 x 1,038
|
13,062 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,311 kbps
|
|
Bottom of the World (2017)
|
|
|
|
1.25
|
1:24:14
|
1,920 x 756
|
1,741 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Boulevard (2015)
|
|
|
|
2.96
|
1:28:08
|
1,920 x 800
|
2,312 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,489 kbps
|
|
Bound (1996)
|
|
|
|
11.01
|
1:48:32
|
1,920 x 1,080
|
10,882 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,643 kbps
|
|
Bounty Killer (2013)
|
|
|
|
2.97
|
1:32:36
|
1,920 x 800
|
3,186 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,405 kbps
|
|
Bowfinger (1999)
|
|
|
|
4.57
|
1:36:51
|
1,920 x 1,040
|
5,500 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,253 kbps
|
|
Boxcar Bertha (1972)
|
|
|
|
7.66
|
1:28:46
|
1,920 x 1,038
|
12,096 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
254 kbps
|
|
Boyhood (2014)
|
|
|
|
|
41.30
|
2:45:40
|
3,840 x 2,072
|
33,433 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Brad's Status (2017)
|
|
|
|
5.59
|
1:41:58
|
1,920 x 956
|
4,500 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,353 kbps
|
|
Brain Donors (1992)
|
|
|
|
12.51
|
1:19:22
|
1,920 x 1,080
|
21,164 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,400 kbps
|
|
Brain on Fire (2018)
|
|
|
|
|
2.92
|
1:28:59
|
1,920 x 792
|
2,199 kbps
|
|
5.1
|
|
18 bits / 96 kHz
|
2,492 kbps
|
|
Brainscan (1994)
|
|
|
|
5.59
|
1:36:04
|
1,904 x 1,080
|
7,260 kbps
|
|
2.0
|
|
21 bits / 48 kHz
|
1,072 kbps
|
|
Brainstorm (1983)
|
|
|
|
4.30
|
1:46:19
|
1,920 x 792
|
3,081 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,702 kbps
|
|
Brake (2012)
|
|
|
|
6.46
|
1:31:19
|
1,912 x 1,080
|
8,941 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,182 kbps
|
|
Braking for Whales (2020)
|
|
|
|
4.66
|
1:43:57
|
1,920 x 1,080
|
3,373 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,044 kbps
|
|
Bram Stoker's Dracula (1992)
|
|
|
|
|
38.03
|
2:07:22
|
3,840 x 2,072
|
39,781 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,963 kbps
|
|
Branded (2012)
|
|
|
|
4.06
|
1:46:30
|
1,920 x 800
|
4,296 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,165 kbps
|
|
Brats (1930)
|
|
|
|
1.13
|
21:29
|
1,418 x 1,080
|
7,157 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
343 kbps
|
|
Brave (2012)
|
|
|
|
|
5.78
|
1:33:34
|
3,840 x 1,604
|
5,955 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,886 kbps
|
|
Braveheart (1995)
|
|
|
|
|
46.99
|
2:57:42
|
3,840 x 1,632
|
34,737 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,110 kbps
|
|
Brawl in Cell Block 99 (2017)
|
|
|
|
8.25
|
2:12:24
|
3,840 x 2,072
|
6,279 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,643 kbps
|
|
Brazen (2022)
|
|
|
|
|
6.44
|
1:34:40
|
3,840 x 1,604
|
8,953 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Breach (2007)
|
|
|
|
4.86
|
1:49:55
|
1,920 x 1,036
|
5,431 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
901 kbps
|
|
Breach (2020)
|
|
|
|
|
4.48
|
1:32:26
|
3,840 x 1,600
|
5,687 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,253 kbps
|
|
Breakdown (1997)
|
|
|
|
6.26
|
1:33:08
|
1,920 x 812
|
6,275 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,801 kbps
|
|
Breaker! Breaker! (1977)
|
|
|
|
6.63
|
1:25:06
|
1,920 x 1,040
|
10,530 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
616 kbps
|
|
Breakfast at Tiffany's (1961)
|
|
|
|
9.11
|
1:55:06
|
1,920 x 1,080
|
8,681 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,649 kbps
|
|
Breaking and Entering (2006)
|
|
|
|
3.02
|
1:58:48
|
1,920 x 816
|
2,454 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,187 kbps
|
|
Breaking In (2018)
|
|
|
|
2.61
|
1:28:25
|
1,920 x 804
|
1,350 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,875 kbps
|
|
Breaking News in Yuba County (2021)
|
|
|
|
6.24
|
1:36:24
|
3,840 x 1,608
|
6,593 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,675 kbps
|
|
Breaking the Girls (2013)
|
|
|
|
2.39
|
1:26:41
|
1,920 x 1,076
|
2,923 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,024 kbps
|
|
Breaking the Waves (1996)
|
|
|
|
111.91
|
2:38:49
|
3,840 x 1,628
|
99,103 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,778 kbps
|
|
Breakthrough (2019)
|
|
|
|
|
9.02
|
1:56:14
|
3,840 x 1,608
|
7,180 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,929 kbps
|
|
Breathe In (2013)
|
|
|
|
2.62
|
1:36:45
|
1,920 x 808
|
1,211 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,661 kbps
|
|
Breathless (1983)
|
|
|
|
7.90
|
1:40:25
|
1,920 x 1,040
|
10,510 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
754 kbps
|
|
Breathless (2012)
|
|
|
|
2.28
|
1:31:16
|
1,920 x 816
|
2,620 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
951 kbps
|
|
Breeders (1986)
|
|
|
|
5.93
|
1:17:09
|
1,920 x 1,040
|
10,213 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
784 kbps
|
|
Brewster McCloud (1970)
|
|
|
|
8.59
|
1:45:13
|
1,920 x 800
|
11,024 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
Brewster's Millions (1985)
|
|
|
|
8.23
|
1:41:09
|
1,920 x 1,040
|
11,036 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
604 kbps
|
|
Brian's Song (1971)
|
|
|
|
4.12
|
1:14:28
|
1,440 x 1,080
|
7,299 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
617 kbps
|
|
Brick Mansions (2014)
|
|
|
|
5.42
|
1:39:40
|
1,920 x 804
|
3,813 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,965 kbps
|
|
Bride of Chucky (1998)
|
|
|
|
|
18.31
|
1:28:44
|
3,840 x 2,076
|
25,769 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,755 kbps
|
|
Bride of Re-Animator (1990)
|
|
|
|
8.12
|
1:36:42
|
1,920 x 1,080
|
11,363 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
652 kbps
|
|
Bride Wars (2009)
|
|
|
|
8.80
|
1:28:57
|
1,920 x 1,036
|
11,178 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,975 kbps
|
|
Bridesmaids (2011)
|
|
|
|
|
8.47
|
2:10:18
|
1,920 x 800
|
6,359 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,949 kbps
|
|
Bridge of Spies (2015)
|
|
|
|
8.62
|
2:21:20
|
1,920 x 800
|
4,638 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,092 kbps
|
|
Bridge to Terabithia (2007)
|
|
|
|
5.07
|
1:34:58
|
1,920 x 1,016
|
6,235 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,409 kbps
|
|
Bridgend (2015)
|
|
|
|
4.48
|
1:48:56
|
1,920 x 800
|
2,901 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,986 kbps
|
|
Bridget Jones's Baby (2016)
|
|
|
|
5.70
|
2:02:39
|
1,920 x 804
|
3,459 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,192 kbps
|
|
Bridget Jones's Diary (2001)
|
|
|
|
|
15.47
|
1:36:58
|
3,840 x 1,604
|
21,546 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,284 kbps
|
|
Bridget Jones: The Edge of Reason (2004)
|
|
|
|
7.04
|
1:47:28
|
1,920 x 796
|
7,885 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,487 kbps
|
|
Bright Angel (1991)
|
|
|
|
5.28
|
1:33:20
|
1,920 x 1,032
|
7,448 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
650 kbps
|
|
Bright Lights, Big City (1988)
|
|
|
|
12.57
|
1:47:33
|
1,920 x 1,040
|
15,337 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,396 kbps
|
|
Brightburn (2019)
|
|
|
|
|
3.43
|
1:30:30
|
3,840 x 1,604
|
4,008 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,414 kbps
|
|
Brighton Rock (2011)
|
|
|
|
3.97
|
1:51:01
|
1,920 x 812
|
2,261 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,854 kbps
|
|
Bring It On (2000)
|
|
|
|
5.03
|
1:38:46
|
1,920 x 1,040
|
5,671 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,612 kbps
|
|
Bring It On: Again (2004)
|
|
|
|
4.64
|
1:30:04
|
1,904 x 1,080
|
5,900 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,478 kbps
|
|
Bring It On: All or Nothing (2006)
|
|
|
|
5.97
|
1:38:52
|
1,904 x 1,080
|
7,196 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,449 kbps
|
|
Bring It On: Cheer or Die (2022)
|
|
|
|
3.11
|
1:31:06
|
1,920 x 1,076
|
4,503 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Bring It On: Fight to the Finish (2009)
|
|
|
|
6.87
|
1:42:14
|
1,904 x 1,080
|
6,176 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,440 kbps
|
|
Bring It On: In It to Win It (2007)
|
|
|
|
8.74
|
1:30:08
|
1,920 x 1,080
|
12,326 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,549 kbps
|
|
Bring It On: Worldwide #Cheersmack (2017)
|
|
|
|
5.30
|
1:35:16
|
1,920 x 1,080
|
4,613 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,345 kbps
|
|
Bring Me the Head of Alfredo Garcia (1974)
|
|
|
|
|
23.09
|
1:52:19
|
1,920 x 1,036
|
29,214 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
212 kbps
|
|
Bringing Up Baby (1938)
|
|
|
|
20.90
|
1:42:35
|
1,480 x 1,080
|
28,491 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
668 kbps
|
|
Broadcast (2022)
|
|
|
|
1.33
|
1:28:36
|
1,920 x 806
|
1,756 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Broadcast News (1987)
|
|
|
|
18.17
|
2:12:33
|
1,920 x 1,038
|
18,377 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,249 kbps
|
|
Brokedown Palace (1999)
|
|
|
|
3.61
|
1:40:42
|
1,920 x 820
|
4,027 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,103 kbps
|
|
Broken Arrow (1996)
|
|
|
|
7.92
|
1:48:21
|
1,920 x 812
|
6,592 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,866 kbps
|
|
Broken City (2013)
|
|
|
|
|
3.61
|
1:48:42
|
1,920 x 792
|
2,016 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,731 kbps
|
|
Broken Diamonds (2021)
|
|
|
|
2.31
|
1:30:13
|
1,920 x 1,028
|
3,279 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Broken Flowers (2005)
|
|
|
|
3.89
|
1:45:37
|
1,920 x 1,032
|
4,295 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
969 kbps
|
|
Bronco Billy (1980)
|
|
|
|
7.65
|
1:56:23
|
1,920 x 1,036
|
8,093 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,321 kbps
|
|
Brooklyn (2015)
|
|
|
|
2.85
|
1:51:59
|
1,920 x 1,036
|
2,476 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,168 kbps
|
|
Brooklyn Rules (2009)
|
|
|
|
2.36
|
1:39:09
|
1,912 x 1,080
|
2,418 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
996 kbps
|
|
Brother Bear (2003)
|
|
|
|
3.82
|
1:25:04
|
1,920 x 816
|
2,579 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,852 kbps
|
|
Brother Bear 2 (2006)
|
|
|
|
2.94
|
1:13:15
|
1,912 x 1,080
|
2,197 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,546 kbps
|
|
Brother Nature (2016)
|
|
|
|
4.73
|
1:36:54
|
3,840 x 1,600
|
6,605 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Brothers (2009)
|
|
|
|
3.80
|
1:44:42
|
1,920 x 800
|
2,669 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,532 kbps
|
|
Bruce Almighty (2003)
|
|
|
|
|
4.15
|
1:41:02
|
1,920 x 1,080
|
4,534 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,348 kbps
|
|
Bubble Boy (2001)
|
|
|
|
3.90
|
1:23:40
|
1,920 x 808
|
6,035 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Buck Privates (1941)
|
|
|
|
12.13
|
1:24:10
|
1,456 x 1,080
|
20,430 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Buck Rogers in the 25th Century (1979)
|
|
|
|
4.89
|
1:28:52
|
1,920 x 1,024
|
7,602 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
276 kbps
|
|
Bucktown (1975)
|
|
|
|
4.58
|
1:34:18
|
1,920 x 1,040
|
6,307 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
640 kbps
|
|
Buddy Games (2019)
|
|
|
|
1.84
|
1:36:42
|
1,920 x 800
|
2,338 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Buddy Games: Spring Awakening (2023)
|
|
|
|
|
3.70
|
1:35:27
|
3,840 x 1,606
|
5,160 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Buffalo '66 (1998)
|
|
|
|
5.29
|
1:49:52
|
1,920 x 1,020
|
6,319 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
578 kbps
|
|
Buffaloed (2020)
|
|
|
|
|
6.57
|
1:35:13
|
1,920 x 800
|
6,802 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,072 kbps
|
|
Buffy the Vampire Slayer (1992)
|
|
|
|
13.12
|
1:25:31
|
1,920 x 1,038
|
18,046 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,914 kbps
|
|
Bug (2007)
|
|
|
|
5.52
|
1:41:44
|
1,920 x 1,080
|
5,357 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,411 kbps
|
|
Bugs Bunny Gets the Boid (1942)
|
|
|
|
0.93
|
07:25
|
1,472 x 1,080
|
17,384 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
528 kbps
|
|
Bull Durham (1988)
|
|
|
|
9.90
|
1:47:59
|
1,920 x 1,036
|
10,285 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,842 kbps
|
|
Bulldozer (2021)
|
|
|
|
1.96
|
1:23:04
|
1,920 x 1,080
|
2,728 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Bullet (2014)
|
|
|
|
2.86
|
1:27:17
|
1,920 x 816
|
2,365 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,318 kbps
|
|
Bullet to the Head (2013)
|
|
|
|
5.40
|
1:31:44
|
1,920 x 1,080
|
4,802 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,625 kbps
|
|
Bullet Train (2022)
|
|
|
|
|
|
|
7.42
|
2:06:32
|
3,840 x 1,608
|
5,789 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,597 kbps
|
|
Bullet Train Down (2022)
|
|
|
|
3.36
|
1:25:41
|
1,920 x 800
|
2,581 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,036 kbps
|
|
Bulletproof (1996)
|
|
|
|
5.62
|
1:24:22
|
1,920 x 816
|
5,745 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,796 kbps
|
|
Bulletproof Monk (2003)
|
|
|
|
6.58
|
1:44:07
|
1,920 x 808
|
7,433 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,619 kbps
|
|
Bullets Over Broadway (1994)
|
|
|
|
6.14
|
1:38:39
|
1,920 x 1,010
|
8,595 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
309 kbps
|
|
Bullied (2021)
|
|
|
|
1.59
|
1:21:32
|
1,920 x 792
|
2,404 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Bullitt (1968)
|
|
|
|
|
6.46
|
1:53:46
|
1,904 x 1,080
|
7,929 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Bullitt County (2018)
|
|
|
|
2.53
|
1:38:22
|
1,920 x 800
|
2,521 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,167 kbps
|
|
Bully (2018)
|
|
|
|
2.24
|
1:23:06
|
1,920 x 802
|
2,616 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,240 kbps
|
|
Bumblebee (2018)
|
|
|
|
|
|
20.08
|
1:53:53
|
3,840 x 2,160
|
22,416 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,825 kbps
|
|
Bunny Lake Is Missing (1965)
|
|
|
|
6.33
|
1:47:12
|
1,920 x 812
|
7,860 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
588 kbps
|
|
Buoyancy (2020)
|
|
|
|
2.06
|
1:54:59
|
1,920 x 792
|
2,175 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Burglar (1987)
|
|
|
|
4.42
|
1:42:01
|
1,920 x 1,072
|
5,974 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Buried (2010)
|
|
|
|
5.26
|
1:35:28
|
1,920 x 816
|
4,558 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,330 kbps
|
|
Buried Alive (1990) [imdbid-tt0099187]
|
|
|
|
5.94
|
1:31:03
|
1,920 x 1,028
|
8,652 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
684 kbps
|
|
Buried Alive (1990) [imdbid-tt0099188]
|
|
|
|
2.33
|
1:32:58
|
1,432 x 1,080
|
3,118 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
465 kbps
|
|
Burke and Hare (2010)
|
|
|
|
3.80
|
1:31:27
|
1,920 x 1,080
|
4,734 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,210 kbps
|
|
Burn (2019)
|
|
|
|
3.36
|
1:28:21
|
1,920 x 1,032
|
2,313 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,125 kbps
|
|
Burn After Reading (2008)
|
|
|
|
|
7.02
|
1:35:56
|
1,920 x 1,040
|
7,721 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,747 kbps
|
|
Burn It All (2021)
|
|
|
|
2.03
|
1:40:45
|
1,920 x 1,072
|
2,497 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Burn Your Maps (2016)
|
|
|
|
|
4.21
|
1:43:03
|
1,920 x 800
|
2,638 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,204 kbps
|
|
Bus Riley's Back in Town (1965)
|
|
|
|
5.00
|
1:33:04
|
1,920 x 1,036
|
7,418 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
278 kbps
|
|
Bushwick (2017)
|
|
|
|
6.04
|
1:33:43
|
1,920 x 784
|
6,032 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,198 kbps
|
|
Buster (1988)
|
|
|
|
5.00
|
1:42:17
|
1,920 x 1,032
|
5,776 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,216 kbps
|
|
Buster and Billie (1974)
|
|
|
|
3.19
|
1:39:17
|
1,920 x 1,036
|
4,253 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
347 kbps
|
|
Busy Bodies (1933)
|
|
|
|
0.54
|
19:36
|
1,418 x 1,080
|
3,733 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
187 kbps
|
|
But I'm a Cheerleader (1999)
|
|
|
|
10.22
|
1:30:40
|
1,920 x 1,036
|
15,906 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Butch Cassidy and the Sundance Kid (1969)
|
|
|
|
7.04
|
1:50:27
|
1,920 x 808
|
6,632 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,496 kbps
|
|
Butcher, Baker, Nightmare Maker (1982)
|
|
|
|
4.17
|
1:32:40
|
1,904 x 1,080
|
5,696 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
737 kbps
|
|
Butter (2012)
|
|
|
|
5.36
|
1:30:32
|
1,920 x 816
|
5,542 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,928 kbps
|
|
Buttons: A Christmas Tale (2018)
|
|
|
|
2.03
|
1:27:56
|
1,920 x 1,076
|
2,927 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Buttwhistle (2014)
|
|
|
|
1.66
|
1:33:30
|
1,920 x 1,080
|
2,161 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Buzzard (2014)
|
|
|
|
1.86
|
1:37:29
|
1,920 x 1,080
|
2,213 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
510 kbps
|
|
Bye Bye Barry (2023)
|
|
|
|
14.67
|
1:32:45
|
3,840 x 2,160
|
22,002 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Byzantium (2012)
|
|
|
|
6.10
|
1:58:35
|
1,920 x 816
|
4,247 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,105 kbps
|
|
C'mon C'mon (2021)
|
|
|
|
|
4.68
|
1:49:20
|
3,576 x 2,160
|
3,569 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,560 kbps
|
|
C.H.U.D. (1984)
|
|
|
|
10.06
|
1:36:26
|
1,920 x 1,036
|
14,639 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
295 kbps
|
|
C.I.Ape (2021)
|
|
|
|
1.76
|
1:21:35
|
1,920 x 800
|
2,709 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ca$h (2010)
|
|
|
|
8.46
|
1:47:48
|
1,920 x 1,080
|
7,952 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,277 kbps
|
|
Cabin Boy (1994)
|
|
|
|
4.42
|
1:20:15
|
1,912 x 1,080
|
7,301 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
583 kbps
|
|
Cabin Fever (2016)
|
|
|
|
2.96
|
1:38:44
|
1,920 x 800
|
2,894 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,401 kbps
|
|
Caddyshack (1980)
|
|
|
|
|
5.94
|
1:38:00
|
1,916 x 1,080
|
7,576 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,101 kbps
|
|
Caddyshack II (1988)
|
|
|
|
5.73
|
1:37:36
|
1,920 x 1,072
|
8,180 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Cadillac Man (1990)
|
|
|
|
8.92
|
1:37:29
|
1,920 x 1,040
|
12,507 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
598 kbps
|
|
Cadillac Records (2008)
|
|
|
|
3.21
|
1:48:35
|
1,920 x 800
|
2,883 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,354 kbps
|
|
Caged (2021)
|
|
|
|
2.49
|
1:20:19
|
1,920 x 1,072
|
4,060 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Caged Fury (1990)
|
|
|
|
7.74
|
1:35:22
|
1,920 x 1,040
|
11,351 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
272 kbps
|
|
Cake (2014)
|
|
|
|
5.06
|
1:41:45
|
1,920 x 792
|
4,864 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,249 kbps
|
|
Calendar Girls (2003)
|
|
|
|
4.19
|
1:48:13
|
1,920 x 812
|
4,901 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Caligula (1980)
|
|
|
|
14.51
|
2:35:29
|
1,920 x 1,036
|
11,642 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,712 kbps
|
|
Call Me (1988)
|
|
|
|
5.07
|
1:38:00
|
1,920 x 1,080
|
7,186 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Call Northside 777 (1948)
|
|
|
|
4.65
|
1:51:00
|
1,440 x 1,080
|
5,774 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Call of the Unseen (2022)
|
|
|
|
5.25
|
1:39:40
|
3,840 x 1,608
|
7,159 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Camille (2008)
|
|
|
|
5.48
|
1:30:59
|
1,920 x 1,080
|
7,323 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,298 kbps
|
|
Camouflage (2001)
|
|
|
|
5.71
|
1:36:59
|
1,904 x 1,080
|
7,790 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Camp Nowhere (1994)
|
|
|
|
6.20
|
1:35:48
|
1,920 x 1,078
|
7,884 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,373 kbps
|
|
Can You Ever Forgive Me? (2018)
|
|
|
|
8.03
|
1:46:23
|
1,920 x 796
|
7,942 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,859 kbps
|
|
Can You Keep a Secret (2019)
|
|
|
|
3.73
|
1:34:24
|
1,920 x 1,036
|
2,863 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,792 kbps
|
|
Can't Buy Me Love (1987)
|
|
|
|
8.94
|
1:34:07
|
1,920 x 1,036
|
12,959 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Can't Hardly Wait (1998)
|
|
|
|
|
9.56
|
1:40:31
|
1,920 x 1,040
|
12,116 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,500 kbps
|
|
Canadian Bacon (1995)
|
|
|
|
8.10
|
1:35:06
|
1,920 x 1,040
|
10,813 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,375 kbps
|
|
Candy (1968)
|
|
|
|
12.92
|
2:04:30
|
1,920 x 1,036
|
14,580 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
271 kbps
|
|
Candy (2006)
|
|
|
|
6.59
|
1:47:52
|
1,920 x 1,032
|
7,534 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,205 kbps
|
|
Candy Cane Lane (2023)
|
|
|
|
|
4.78
|
2:00:02
|
3,840 x 1,600
|
5,115 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Candyman (1992)
|
|
|
|
|
39.67
|
1:38:54
|
3,840 x 2,076
|
55,937 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,478 kbps
|
|
Candyman (2021)
|
|
|
|
|
5.44
|
1:31:01
|
3,840 x 1,608
|
5,745 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,800 kbps
|
|
Candyman: Farewell to the Flesh (1995)
|
|
|
|
5.97
|
1:35:06
|
1,920 x 1,040
|
6,051 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,940 kbps
|
|
Cannery Row (1982)
|
|
|
|
9.24
|
2:00:09
|
1,920 x 1,036
|
10,418 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
588 kbps
|
|
Cannonball Run II (1984)
|
|
|
|
9.50
|
1:48:58
|
1,904 x 1,080
|
11,812 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
671 kbps
|
|
Cape Fear (1991)
|
|
|
|
7.92
|
2:07:26
|
1,920 x 816
|
5,426 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,474 kbps
|
|
Caprice (1967)
|
|
|
|
7.58
|
1:37:37
|
1,920 x 800
|
10,816 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
296 kbps
|
|
Capricorn One (1978)
|
|
|
|
6.69
|
2:03:25
|
1,920 x 812
|
7,223 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
538 kbps
|
|
Captain America (1991)
|
|
|
|
7.00
|
1:37:05
|
1,904 x 1,080
|
9,642 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
674 kbps
|
|
Captain America: Civil War (2016)
|
|
|
|
|
|
|
9.86
|
2:27:42
|
3,840 x 1,600
|
8,108 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,442 kbps
|
|
Captain America: The First Avenger (2011)
|
|
|
|
|
|
6.86
|
2:04:10
|
3,840 x 1,600
|
6,223 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,676 kbps
|
|
Captain America: The Winter Soldier (2014)
|
|
|
|
|
|
|
7.71
|
2:15:54
|
3,840 x 1,600
|
6,672 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,438 kbps
|
|
Captain Corelli's Mandolin (2001)
|
|
|
|
8.69
|
2:08:54
|
1,920 x 1,080
|
8,360 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,293 kbps
|
|
Captain Fantastic (2016)
|
|
|
|
5.38
|
1:59:29
|
1,920 x 798
|
3,891 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,558 kbps
|
|
Captain Marvel (2019)
|
|
|
|
|
|
5.60
|
2:03:42
|
3,840 x 1,608
|
4,905 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,565 kbps
|
|
Captain Phillips (2013)
|
|
|
|
|
|
24.78
|
2:14:05
|
3,840 x 1,606
|
24,773 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,679 kbps
|
|
Captain Ron (1992)
|
|
|
|
|
6.13
|
1:40:12
|
1,920 x 1,076
|
8,535 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Captain Underpants: The First Epic Movie (2017)
|
|
|
|
|
5.20
|
1:28:40
|
3,840 x 2,076
|
5,398 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,995 kbps
|
|
Captive (2015)
|
|
|
|
3.98
|
1:37:08
|
1,920 x 1,080
|
2,832 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,029 kbps
|
|
Captive State (2019)
|
|
|
|
3.84
|
1:49:34
|
1,920 x 804
|
2,177 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,833 kbps
|
|
Capture the Flag (2015)
|
|
|
|
3.76
|
1:34:39
|
1,920 x 796
|
3,007 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,678 kbps
|
|
Carbon Copy (1981)
|
|
|
|
4.68
|
1:30:58
|
1,920 x 1,036
|
7,074 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
292 kbps
|
|
Cardboard Boxer (2016)
|
|
|
|
2.32
|
1:28:39
|
1,920 x 1,008
|
2,369 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,378 kbps
|
|
Career Opportunities (1991)
|
|
|
|
4.54
|
1:23:06
|
1,920 x 808
|
7,255 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
570 kbps
|
|
Carla's Song (1996)
|
|
|
|
5.83
|
1:50:39
|
1,798 x 1,080
|
6,210 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,337 kbps
|
|
Carlito's Way (1993)
|
|
|
|
|
|
39.90
|
2:24:04
|
3,840 x 1,632
|
37,857 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,786 kbps
|
|
Carlito's Way: Rise to Power (2005)
|
|
|
|
4.71
|
1:33:23
|
1,920 x 1,080
|
6,579 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Carnage (2011)
|
|
|
|
|
3.51
|
1:19:38
|
1,920 x 820
|
4,558 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
1,750 kbps
|
|
Carpool (1996)
|
|
|
|
|
4.04
|
1:29:34
|
1,912 x 1,080
|
6,229 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Carrie (1976)
|
|
|
|
|
20.39
|
1:37:56
|
3,840 x 2,064
|
27,122 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Carrie (2013)
|
|
|
|
|
7.87
|
1:39:43
|
3,840 x 1,628
|
8,224 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,067 kbps
|
|
Carriers (2009)
|
|
|
|
6.61
|
1:24:33
|
1,920 x 804
|
9,672 kbps
|
|
5.1
|
|
48 kHz
|
1,509.75 kbps
|
|
Carry On Camping (1969)
|
|
|
|
|
5.64
|
1:28:25
|
1,920 x 1,022
|
8,936 kbps
|
|
1.0
|
|
48 kHz
|
192 kbps
|
|
Carry On Cleo (1964)
|
|
|
|
10.44
|
1:32:01
|
1,784 x 1,080
|
15,967 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
268 kbps
|
|
Carry On Constable (1960)
|
|
|
|
5.01
|
1:26:26
|
1,800 x 1,080
|
7,658 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
635 kbps
|
|
Carry On Cowboy (1965)
|
|
|
|
8.46
|
1:34:27
|
1,920 x 1,040
|
12,569 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
247 kbps
|
|
Carry On Nurse (1959)
|
|
|
|
10.31
|
1:26:26
|
1,788 x 1,080
|
16,872 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
195 kbps
|
|
Carry On Screaming! (1966)
|
|
|
|
9.40
|
1:36:37
|
1,796 x 1,080
|
13,642 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
292 kbps
|
|
Carry On Sergeant (1958)
|
|
|
|
14.43
|
1:23:39
|
1,800 x 1,080
|
24,191 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
498 kbps
|
|
Carry On Teacher (1959)
|
|
|
|
8.92
|
1:26:34
|
1,796 x 1,080
|
14,428 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
319 kbps
|
|
Cars (2006)
|
|
|
|
|
|
9.03
|
1:56:46
|
3,840 x 1,604
|
7,540 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,519 kbps
|
|
Cars 2 (2011)
|
|
|
|
|
|
7.12
|
1:46:15
|
3,840 x 1,604
|
4,909 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,680 kbps
|
|
Cars 3 (2017)
|
|
|
|
|
6.19
|
1:42:25
|
3,840 x 1,608
|
6,171 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,483 kbps
|
|
Casablanca (1942)
|
|
|
|
|
18.91
|
1:42:34
|
2,960 x 2,160
|
25,814 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
575 kbps
|
|
Casino (1995)
|
|
|
|
|
|
17.51
|
2:58:14
|
3,840 x 1,632
|
12,158 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,904 kbps
|
|
Casino Jack (2011)
|
|
|
|
4.24
|
1:48:36
|
1,920 x 816
|
2,444 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,149 kbps
|
|
Casino Royale (1967)
|
|
|
|
|
7.91
|
2:11:09
|
1,920 x 820
|
5,419 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,218 kbps
|
|
Casino Royale (2006)
|
|
|
|
|
|
15.63
|
2:24:33
|
3,840 x 1,600
|
11,987 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,491 kbps
|
|
Cassandra's Dream (2008)
|
|
|
|
9.00
|
1:48:05
|
1,920 x 1,036
|
11,480 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
438 kbps
|
|
Cast a Deadly Spell (1991)
|
|
|
|
3.00
|
1:36:06
|
1,916 x 1,080
|
4,241 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Cast Away (2000)
|
|
|
|
|
8.72
|
2:23:47
|
1,920 x 1,036
|
5,017 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,665 kbps
|
|
Castle in the Ground (2020)
|
|
|
|
3.04
|
1:46:54
|
1,440 x 1,080
|
1,848 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,218 kbps
|
|
Casual Sex? (1988)
|
|
|
|
5.83
|
1:27:13
|
1,920 x 1,040
|
8,109 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,461 kbps
|
|
Casualties of War (1989)
|
|
|
|
11.91
|
1:59:07
|
1,920 x 800
|
11,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,273 kbps
|
|
Cat on a Hot Tin Roof (1958)
|
|
|
|
9.39
|
1:48:04
|
1,920 x 1,080
|
11,878 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
559 kbps
|
|
Cat People (1982)
|
|
|
|
|
22.85
|
1:58:02
|
3,840 x 2,076
|
25,257 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,450 kbps
|
|
Cat Run (2011)
|
|
|
|
5.72
|
1:46:07
|
1,920 x 804
|
4,334 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,387 kbps
|
|
Cat's Eye (1985)
|
|
|
|
|
46.05
|
1:34:41
|
3,840 x 1,632
|
66,590 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,043 kbps
|
|
Catch .44 (2012)
|
|
|
|
2.96
|
1:33:52
|
1,920 x 796
|
1,617 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,891 kbps
|
|
Catch and Release (2007)
|
|
|
|
3.73
|
1:51:36
|
1,920 x 800
|
3,397 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,380 kbps
|
|
Catch Me If You Can (2002)
|
|
|
|
10.76
|
2:20:43
|
1,920 x 1,036
|
7,559 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,390 kbps
|
|
Catch the Fair One (2021)
|
|
|
|
8.40
|
1:25:30
|
3,840 x 2,160
|
13,678 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Catchfire (1990)
|
|
|
|
11.98
|
1:55:53
|
1,920 x 1,040
|
13,489 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,305 kbps
|
|
Cats & Dogs (2001)
|
|
|
|
6.40
|
1:27:15
|
1,920 x 1,080
|
6,736 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,758 kbps
|
|
Cats & Dogs 3: Paws Unite! (2020)
|
|
|
|
2.60
|
1:24:08
|
1,920 x 1,080
|
2,925 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,491 kbps
|
|
Cats & Dogs: The Revenge of Kitty Galore (2010)
|
|
|
|
7.38
|
1:22:20
|
1,920 x 1,080
|
9,617 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,207 kbps
|
|
Cats Don't Dance (1997)
|
|
|
|
3.31
|
1:15:10
|
1,920 x 1,020
|
3,013 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,306 kbps
|
|
Catwoman (2004)
|
|
|
|
3.78
|
1:44:18
|
1,920 x 796
|
3,596 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,596 kbps
|
|
Catwoman: Hunted (2022)
|
|
|
|
|
3.47
|
1:18:53
|
3,840 x 2,156
|
4,874 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,414 kbps
|
|
Caught in His Web (2022)
|
|
|
|
2.24
|
1:28:52
|
1,920 x 1,080
|
2,966 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Caught Up (1998)
|
|
|
|
3.72
|
1:38:54
|
1,912 x 1,080
|
4,749 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Causeway (2022)
|
|
|
|
|
|
3.89
|
1:34:11
|
3,840 x 2,072
|
5,136 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Caveman (1981)
|
|
|
|
6.92
|
1:32:12
|
1,920 x 1,040
|
10,430 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
320 kbps
|
|
Cedar Rapids (2011)
|
|
|
|
4.19
|
1:26:57
|
1,920 x 1,038
|
4,074 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,829 kbps
|
|
Celebrity Sex Tape (2012)
|
|
|
|
3.99
|
1:31:17
|
1,920 x 1,080
|
5,094 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,162 kbps
|
|
Celeste & Jesse Forever (2012)
|
|
|
|
|
2.79
|
1:32:16
|
1,920 x 800
|
1,497 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,824 kbps
|
|
Celia (1989)
|
|
|
|
9.58
|
1:43:19
|
1,920 x 1,036
|
12,571 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
708 kbps
|
|
Cell (2016)
|
|
|
|
5.12
|
1:37:39
|
1,920 x 800
|
4,584 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,921 kbps
|
|
Cellular (2004)
|
|
|
|
|
3.98
|
1:34:02
|
1,920 x 816
|
4,697 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,366 kbps
|
|
Celtic Pride (1996)
|
|
|
|
4.12
|
1:30:42
|
1,920 x 1,036
|
5,824 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
679 kbps
|
|
Censor (2021)
|
|
|
|
3.16
|
1:23:38
|
1,920 x 800
|
2,552 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,854 kbps
|
|
Centigrade (2020)
|
|
|
|
0.93
|
1:29:10
|
1,920 x 800
|
572 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
926 kbps
|
|
Central Intelligence (2016)
|
|
|
|
|
|
10.21
|
1:56:25
|
3,840 x 1,600
|
9,437 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,113 kbps
|
|
Central Park Dark (2021)
|
|
|
|
2.16
|
1:21:29
|
1,920 x 1,064
|
3,411 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Cerebrum (2021)
|
|
|
|
2.83
|
2:00:41
|
1,920 x 804
|
2,719 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Chain of Fools (2000)
|
|
|
|
1.73
|
1:38:24
|
1,920 x 788
|
2,134 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Chain Reaction (1996)
|
|
|
|
|
10.55
|
1:46:38
|
1,920 x 1,036
|
10,427 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,729 kbps
|
|
Chained (2012)
|
|
|
|
2.10
|
1:34:11
|
1,920 x 796
|
2,301 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
884 kbps
|
|
Chained for Life (2019)
|
|
|
|
13.81
|
1:31:22
|
1,920 x 1,036
|
20,982 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
662 kbps
|
|
Chairman of the Board (1998)
|
|
|
|
4.19
|
1:35:35
|
1,912 x 1,080
|
6,049 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Champions (2023)
|
|
|
|
5.81
|
2:03:44
|
1,920 x 804
|
3,866 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,850 kbps
|
|
Changeling (2008)
|
|
|
|
5.80
|
2:21:55
|
1,920 x 800
|
3,027 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,819 kbps
|
|
Changing Lanes (2002)
|
|
|
|
|
10.77
|
1:38:44
|
3,840 x 1,632
|
14,236 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,379 kbps
|
|
Chaos (2005) [imdbid-tt0402910]
|
|
|
|
5.88
|
1:46:21
|
1,920 x 814
|
3,501 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,393 kbps
|
|
Chaos (2005) [imdbid-tt0405977]
|
|
|
|
4.15
|
1:16:25
|
1,904 x 1,080
|
6,675 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,104 kbps
|
|
Chaos on the Farm (2023)
|
|
|
|
2.33
|
1:25:18
|
1,920 x 1,076
|
3,677 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Chaos Theory (2007)
|
|
|
|
3.29
|
1:27:19
|
1,920 x 800
|
3,995 kbps
|
|
3.1
|
|
20 bits / 48 kHz
|
1,391 kbps
|
|
Chaos Walking (2021)
|
|
|
|
|
6.99
|
1:48:55
|
3,840 x 1,604
|
6,422 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,755 kbps
|
|
Chappie (2015)
|
|
|
|
|
|
|
10.65
|
2:00:19
|
3,840 x 1,596
|
9,507 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,159 kbps
|
|
Charade (1963)
|
|
|
|
10.97
|
1:53:36
|
1,920 x 1,038
|
13,182 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
638 kbps
|
|
Charlie and the Chocolate Factory (2005)
|
|
|
|
4.43
|
1:55:24
|
1,920 x 1,080
|
3,988 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,506 kbps
|
|
Charlie Brown's All Stars! (1966)
|
|
|
|
|
0.80
|
25:00
|
2,880 x 2,160
|
4,208 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Charlie Wilson's War (2007)
|
|
|
|
7.03
|
1:41:55
|
1,920 x 1,040
|
6,793 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,078 kbps
|
|
Charlie's Angels (2000)
|
|
|
|
|
|
14.82
|
1:38:24
|
3,840 x 1,600
|
19,556 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,004 kbps
|
|
Charlie's Angels (2019)
|
|
|
|
|
|
8.25
|
1:58:30
|
3,840 x 1,604
|
5,881 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,083 kbps
|
|
Charlie's Angels: Full Throttle (2003)
|
|
|
|
|
8.45
|
1:47:06
|
1,920 x 798
|
7,805 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,492 kbps
|
|
Charlotte's Web (2006)
|
|
|
|
|
6.36
|
1:36:56
|
3,840 x 2,076
|
5,903 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,482 kbps
|
|
Charly (2002)
|
|
|
|
6.51
|
1:44:17
|
1,920 x 1,080
|
8,290 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Chase (2019)
|
|
|
|
0.93
|
1:21:56
|
1,920 x 808
|
1,395 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Chasing Amy (1997)
|
|
|
|
6.97
|
1:53:09
|
1,920 x 1,032
|
5,829 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,995 kbps
|
|
Chasing Bullitt (2019)
|
|
|
|
4.44
|
1:30:02
|
1,920 x 816
|
4,315 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,748 kbps
|
|
Chasing Liberty (2004)
|
|
|
|
3.75
|
1:50:42
|
1,920 x 796
|
4,208 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Cheap Thrills (2014)
|
|
|
|
1.47
|
1:27:12
|
1,920 x 784
|
1,395 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,021 kbps
|
|
Cheaper by the Dozen (1950)
|
|
|
|
3.64
|
1:26:03
|
1,432 x 1,080
|
5,831 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Cheaper by the Dozen (2003)
|
|
|
|
3.29
|
1:38:53
|
1,912 x 1,080
|
4,123 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Cheaper by the Dozen (2022)
|
|
|
|
7.08
|
1:47:34
|
3,840 x 2,160
|
9,170 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Cheaper by the Dozen 2 (2005)
|
|
|
|
6.18
|
1:33:54
|
1,920 x 816
|
6,265 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,159 kbps
|
|
Check Point (2017)
|
|
|
|
5.38
|
1:37:32
|
1,920 x 1,080
|
4,870 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,023 kbps
|
|
Checkin' It Twice (2023)
|
|
|
|
2.35
|
1:24:00
|
1,920 x 1,080
|
3,359 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Cheech and Chong's Animated Movie (2013)
|
|
|
|
3.21
|
1:23:21
|
1,920 x 1,036
|
1,945 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,572 kbps
|
|
Cheech and Chong's Next Movie (1980)
|
|
|
|
9.75
|
1:34:39
|
1,920 x 1,040
|
14,430 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
319 kbps
|
|
Chef (2014)
|
|
|
|
4.54
|
1:55:06
|
1,920 x 800
|
2,185 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,465 kbps
|
|
Chernobyl Diaries (2012)
|
|
|
|
3.23
|
1:28:23
|
1,920 x 1,036
|
4,204 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,030 kbps
|
|
Cherry (2021)
|
|
|
|
|
4.50
|
2:21:02
|
3,840 x 1,610
|
3,794 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Cherry 2000 (1988)
|
|
|
|
4.76
|
1:38:32
|
1,920 x 1,042
|
6,357 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
562 kbps
|
|
Cherry Falls (2000)
|
|
|
|
4.69
|
1:31:29
|
1,920 x 1,036
|
4,040 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,298 kbps
|
|
Chicago (2002)
|
|
|
|
14.41
|
1:53:25
|
1,920 x 1,036
|
14,798 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,384 kbps
|
|
Chick Fight (2020)
|
|
|
|
2.27
|
1:37:21
|
1,920 x 800
|
2,886 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Chicken Run (2000)
|
|
|
|
2.40
|
1:24:46
|
1,920 x 1,040
|
2,688 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,369 kbps
|
|
Chicken Run: Dawn of the Nugget (2023)
|
|
|
|
|
|
2.65
|
1:41:39
|
3,840 x 1,904
|
2,987 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Child's Play (1988)
|
|
|
|
|
49.93
|
1:27:10
|
3,840 x 2,076
|
79,480 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,520 kbps
|
|
Child's Play (2019)
|
|
|
|
2.96
|
1:30:00
|
1,920 x 804
|
1,862 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,852 kbps
|
|
Child's Play 2 (1990)
|
|
|
|
|
16.39
|
1:24:09
|
3,840 x 2,076
|
24,954 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,929 kbps
|
|
Child's Play 3 (1991)
|
|
|
|
|
26.80
|
1:29:53
|
3,840 x 2,076
|
39,738 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,943 kbps
|
|
Children of Men (2006)
|
|
|
|
7.72
|
1:49:15
|
1,920 x 1,040
|
7,109 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,010 kbps
|
|
Children of the Corn (1984)
|
|
|
|
|
46.60
|
1:32:09
|
3,840 x 2,076
|
68,910 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,488 kbps
|
|
Children of the Corn (2020)
|
|
|
|
|
8.99
|
1:32:42
|
3,840 x 1,608
|
10,506 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,366 kbps
|
|
Children of the Corn II: The Final Sacrifice (1992)
|
|
|
|
4.05
|
1:33:08
|
1,904 x 1,080
|
4,756 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,473 kbps
|
|
Children of the Corn III: Urban Harvest (1995)
|
|
|
|
3.97
|
1:32:36
|
1,904 x 1,080
|
5,073 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,062 kbps
|
|
Children of the Corn: Genesis (2011)
|
|
|
|
1.54
|
1:20:37
|
1,920 x 800
|
1,580 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,145 kbps
|
|
Chillerama (2013)
|
|
|
|
9.35
|
1:59:50
|
1,920 x 1,080
|
9,817 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,356 kbps
|
|
Chinatown (1974)
|
|
|
|
|
15.46
|
2:10:30
|
3,840 x 1,632
|
14,065 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,888 kbps
|
|
Chinese Box (1997)
|
|
|
|
13.61
|
1:39:22
|
1,920 x 1,036
|
18,241 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,373 kbps
|
|
CHiPs (2017)
|
|
|
|
|
5.86
|
1:40:52
|
1,920 x 1,080
|
4,971 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,348 kbps
|
|
Chloe (2010)
|
|
|
|
6.24
|
1:36:13
|
1,920 x 1,036
|
5,987 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,305 kbps
|
|
Choke (2008)
|
|
|
|
12.61
|
1:31:47
|
1,920 x 1,028
|
18,770 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
887 kbps
|
|
Chokehold (2019)
|
|
|
|
3.00
|
1:38:31
|
1,920 x 812
|
4,138 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Chompy & the Girls (2021)
|
|
|
|
1.17
|
1:29:05
|
1,920 x 800
|
1,720 kbps
|
|
2.0
|
|
48 kHz
|
164 kbps
|
|
Chop Shop (2008)
|
|
|
|
11.21
|
1:24:32
|
1,920 x 1,080
|
15,809 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,173 kbps
|
|
Christine (1983)
|
|
|
|
|
16.49
|
1:50:01
|
3,840 x 1,604
|
19,928 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,524 kbps
|
|
Christine (2016)
|
|
|
|
|
4.13
|
1:59:10
|
1,920 x 1,036
|
2,498 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,457 kbps
|
|
Christmas Angel (2012)
|
|
|
|
2.71
|
1:38:41
|
1,920 x 1,080
|
3,486 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Christmas at the Royal Hotel (2018)
|
|
|
|
1.87
|
1:49:01
|
1,920 x 1,080
|
2,262 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Christmas Bloody Christmas (2022)
|
|
|
|
|
49.08
|
1:26:48
|
3,840 x 1,604
|
77,402 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,547 kbps
|
|
Christmas by Chance (2021)
|
|
|
|
3.37
|
1:36:35
|
1,920 x 1,080
|
4,355 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Connection (2017)
|
|
|
|
2.90
|
1:26:51
|
1,912 x 1,080
|
4,143 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Crime Story (2017)
|
|
|
|
1.39
|
1:36:37
|
1,920 x 788
|
1,419 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Cupid (2010)
|
|
|
|
4.49
|
1:25:22
|
1,920 x 1,080
|
6,892 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Do-Over (2006)
|
|
|
|
4.90
|
1:29:42
|
1,912 x 1,080
|
7,186 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Eve (2015)
|
|
|
|
2.49
|
1:35:08
|
1,920 x 1,080
|
2,889 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
856 kbps
|
|
Christmas in Paradise (2022)
|
|
|
|
4.87
|
1:28:48
|
1,920 x 796
|
4,560 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,293 kbps
|
|
Christmas in the Heartland (2018)
|
|
|
|
2.52
|
1:51:57
|
1,920 x 796
|
2,581 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Is Canceled (2021)
|
|
|
|
1.61
|
1:34:44
|
1,920 x 792
|
1,787 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas on the Menu (2020)
|
|
|
|
3.11
|
1:28:18
|
1,916 x 1,080
|
4,814 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Christmas on the Vine (2020)
|
|
|
|
2.53
|
1:27:49
|
1,920 x 1,080
|
3,900 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Christmas Reservations (2019)
|
|
|
|
2.06
|
1:26:48
|
1,920 x 1,080
|
3,180 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Christmas Town (2008)
|
|
|
|
2.62
|
1:22:25
|
1,904 x 1,080
|
4,333 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Under Wraps (2014)
|
|
|
|
3.05
|
1:24:34
|
1,920 x 1,080
|
4,526 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas Unwrapped (2020)
|
|
|
|
2.33
|
1:26:45
|
1,920 x 1,080
|
3,614 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Christmas Vacation 2: Cousin Eddie's Island Adventure (2003)
|
|
|
|
|
3.59
|
1:22:04
|
1,912 x 1,080
|
6,033 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Christmas vs. the Walters (2021)
|
|
|
|
1.92
|
1:42:02
|
1,920 x 800
|
2,047 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas with a Crown (2020)
|
|
|
|
2.69
|
1:28:22
|
1,920 x 1,080
|
3,723 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas with the Campbells (2022)
|
|
|
|
2.63
|
1:27:56
|
1,920 x 1,080
|
3,637 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christmas with the Kranks (2004)
|
|
|
|
|
7.61
|
1:38:55
|
1,920 x 800
|
7,801 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,217 kbps
|
|
Christmas...Again?! (2021)
|
|
|
|
2.23
|
1:32:37
|
1,920 x 862
|
2,801 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Christopher Robin (2018)
|
|
|
|
6.29
|
1:43:56
|
1,920 x 804
|
4,903 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,755 kbps
|
|
Chronicle (2012)
|
|
|
|
|
6.67
|
1:29:31
|
1,920 x 1,036
|
7,490 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,179 kbps
|
|
Cinderella (1950)
|
|
|
|
|
8.33
|
1:14:25
|
2,960 x 2,160
|
12,885 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,127 kbps
|
|
Cinderella (2015)
|
|
|
|
|
|
10.84
|
1:45:22
|
3,840 x 1,608
|
13,039 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
Cinderella II: Dreams Come True (2002)
|
|
|
|
3.69
|
1:13:28
|
1,824 x 1,080
|
3,505 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,688 kbps
|
|
Cinderella III: A Twist in Time (2007)
|
|
|
|
3.08
|
1:13:58
|
1,904 x 1,080
|
2,427 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,533 kbps
|
|
Circle of Friends (2006)
|
|
|
|
3.44
|
1:28:34
|
1,904 x 1,080
|
4,921 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Circuitry Man (1990)
|
|
|
|
2.07
|
1:32:29
|
1,904 x 1,080
|
3,082 kbps
|
|
2.0
|
|
48 kHz
|
127 kbps
|
|
Cisco Pike (1971)
|
|
|
|
9.15
|
1:34:24
|
1,920 x 1,040
|
13,247 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
623 kbps
|
|
Citadel (2012)
|
|
|
|
3.42
|
1:24:24
|
1,920 x 1,064
|
2,409 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,384 kbps
|
|
Citizen Kane (1941)
|
|
|
|
|
21.57
|
1:59:33
|
2,960 x 2,160
|
25,265 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
561 kbps
|
|
Citizen Toxie: The Toxic Avenger IV (2000)
|
|
|
|
|
22.29
|
1:48:53
|
3,840 x 2,064
|
28,563 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
742 kbps
|
|
City Hall (1996)
|
|
|
|
4.57
|
1:51:16
|
1,904 x 1,080
|
5,653 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
City Heat (1984)
|
|
|
|
8.03
|
1:37:30
|
1,920 x 1,080
|
8,769 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,014 kbps
|
|
City Island (2009)
|
|
|
|
4.95
|
1:43:49
|
1,904 x 1,080
|
5,041 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,781 kbps
|
|
City of Angels (1998)
|
|
|
|
4.71
|
1:54:14
|
1,920 x 800
|
4,626 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,270 kbps
|
|
City of Ember (2008)
|
|
|
|
|
3.58
|
1:34:43
|
1,920 x 800
|
3,909 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,493 kbps
|
|
City of Ghosts (2002)
|
|
|
|
3.49
|
1:56:34
|
720 x 464
|
1,189 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,100 kbps
|
|
City of Hope (1991)
|
|
|
|
2.48
|
2:09:55
|
1,920 x 814
|
2,512 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
City of Industry (1997)
|
|
|
|
3.96
|
1:37:09
|
1,920 x 1,038
|
4,829 kbps
|
|
2.0
|
|
20 bits / 48 kHz
|
1,000 kbps
|
|
City of Lies (2018)
|
|
|
|
2.09
|
1:52:17
|
1,920 x 804
|
1,708 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
955 kbps
|
|
City of Salt (2020)
|
|
|
|
2.99
|
1:55:43
|
1,920 x 800
|
3,478 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
City Slickers (1991)
|
|
|
|
|
11.12
|
1:53:47
|
1,920 x 1,036
|
12,751 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,275 kbps
|
|
City Slickers II: The Legend of Curly's Gold (1994)
|
|
|
|
5.21
|
1:55:32
|
1,920 x 1,036
|
5,313 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,140 kbps
|
|
Claire (2013)
|
|
|
|
3.70
|
1:38:39
|
1,916 x 1,080
|
5,150 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Clara (2018)
|
|
|
|
3.18
|
1:45:03
|
1,920 x 804
|
1,374 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,959 kbps
|
|
Class (1983)
|
|
|
|
6.30
|
1:38:53
|
1,920 x 1,040
|
8,483 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
637 kbps
|
|
Class of 1984 (1982)
|
|
|
|
8.79
|
1:38:13
|
1,904 x 1,080
|
9,783 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,023 kbps
|
|
Class of 1999 (1990)
|
|
|
|
6.11
|
1:36:13
|
1,920 x 1,032
|
7,642 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,443 kbps
|
|
Cleaner (2007)
|
|
|
|
6.74
|
1:28:47
|
1,920 x 1,080
|
7,516 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,353 kbps
|
|
Clear and Present Danger (1994)
|
|
|
|
|
|
|
22.45
|
2:21:14
|
3,840 x 1,604
|
19,437 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,319 kbps
|
|
Clear History (2013)
|
|
|
|
7.68
|
1:40:08
|
1,920 x 1,080
|
8,175 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,808 kbps
|
|
Clerks (1994)
|
|
|
|
|
12.17
|
1:39:30
|
1,904 x 1,080
|
14,419 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,093 kbps
|
|
Clerks II (2006)
|
|
|
|
|
11.08
|
1:37:34
|
1,920 x 1,080
|
13,247 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,013 kbps
|
|
Clerks III (2022)
|
|
|
|
|
5.01
|
1:41:13
|
3,840 x 2,020
|
5,745 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,354 kbps
|
|
Click & Collect (2018)
|
|
|
|
1.36
|
53:11
|
1,920 x 960
|
3,423 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Click (2006)
|
|
|
|
|
7.10
|
1:47:31
|
1,920 x 1,040
|
8,068 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,377 kbps
|
|
Cliffhanger (1993)
|
|
|
|
|
17.23
|
1:52:31
|
3,840 x 1,624
|
19,246 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,666 kbps
|
|
Clifford (1994)
|
|
|
|
7.91
|
1:29:57
|
1,920 x 1,040
|
11,208 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,386 kbps
|
|
Clifford the Big Red Dog (2021)
|
|
|
|
|
5.83
|
1:36:26
|
3,840 x 1,920
|
5,886 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,760 kbps
|
|
Cloak & Dagger (1984)
|
|
|
|
|
65.24
|
1:41:26
|
3,840 x 2,076
|
90,715 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,355 kbps
|
|
Clockers (1995)
|
|
|
|
13.56
|
2:08:21
|
1,920 x 1,040
|
13,781 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,341 kbps
|
|
Clockstoppers (2002)
|
|
|
|
14.18
|
1:34:00
|
1,904 x 1,080
|
18,286 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,314 kbps
|
|
Clockwise (1986)
|
|
|
|
10.48
|
1:36:18
|
1,920 x 1,032
|
14,862 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
988 kbps
|
|
Close (2019)
|
|
|
|
2.46
|
1:34:29
|
1,920 x 804
|
2,716 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,014 kbps
|
|
Close Encounters of the Third Kind (1977)
|
|
|
|
|
|
|
35.13
|
2:17:14
|
3,840 x 1,606
|
35,437 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,201 kbps
|
|
Close Range (2015)
|
|
|
|
5.22
|
1:25:15
|
1,920 x 1,080
|
5,567 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,200 kbps
|
|
Closed Circuit (2013)
|
|
|
|
4.15
|
1:36:02
|
1,920 x 800
|
3,140 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,038 kbps
|
|
Closer (2004)
|
|
|
|
4.82
|
1:43:51
|
1,920 x 1,040
|
5,403 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,234 kbps
|
|
Cloud Atlas (2012)
|
|
|
|
13.19
|
2:51:57
|
1,920 x 800
|
7,641 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,341 kbps
|
|
Cloudy with a Chance of Meatballs (2009)
|
|
|
|
3.18
|
1:29:53
|
1,920 x 814
|
2,687 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,370 kbps
|
|
Cloudy with a Chance of Meatballs 2 (2013)
|
|
|
|
3.90
|
1:34:50
|
1,920 x 800
|
4,447 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,443 kbps
|
|
Cloverfield (2008)
|
|
|
|
|
|
15.57
|
1:24:40
|
3,840 x 2,160
|
23,055 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,263 kbps
|
|
Club Dread (2004)
|
|
|
|
3.80
|
1:44:06
|
1,916 x 1,080
|
4,584 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Clue (1985)
|
|
|
|
|
22.52
|
1:36:52
|
3,840 x 2,076
|
32,602 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Clueless (1995)
|
|
|
|
6.87
|
1:37:14
|
1,920 x 1,080
|
8,861 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,249 kbps
|
|
Coal Miner's Daughter (1980)
|
|
|
|
8.33
|
2:04:18
|
1,920 x 1,040
|
6,711 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,879 kbps
|
|
Cocaine Bear (2023)
|
|
|
|
|
|
6.51
|
1:35:27
|
3,840 x 1,608
|
5,931 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,831 kbps
|
|
Cocaine Shark (2023)
|
|
|
|
2.68
|
1:10:36
|
1,920 x 1,080
|
4,796 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
635 kbps
|
|
Cocaine Wars (1985)
|
|
|
|
5.79
|
1:22:36
|
1,904 x 1,080
|
9,520 kbps
|
|
1.0
|
|
21 bits / 48 kHz
|
522 kbps
|
|
Cockneys vs Zombies (2013)
|
|
|
|
|
3.25
|
1:28:23
|
1,920 x 816
|
3,766 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,500 kbps
|
|
Cocktail (1988)
|
|
|
|
7.64
|
1:43:32
|
1,920 x 1,040
|
7,534 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,036 kbps
|
|
Coco (2017)
|
|
|
|
|
7.64
|
1:45:02
|
3,840 x 1,608
|
7,802 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,611 kbps
|
|
Cocoon (1985)
|
|
|
|
6.10
|
1:57:09
|
1,920 x 1,040
|
4,668 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,780 kbps
|
|
Cocoon: The Return (1988)
|
|
|
|
4.77
|
1:56:23
|
1,920 x 1,072
|
5,483 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
CODA (2021)
|
|
|
|
|
|
13.20
|
1:52:09
|
3,840 x 2,076
|
14,042 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,804 kbps
|
|
Code 8 (2019)
|
|
|
|
|
4.27
|
1:38:19
|
1,920 x 804
|
3,239 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,972 kbps
|
|
Code of Silence (1985)
|
|
|
|
8.05
|
1:40:30
|
1,920 x 1,020
|
10,730 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
741 kbps
|
|
Coffee & Kareem (2020)
|
|
|
|
1.73
|
1:28:26
|
1,920 x 800
|
2,026 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Coffy (1973)
|
|
|
|
7.65
|
1:30:03
|
1,920 x 1,040
|
11,505 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
653 kbps
|
|
Coherence (2013)
|
|
|
|
2.02
|
1:28:06
|
1,920 x 808
|
2,465 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
818 kbps
|
|
Cold Brook (2019)
|
|
|
|
2.91
|
1:42:15
|
1,920 x 1,024
|
3,682 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Cold Comfort Farm (1996)
|
|
|
|
4.39
|
1:45:09
|
1,920 x 1,040
|
5,750 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Cold Heaven (1992)
|
|
|
|
5.46
|
1:42:26
|
1,920 x 1,040
|
6,329 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,301 kbps
|
|
Cold in July (2014)
|
|
|
|
3.78
|
1:50:02
|
1,920 x 800
|
1,896 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,016 kbps
|
|
Cold Pursuit (2019)
|
|
|
|
|
6.63
|
1:59:00
|
3,840 x 1,604
|
5,557 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,410 kbps
|
|
Cold Turkey (1971)
|
|
|
|
5.54
|
1:42:01
|
1,920 x 1,036
|
7,461 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
307 kbps
|
|
Coldblooded (1995)
|
|
|
|
9.21
|
1:33:07
|
1,920 x 1,036
|
13,548 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
618 kbps
|
|
Collateral (2004)
|
|
|
|
|
|
26.39
|
1:59:53
|
3,840 x 1,600
|
28,238 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,272 kbps
|
|
Collateral Beauty (2016)
|
|
|
|
|
3.38
|
1:36:38
|
3,840 x 1,592
|
2,384 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,616 kbps
|
|
Collateral Damage (2002)
|
|
|
|
|
5.12
|
1:48:48
|
1,916 x 1,080
|
5,157 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,580 kbps
|
|
Collection (2021)
|
|
|
|
1.24
|
1:27:18
|
1,920 x 800
|
1,645 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Collide (2016)
|
|
|
|
3.90
|
1:38:43
|
1,920 x 800
|
3,996 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,659 kbps
|
|
Collide (2022)
|
|
|
|
2.89
|
1:30:19
|
1,920 x 1,080
|
3,931 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Collision Course (1989)
|
|
|
|
3.23
|
1:39:05
|
1,424 x 1,080
|
4,434 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Collision Earth (2020)
|
|
|
|
|
4.11
|
1:24:10
|
1,920 x 1,080
|
5,533 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,462 kbps
|
|
Colombiana (2011)
|
|
|
|
7.69
|
1:51:36
|
1,920 x 816
|
7,587 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,277 kbps
|
|
Colonia (2016)
|
|
|
|
|
5.81
|
1:49:55
|
1,920 x 802
|
4,701 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,869 kbps
|
|
Color of Night (1994)
|
|
|
|
8.36
|
2:19:19
|
1,920 x 1,038
|
7,330 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,263 kbps
|
|
Color Out of Space (2020)
|
|
|
|
14.75
|
1:50:07
|
3,840 x 1,600
|
15,964 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,213 kbps
|
|
Colossal (2017)
|
|
|
|
|
3.63
|
1:49:24
|
1,920 x 802
|
1,882 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,870 kbps
|
|
Colossus: The Forbin Project (1970)
|
|
|
|
|
2.97
|
1:40:05
|
1,920 x 816
|
4,010 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
235 kbps
|
|
Columbus (2017)
|
|
|
|
|
3.66
|
1:44:53
|
1,920 x 1,036
|
2,585 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,403 kbps
|
|
Columbus Circle (2013)
|
|
|
|
4.14
|
1:25:50
|
1,920 x 800
|
5,792 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,108 kbps
|
|
Coma (1978)
|
|
|
|
8.01
|
1:52:59
|
1,920 x 1,080
|
9,505 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
641 kbps
|
|
Come Away (2020)
|
|
|
|
4.08
|
1:33:53
|
1,920 x 804
|
3,263 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,954 kbps
|
|
Come Clean (1931)
|
|
|
|
0.62
|
21:03
|
1,418 x 1,080
|
3,912 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
285 kbps
|
|
Come Play (2020)
|
|
|
|
9.34
|
1:36:31
|
3,840 x 1,608
|
11,312 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,532 kbps
|
|
Come to Daddy (2020)
|
|
|
|
3.47
|
1:35:37
|
1,920 x 800
|
2,391 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,806 kbps
|
|
Come True (2021)
|
|
|
|
4.70
|
1:45:08
|
1,920 x 800
|
5,253 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,140 kbps
|
|
Coming 2 America (2021)
|
|
|
|
|
|
8.57
|
1:48:33
|
3,840 x 1,920
|
10,649 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Coming Home in the Dark (2021)
|
|
|
|
3.23
|
1:32:44
|
1,920 x 804
|
1,852 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,133 kbps
|
|
Coming to America (1988)
|
|
|
|
|
|
28.09
|
1:56:47
|
3,840 x 2,160
|
31,341 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,087 kbps
|
|
Commando (1985)
|
|
|
|
7.85
|
1:31:50
|
1,920 x 1,044
|
8,935 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,302 kbps
|
|
Communion (1989)
|
|
|
|
2.75
|
1:49:16
|
1,920 x 806
|
3,403 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Compliance (2012)
|
|
|
|
2.17
|
1:29:46
|
1,920 x 800
|
2,293 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,164 kbps
|
|
Con Air (1997)
|
|
|
|
6.07
|
1:55:27
|
1,920 x 816
|
5,669 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,854 kbps
|
|
Conan the Barbarian (1982)
|
|
|
|
|
35.47
|
2:10:25
|
3,840 x 1,632
|
37,435 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,502 kbps
|
|
Conan the Destroyer (1984)
|
|
|
|
|
38.12
|
1:41:16
|
3,840 x 1,632
|
51,232 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,665 kbps
|
|
Concussion (2015)
|
|
|
|
|
|
12.56
|
2:02:50
|
3,840 x 1,606
|
12,276 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,361 kbps
|
|
Coneheads (1993)
|
|
|
|
|
9.24
|
1:26:44
|
1,920 x 1,072
|
13,961 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,280 kbps
|
|
Confess, Fletch (2022)
|
|
|
|
|
4.05
|
1:38:31
|
3,840 x 2,076
|
5,493 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Confessions of a Dangerous Mind (2003)
|
|
|
|
3.66
|
1:53:28
|
1,920 x 800
|
3,427 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,188 kbps
|
|
Confessions of a Shopaholic (2009)
|
|
|
|
7.74
|
1:44:13
|
1,920 x 800
|
7,621 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,014 kbps
|
|
Confidence (2003)
|
|
|
|
2.80
|
1:37:11
|
1,920 x 812
|
3,892 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Congo (1995)
|
|
|
|
8.34
|
1:48:15
|
1,920 x 1,080
|
7,759 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,262 kbps
|
|
Conquest of Space (1955)
|
|
|
|
9.49
|
1:20:32
|
1,916 x 1,080
|
16,630 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
236 kbps
|
|
Conquest of the Planet of the Apes (1972)
|
|
|
|
5.81
|
1:27:23
|
1,920 x 812
|
7,115 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,399 kbps
|
|
Consenting Adults (1992)
|
|
|
|
6.18
|
1:38:58
|
1,920 x 1,036
|
8,378 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
559 kbps
|
|
Conspiracy Theory (1997)
|
|
|
|
|
7.39
|
2:15:17
|
1,920 x 800
|
4,121 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,698 kbps
|
|
Constantine (2005)
|
|
|
|
|
3.87
|
2:00:47
|
1,920 x 792
|
3,369 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,221 kbps
|
|
Constantine: City of Demons (2018)
|
|
|
|
|
7.71
|
1:30:09
|
3,840 x 2,156
|
10,885 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
Contact (1997)
|
|
|
|
|
5.01
|
2:29:41
|
1,920 x 800
|
3,509 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,286 kbps
|
|
Contagion (2011)
|
|
|
|
|
3.80
|
1:46:25
|
1,920 x 1,072
|
2,074 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,031 kbps
|
|
Containment (2015)
|
|
|
|
1.17
|
1:16:40
|
1,920 x 872
|
1,796 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Contraband (2012)
|
|
|
|
|
7.58
|
1:49:38
|
1,920 x 816
|
6,818 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,073 kbps
|
|
Control (2004)
|
|
|
|
5.97
|
1:44:37
|
1,920 x 1,036
|
4,168 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,006 kbps
|
|
Conviction (2010)
|
|
|
|
|
10.17
|
1:50:04
|
1,920 x 1,040
|
10,352 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,876 kbps
|
|
Convoy (1978)
|
|
|
|
9.13
|
1:51:07
|
1,920 x 814
|
11,038 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
728 kbps
|
|
Coogan's Bluff (1968)
|
|
|
|
6.14
|
1:34:21
|
1,920 x 1,028
|
8,689 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
622 kbps
|
|
Cook Off! (2017)
|
|
|
|
10.62
|
1:38:27
|
1,920 x 1,036
|
12,272 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,175 kbps
|
|
Cookie's Fortune (1999)
|
|
|
|
5.42
|
1:57:51
|
1,920 x 1,080
|
5,873 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
709 kbps
|
|
Cool Hand Luke (1967)
|
|
|
|
|
16.44
|
2:06:34
|
3,840 x 1,608
|
18,104 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
490 kbps
|
|
Cool Runnings (1993)
|
|
|
|
6.53
|
1:38:09
|
1,920 x 1,036
|
5,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,605 kbps
|
|
Cool World (1992)
|
|
|
|
8.64
|
1:41:37
|
1,920 x 1,032
|
10,616 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,558 kbps
|
|
Cop (1988)
|
|
|
|
5.03
|
1:50:44
|
1,920 x 1,080
|
5,852 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
652 kbps
|
|
Cop and a Half (1993)
|
|
|
|
4.88
|
1:32:46
|
1,920 x 1,036
|
6,159 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,373 kbps
|
|
Cop Car (2015)
|
|
|
|
4.98
|
1:27:57
|
1,920 x 1,036
|
5,283 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,815 kbps
|
|
Cop Game (1988)
|
|
|
|
12.11
|
1:24:18
|
1,792 x 1,080
|
19,908 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
661 kbps
|
|
Cop Land (1997)
|
|
|
|
|
6.01
|
1:56:17
|
1,920 x 1,040
|
4,400 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,002 kbps
|
|
Cop Out (2010)
|
|
|
|
5.53
|
1:47:30
|
1,920 x 800
|
6,101 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,268 kbps
|
|
Cops & Robbersons (1994)
|
|
|
|
6.14
|
1:32:32
|
1,920 x 1,080
|
9,276 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Copshop (2021)
|
|
|
|
|
|
8.07
|
1:47:23
|
3,840 x 1,608
|
8,042 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,719 kbps
|
|
Copycat (1995)
|
|
|
|
8.61
|
2:03:06
|
1,920 x 800
|
6,467 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,548 kbps
|
|
Coraline (2009)
|
|
|
|
|
9.60
|
1:40:32
|
3,840 x 2,076
|
11,020 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,645 kbps
|
|
Corbin Nash (2018)
|
|
|
|
5.35
|
1:35:05
|
1,920 x 1,080
|
4,338 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,714 kbps
|
|
Corporate Animals (2019)
|
|
|
|
1.38
|
1:25:53
|
1,920 x 796
|
1,418 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
881 kbps
|
|
Corpse Bride (2005)
|
|
|
|
3.19
|
1:17:12
|
1,916 x 1,080
|
2,560 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,349 kbps
|
|
Corrective Measures (2022)
|
|
|
|
|
6.71
|
1:46:50
|
3,840 x 1,608
|
5,707 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,273 kbps
|
|
Corvette Summer (1978)
|
|
|
|
15.42
|
1:44:36
|
1,920 x 1,080
|
20,489 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
607 kbps
|
|
Cosmic Dawn (2022)
|
|
|
|
5.29
|
1:38:16
|
1,920 x 952
|
4,972 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,729 kbps
|
|
Cosmic Sin (2021)
|
|
|
|
|
17.39
|
1:28:13
|
3,840 x 1,608
|
26,278 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,940 kbps
|
|
Cosmos (2019)
|
|
|
|
6.96
|
2:08:44
|
1,920 x 800
|
4,658 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,075 kbps
|
|
Cosmos Laundromat (2015)
|
|
|
|
|
0.60
|
12:38
|
1,920 x 804
|
5,354 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,537 kbps
|
|
Countdown (1967)
|
|
|
|
3.30
|
1:41:18
|
1,920 x 796
|
4,273 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Country Strong (2011)
|
|
|
|
6.11
|
1:57:08
|
1,920 x 800
|
5,368 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,099 kbps
|
|
County Hospital (1932)
|
|
|
|
0.51
|
19:01
|
1,418 x 1,080
|
3,517 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
309 kbps
|
|
County Lines (2019)
|
|
|
|
5.11
|
1:30:21
|
1,672 x 1,080
|
5,611 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,483 kbps
|
|
Couples Retreat (2009)
|
|
|
|
|
6.83
|
1:53:40
|
1,920 x 1,040
|
5,478 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,123 kbps
|
|
Courage Under Fire (1996)
|
|
|
|
8.67
|
1:56:28
|
1,920 x 1,040
|
7,086 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,565 kbps
|
|
Courageous (2011)
|
|
|
|
|
|
4.71
|
2:09:21
|
1,920 x 816
|
2,586 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,624 kbps
|
|
Covergirl (1984)
|
|
|
|
5.31
|
1:32:37
|
1,920 x 1,080
|
7,536 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
662 kbps
|
|
COVID-21: Lethal Virus (2021)
|
|
|
|
|
2.47
|
1:30:48
|
1,920 x 812
|
3,510 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Cowboys & Aliens (2011)
|
|
|
|
6.84
|
2:15:13
|
1,920 x 800
|
3,973 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,269 kbps
|
|
Coyote Lake (2019)
|
|
|
|
|
3.67
|
1:33:24
|
1,920 x 800
|
2,464 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,157 kbps
|
|
Coyote Ugly (2000)
|
|
|
|
|
4.32
|
1:47:30
|
1,920 x 800
|
4,014 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,733 kbps
|
|
Crabs! (2021)
|
|
|
|
2.08
|
1:20:48
|
1,920 x 752
|
3,226 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Cracking Up (1983)
|
|
|
|
|
1.40
|
1:29:38
|
720 x 480
|
2,039 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Crank (2006)
|
|
|
|
|
8.82
|
1:34:46
|
3,840 x 2,076
|
11,750 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,560 kbps
|
|
Crank: High Voltage (2009)
|
|
|
|
12.85
|
1:35:51
|
1,920 x 1,032
|
14,870 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,318 kbps
|
|
Crash (1996)
|
|
|
|
|
37.16
|
1:39:49
|
3,596 x 2,160
|
51,940 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,354 kbps
|
|
Crash (2004)
|
|
|
|
6.69
|
1:55:01
|
1,920 x 812
|
6,999 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,326 kbps
|
|
Crashing Through the Snow (2021)
|
|
|
|
2.99
|
1:26:44
|
1,920 x 1,080
|
4,300 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Crave (2013)
|
|
|
|
1.40
|
1:52:58
|
1,920 x 800
|
1,324 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Crawl (2019)
|
|
|
|
|
9.31
|
1:27:34
|
3,840 x 1,608
|
11,050 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,172 kbps
|
|
Crawl or Die (2014)
|
|
|
|
3.23
|
1:29:50
|
1,920 x 1,080
|
1,789 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,354 kbps
|
|
Crazy Heart (2010)
|
|
|
|
5.27
|
1:51:38
|
1,920 x 816
|
3,890 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,873 kbps
|
|
Crazy on the Outside (2010)
|
|
|
|
5.61
|
1:36:31
|
1,920 x 1,036
|
5,436 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,890 kbps
|
|
Crazy People (1990)
|
|
|
|
5.58
|
1:31:22
|
1,920 x 1,036
|
7,764 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
969 kbps
|
|
Crazy Rich Asians (2018)
|
|
|
|
|
8.97
|
2:00:38
|
3,840 x 1,600
|
7,526 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,112 kbps
|
|
Crazy, Stupid, Love. (2011)
|
|
|
|
|
7.08
|
1:58:06
|
1,920 x 796
|
5,467 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,112 kbps
|
|
CrazySexyCool: The TLC Story (2013)
|
|
|
|
3.15
|
1:44:59
|
1,920 x 1,080
|
4,073 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Creative Control (2016)
|
|
|
|
2.72
|
1:37:10
|
1,920 x 796
|
2,811 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,189 kbps
|
|
Creature (1985)
|
|
|
|
3.57
|
1:40:54
|
1,920 x 792
|
3,592 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,470 kbps
|
|
Creature from the Black Lagoon (1954)
|
|
|
|
|
23.26
|
1:19:14
|
3,840 x 2,076
|
41,383 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
645 kbps
|
|
Creatures (2021)
|
|
|
|
2.39
|
1:43:06
|
1,920 x 856
|
2,761 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
557 kbps
|
|
Creed (2015)
|
|
|
|
|
11.11
|
2:13:10
|
3,840 x 1,600
|
8,081 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,850 kbps
|
|
Creed II (2018)
|
|
|
|
|
4.60
|
2:10:00
|
3,840 x 1,608
|
3,736 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,320 kbps
|
|
Creed III (2023)
|
|
|
|
|
6.03
|
1:56:17
|
3,840 x 1,596
|
5,886 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,528 kbps
|
|
Creepozoids (1987)
|
|
|
|
5.24
|
1:12:11
|
1,920 x 1,080
|
10,021 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
364 kbps
|
|
Creepshow (1982)
|
|
|
|
|
28.43
|
2:00:29
|
3,840 x 2,076
|
31,267 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,507 kbps
|
|
Crime Story (2021)
|
|
|
|
1.72
|
1:38:40
|
1,920 x 800
|
1,852 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Crimes of the Future (2022)
|
|
|
|
|
4.72
|
1:47:35
|
3,840 x 2,076
|
3,341 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,932 kbps
|
|
Criminal Activities (2015)
|
|
|
|
2.97
|
1:33:55
|
1,920 x 800
|
1,666 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,864 kbps
|
|
Crimson Peak (2015)
|
|
|
|
6.59
|
1:58:44
|
1,920 x 1,036
|
4,054 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,886 kbps
|
|
Crisis (2021)
|
|
|
|
4.90
|
1:58:51
|
1,920 x 804
|
4,809 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,090 kbps
|
|
Crisis on Infinite Earths (2019)
|
|
|
|
6.89
|
3:32:10
|
1,920 x 1,080
|
3,096 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,553 kbps
|
|
Critical Condition (1987)
|
|
|
|
7.20
|
1:37:46
|
1,920 x 1,036
|
10,148 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
397 kbps
|
|
Critters (1986)
|
|
|
|
5.67
|
1:25:44
|
1,920 x 1,036
|
6,628 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,836 kbps
|
|
Critters 2: The Main Course (1988)
|
|
|
|
4.82
|
1:25:43
|
1,920 x 1,036
|
6,750 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,298 kbps
|
|
Critters 3 (1991)
|
|
|
|
4.26
|
1:24:47
|
1,920 x 1,028
|
5,955 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,243 kbps
|
|
Critters 4 (1992)
|
|
|
|
5.42
|
1:34:28
|
1,920 x 1,028
|
6,981 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
1,232 kbps
|
|
Critters Attack! (2019)
|
|
|
|
2.33
|
1:29:18
|
1,920 x 1,080
|
2,465 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,271 kbps
|
|
Crocodile Dundee (1986)
|
|
|
|
|
4.95
|
1:37:42
|
1,920 x 816
|
5,845 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,410 kbps
|
|
Crocodile Dundee II (1988)
|
|
|
|
|
14.87
|
1:51:37
|
1,920 x 816
|
17,894 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,172 kbps
|
|
Crocodile Dundee in Los Angeles (2001)
|
|
|
|
|
4.29
|
1:34:55
|
1,912 x 1,080
|
5,830 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Crooklyn (1994)
|
|
|
|
5.63
|
1:54:07
|
1,920 x 1,032
|
5,965 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,095 kbps
|
|
Cross Wars (2017)
|
|
|
|
4.80
|
1:38:15
|
1,920 x 1,036
|
5,462 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,537 kbps
|
|
Crossing Over (2009)
|
|
|
|
4.44
|
1:53:07
|
1,920 x 816
|
4,975 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Crossroads (1986)
|
|
|
|
4.23
|
1:38:46
|
1,920 x 1,072
|
5,636 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
494 kbps
|
|
Crouching Tiger, Hidden Dragon (2001)
|
|
|
|
|
|
23.30
|
2:00:12
|
3,840 x 1,600
|
25,244 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,500 kbps
|
|
Croupier (1998)
|
|
|
|
|
38.34
|
1:34:51
|
3,840 x 2,076
|
56,629 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,229 kbps
|
|
Cruel Intentions (1999)
|
|
|
|
|
3.88
|
1:37:29
|
1,920 x 1,040
|
4,372 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,321 kbps
|
|
Cruella (2021)
|
|
|
|
|
|
6.82
|
2:13:56
|
3,840 x 2,076
|
5,588 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,701 kbps
|
|
Crush (2013)
|
|
|
|
2.42
|
1:34:52
|
1,920 x 1,076
|
2,344 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,300 kbps
|
|
Cry for the Bad Man (2019)
|
|
|
|
1.98
|
1:14:10
|
1,920 x 1,012
|
2,608 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,220 kbps
|
|
Cry Macho (2021)
|
|
|
|
|
5.03
|
1:43:54
|
3,840 x 1,608
|
4,049 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,878 kbps
|
|
Cry Wolf (2005)
|
|
|
|
4.80
|
1:30:08
|
1,920 x 800
|
6,204 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,413 kbps
|
|
Cry-Baby (1990)
|
|
|
|
4.81
|
1:24:51
|
1,920 x 1,040
|
7,423 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
696 kbps
|
|
Crying Freeman (1996)
|
|
|
|
|
|
27.88
|
1:41:57
|
3,840 x 1,600
|
37,723 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,423 kbps
|
|
Crypto (2019)
|
|
|
|
|
2.90
|
1:45:48
|
1,920 x 720
|
1,115 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,807 kbps
|
|
Crypto Legacy (2020)
|
|
|
|
1.49
|
1:11:53
|
1,920 x 816
|
2,748 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Cube (1997)
|
|
|
|
|
3.25
|
1:30:34
|
1,920 x 1,038
|
4,105 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,028 kbps
|
|
Cube 2: Hypercube (2003)
|
|
|
|
|
4.17
|
1:34:13
|
1,920 x 1,078
|
6,135 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Cube Zero (2005)
|
|
|
|
|
3.86
|
1:37:33
|
1,918 x 1,080
|
4,419 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,244 kbps
|
|
Cujo (1983)
|
|
|
|
|
30.16
|
1:32:46
|
3,840 x 2,076
|
44,178 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,366 kbps
|
|
Cult of Chucky (2017)
|
|
|
|
|
9.42
|
1:30:55
|
3,840 x 2,160
|
12,077 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,755 kbps
|
|
Curly Sue (1991)
|
|
|
|
|
4.42
|
1:41:58
|
1,920 x 1,072
|
5,982 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Curse of Chucky (2013)
|
|
|
|
|
11.46
|
1:36:42
|
3,840 x 2,160
|
14,047 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,755 kbps
|
|
Curse of the Pink Panther (1983)
|
|
|
|
5.95
|
1:50:26
|
1,920 x 816
|
7,426 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
281 kbps
|
|
Curtains (1983)
|
|
|
|
10.16
|
1:29:10
|
1,920 x 1,080
|
13,740 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,920 kbps
|
|
Curvature (2018)
|
|
|
|
1.21
|
1:28:47
|
1,920 x 792
|
1,563 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Curve (2016)
|
|
|
|
1.85
|
1:25:26
|
1,920 x 812
|
1,956 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,137 kbps
|
|
Cut (2000)
|
|
|
|
4.54
|
1:23:03
|
1,920 x 1,036
|
6,431 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,388 kbps
|
|
Cut and Run (1985)
|
|
|
|
5.42
|
1:30:21
|
1,916 x 1,080
|
8,368 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
216 kbps
|
|
Cut Bank (2014)
|
|
|
|
5.38
|
1:33:28
|
1,920 x 800
|
5,574 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,668 kbps
|
|
Cutter's Way (1982)
|
|
|
|
7.52
|
1:49:17
|
1,920 x 1,036
|
9,182 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
662 kbps
|
|
Cutterhead (2019)
|
|
|
|
2.32
|
1:27:19
|
1,920 x 1,036
|
3,412 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Cutthroat Island (1995)
|
|
|
|
|
63.26
|
2:04:06
|
3,840 x 1,632
|
69,033 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,941 kbps
|
|
Cutting Class (1989)
|
|
|
|
|
58.17
|
1:31:04
|
3,840 x 2,076
|
90,336 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,117 kbps
|
|
Cyber Bride (2019)
|
|
|
|
1.22
|
1:30:35
|
1,920 x 800
|
1,430 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
504 kbps
|
|
Cyborg (1989)
|
|
|
|
6.93
|
1:26:24
|
1,920 x 1,038
|
10,917 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
571 kbps
|
|
Cyborg 2087 (1966)
|
|
|
|
7.42
|
1:25:56
|
1,920 x 1,040
|
12,154 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
206 kbps
|
|
Cyborg 2: Glass Shadow (1993)
|
|
|
|
4.73
|
1:38:57
|
1,920 x 804
|
3,474 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,369 kbps
|
|
Cyclone (1978)
|
|
|
|
9.10
|
1:58:48
|
1,920 x 1,036
|
10,306 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
664 kbps
|
|
Cyst (2021)
|
|
|
|
3.10
|
1:13:19
|
1,920 x 804
|
2,761 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,286 kbps
|
|
D-Railed (2019)
|
|
|
|
1.90
|
1:20:24
|
1,920 x 808
|
2,129 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,261 kbps
|
|
D-Tox (2002)
|
|
|
|
4.66
|
1:35:45
|
1,920 x 808
|
3,093 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,866 kbps
|
|
D.A.R.Y.L. (1985)
|
|
|
|
|
24.92
|
1:40:03
|
3,840 x 1,600
|
34,357 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,295 kbps
|
|
D.C. Cab (1983)
|
|
|
|
4.45
|
1:39:11
|
1,920 x 1,032
|
5,923 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
505 kbps
|
|
D.O.A. (1988)
|
|
|
|
5.36
|
1:37:32
|
1,920 x 1,028
|
6,898 kbps
|
|
3/1
|
|
16 bits / 48 kHz
|
961 kbps
|
|
D2: The Mighty Ducks (1994)
|
|
|
|
8.50
|
1:46:37
|
1,920 x 1,036
|
7,702 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,710 kbps
|
|
D3: The Mighty Ducks (1996)
|
|
|
|
5.88
|
1:43:44
|
1,920 x 1,036
|
6,517 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,588 kbps
|
|
Dad (1989)
|
|
|
|
7.29
|
1:57:28
|
1,920 x 1,040
|
8,655 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Dad's Army (1971)
|
|
|
|
4.99
|
1:34:48
|
1,920 x 1,040
|
6,848 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
682 kbps
|
|
Dad's Army (2016)
|
|
|
|
5.16
|
1:39:54
|
1,920 x 800
|
4,468 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,919 kbps
|
|
Daddy Day Camp (2007)
|
|
|
|
6.06
|
1:29:00
|
1,920 x 1,040
|
6,503 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,250 kbps
|
|
Daddy Day Care (2003)
|
|
|
|
4.47
|
1:32:31
|
1,916 x 1,080
|
6,531 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Daddy's Home (2015)
|
|
|
|
|
|
|
16.69
|
1:36:02
|
3,840 x 2,160
|
20,951 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,931 kbps
|
|
Daddy's Home 2 (2017)
|
|
|
|
|
|
|
16.56
|
1:39:42
|
3,840 x 2,160
|
21,171 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,608 kbps
|
|
Daffodils (2019)
|
|
|
|
1.57
|
1:33:22
|
1,920 x 712
|
2,015 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Dahmer (2002)
|
|
|
|
12.17
|
1:42:02
|
1,920 x 1,032
|
16,111 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
963 kbps
|
|
Dallas Buyers Club (2013)
|
|
|
|
6.62
|
1:56:38
|
1,920 x 800
|
5,714 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,411 kbps
|
|
Damnation Alley (1977)
|
|
|
|
9.45
|
1:31:18
|
1,920 x 814
|
10,246 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,561 kbps
|
|
Damsel (2024)
|
|
|
|
|
9.59
|
1:49:34
|
3,840 x 1,600
|
11,751 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Dan in Real Life (2007)
|
|
|
|
|
3.90
|
1:38:13
|
1,920 x 1,036
|
4,724 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
953 kbps
|
|
Dances with Wolves (1990)
|
|
|
|
|
16.23
|
3:53:49
|
1,920 x 808
|
5,691 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,247 kbps
|
|
Dancing Ninja (2010)
|
|
|
|
3.72
|
1:36:58
|
1,920 x 1,080
|
5,262 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Danger Zone (1996)
|
|
|
|
5.62
|
1:32:24
|
1,904 x 1,080
|
8,479 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dangerous Beauty (1998)
|
|
|
|
2.11
|
1:51:39
|
1,920 x 808
|
2,517 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Dangerous Liaisons (1989)
|
|
|
|
12.68
|
1:59:53
|
1,920 x 1,080
|
11,686 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,450 kbps
|
|
Dangerous Lies (2020)
|
|
|
|
|
1.65
|
1:37:08
|
1,920 x 960
|
1,665 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Dangerous Minds (1995)
|
|
|
|
3.34
|
1:38:43
|
1,920 x 1,036
|
4,206 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dangerous Snow Day (2021)
|
|
|
|
1.65
|
1:23:30
|
1,920 x 1,080
|
2,608 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Dangerously Close (1986)
|
|
|
|
6.64
|
1:35:10
|
1,920 x 1,040
|
9,376 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
614 kbps
|
|
Daniel Isn't Real (2019)
|
|
|
|
3.43
|
1:41:56
|
1,920 x 804
|
3,792 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,041 kbps
|
|
Danny Collins (2015)
|
|
|
|
4.39
|
1:47:10
|
1,920 x 800
|
3,625 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,241 kbps
|
|
Dante's Peak (1997)
|
|
|
|
|
5.31
|
1:48:28
|
1,920 x 814
|
5,451 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,554 kbps
|
|
Darby O'Gill and the Little People (1959)
|
|
|
|
7.56
|
1:30:37
|
1,776 x 1,080
|
11,844 kbps
|
|
1.0
|
|
48 kHz
|
96 kbps
|
|
Daredevil (2003)
|
|
|
|
8.60
|
2:13:08
|
1,920 x 792
|
5,845 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,404 kbps
|
|
Dark Age (1988)
|
|
|
|
8.25
|
1:30:31
|
1,904 x 1,080
|
12,660 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Dark Amazon (2014)
|
|
|
|
4.97
|
1:23:16
|
1,920 x 1,080
|
8,322 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Dark Angel (1990)
|
|
|
|
7.11
|
1:31:57
|
1,920 x 1,080
|
8,277 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,784 kbps
|
|
Dark Blue (2003)
|
|
|
|
10.59
|
1:57:59
|
1,920 x 800
|
11,552 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,300 kbps
|
|
Dark City (1998)
|
|
|
|
5.39
|
1:51:44
|
1,920 x 800
|
2,440 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,464 kbps
|
|
Dark Corners (2021)
|
|
|
|
2.64
|
1:37:34
|
1,920 x 800
|
3,231 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dark Country (2009)
|
|
|
|
2.24
|
1:28:07
|
1,920 x 1,032
|
2,227 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,407 kbps
|
|
Dark Crimes (2018)
|
|
|
|
3.22
|
1:32:14
|
1,920 x 804
|
1,834 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,163 kbps
|
|
Dark Encounter (2019)
|
|
|
|
4.14
|
1:38:04
|
1,920 x 804
|
3,079 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,967 kbps
|
|
Dark Horse (2011)
|
|
|
|
2.63
|
1:25:59
|
1,920 x 1,036
|
1,874 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,495 kbps
|
|
Dark Passage (1947)
|
|
|
|
19.91
|
1:46:13
|
1,464 x 1,080
|
26,271 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
564 kbps
|
|
Dark Phoenix (2019)
|
|
|
|
|
|
|
7.05
|
1:53:56
|
3,840 x 1,604
|
5,936 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,916 kbps
|
|
Dark Places (2015)
|
|
|
|
2.70
|
1:52:30
|
1,920 x 800
|
2,449 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
981 kbps
|
|
Dark Skies (2013)
|
|
|
|
2.86
|
1:37:03
|
1,920 x 800
|
1,517 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,706 kbps
|
|
Dark Star (1975)
|
|
|
|
5.80
|
1:22:59
|
1,920 x 1,034
|
6,616 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,394 kbps
|
|
Dark State (2021)
|
|
|
|
1.84
|
1:32:40
|
1,920 x 816
|
2,650 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Dark Water (2005)
|
|
|
|
3.26
|
1:44:41
|
1,920 x 820
|
3,069 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,393 kbps
|
|
Dark Waters (2019)
|
|
|
|
6.48
|
2:07:03
|
1,920 x 804
|
4,889 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,411 kbps
|
|
Dark Web: Cicada 3301 (2021)
|
|
|
|
|
14.56
|
1:45:14
|
3,840 x 1,916
|
18,736 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,063 kbps
|
|
Darkeplica (2023)
|
|
|
|
1.54
|
1:33:37
|
1,920 x 1,040
|
2,125 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Darkest Hour (2017)
|
|
|
|
|
|
14.46
|
2:05:13
|
3,840 x 2,076
|
14,038 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,485 kbps
|
|
Darkest Hour Annihilation (2022)
|
|
|
|
2.07
|
1:58:52
|
1,920 x 816
|
2,267 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Darkman (1990)
|
|
|
|
|
28.77
|
1:35:41
|
3,840 x 2,076
|
39,939 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,100 kbps
|
|
Darling Companion (2012)
|
|
|
|
4.08
|
1:43:54
|
1,920 x 816
|
2,800 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,826 kbps
|
|
Date Movie (2006)
|
|
|
|
|
|
3.72
|
1:22:48
|
1,920 x 1,040
|
5,783 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Date Night (2010)
|
|
|
|
|
|
5.35
|
1:41:36
|
1,920 x 812
|
4,420 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,118 kbps
|
|
Date with an Angel (1987)
|
|
|
|
3.53
|
1:45:37
|
1,920 x 804
|
4,297 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
487 kbps
|
|
Daughters of Darkness (1971)
|
|
|
|
|
28.21
|
1:40:07
|
3,592 x 2,160
|
38,378 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
1,955 kbps
|
|
Dave (1993)
|
|
|
|
8.16
|
1:49:54
|
1,920 x 1,080
|
9,377 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,252 kbps
|
|
Dave Chappelle: The Closer (2021)
|
|
|
|
|
|
3.88
|
1:12:06
|
3,836 x 2,160
|
6,926 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Dave Made a Maze (2017)
|
|
|
|
3.89
|
1:21:02
|
1,920 x 948
|
3,939 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,930 kbps
|
|
David Brent: Life on the Road (2016)
|
|
|
|
2.77
|
1:35:58
|
1,920 x 1,036
|
2,998 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,136 kbps
|
|
Dawn of the Planet of the Apes (2014)
|
|
|
|
|
|
21.52
|
2:10:24
|
3,840 x 2,076
|
19,167 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,456 kbps
|
|
Daybreakers (2010)
|
|
|
|
|
8.31
|
1:37:48
|
3,840 x 1,632
|
9,197 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,964 kbps
|
|
Daydream Nation (2010)
|
|
|
|
3.89
|
1:38:18
|
1,920 x 1,080
|
2,778 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,880 kbps
|
|
Daylight (1996)
|
|
|
|
5.70
|
1:54:25
|
1,920 x 1,040
|
5,516 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,614 kbps
|
|
Daylight's End (2016)
|
|
|
|
5.68
|
1:45:27
|
1,920 x 796
|
4,233 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,471 kbps
|
|
Days of Heaven (1978)
|
|
|
|
|
17.40
|
1:34:01
|
3,840 x 2,072
|
23,149 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,341 kbps
|
|
Days of Thunder (1990)
|
|
|
|
|
62.06
|
1:47:17
|
3,840 x 1,600
|
79,718 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,182 kbps
|
|
Dazed and Confused (1993)
|
|
|
|
|
|
19.78
|
1:42:30
|
3,840 x 2,076
|
23,823 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,803 kbps
|
|
Dead & Buried (1981)
|
|
|
|
|
19.78
|
1:34:00
|
3,840 x 2,076
|
27,935 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,192 kbps
|
|
Dead Again (1991)
|
|
|
|
6.35
|
1:47:42
|
1,904 x 1,080
|
5,047 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,396 kbps
|
|
Dead Air (2021)
|
|
|
|
3.35
|
1:30:27
|
1,920 x 1,080
|
5,068 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Dead Alive (1993)
|
|
|
|
10.08
|
1:37:16
|
1,904 x 1,080
|
13,502 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,337 kbps
|
|
Dead Before Dawn (2012)
|
|
|
|
3.18
|
1:28:24
|
1,920 x 1,016
|
3,776 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,375 kbps
|
|
Dead Calm (1989)
|
|
|
|
5.60
|
1:36:21
|
1,920 x 792
|
7,700 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
619 kbps
|
|
Dead Dicks (2019)
|
|
|
|
1.26
|
1:22:43
|
1,920 x 800
|
1,051 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,127 kbps
|
|
Dead Draw (2016)
|
|
|
|
1.39
|
1:32:55
|
1,920 x 812
|
1,501 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dead Heading (2018)
|
|
|
|
1.87
|
1:30:31
|
1,920 x 1,080
|
2,312 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dead Heat (1988)
|
|
|
|
|
45.44
|
1:23:53
|
3,840 x 2,076
|
76,175 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,386 kbps
|
|
Dead in the Water (2018)
|
|
|
|
1.34
|
1:27:12
|
1,920 x 1,076
|
1,564 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dead in the Water (2021)
|
|
|
|
1.69
|
1:31:08
|
1,920 x 1,080
|
2,431 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Dead Man (1996)
|
|
|
|
29.03
|
2:01:29
|
1,920 x 1,036
|
32,869 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,339 kbps
|
|
Dead Man Down (2013)
|
|
|
|
3.98
|
1:57:47
|
1,920 x 800
|
1,959 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,874 kbps
|
|
Dead Man on Campus (1998)
|
|
|
|
5.22
|
1:34:31
|
1,904 x 1,080
|
7,270 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dead Man Walking (1996)
|
|
|
|
7.59
|
2:02:37
|
1,920 x 1,040
|
5,719 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,138 kbps
|
|
Dead Man's Hand (2023)
|
|
|
|
3.92
|
1:36:12
|
1,920 x 784
|
5,067 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Dead Reckoning (2020)
|
|
|
|
2.43
|
1:31:23
|
1,920 x 800
|
2,535 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,276 kbps
|
|
Dead Space (1991)
|
|
|
|
13.49
|
1:18:24
|
1,920 x 1,036
|
23,985 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
640 kbps
|
|
Deadlock (1970)
|
|
|
|
|
|
52.15
|
1:33:06
|
3,584 x 2,160
|
79,514 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
675 kbps
|
|
Deadly Embrace (1989)
|
|
|
|
9.95
|
1:23:57
|
1,920 x 1,080
|
16,252 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
708 kbps
|
|
Deadly Excursion: Kidnapped from the Beach (2021)
|
|
|
|
1.92
|
1:31:33
|
1,920 x 1,080
|
2,937 kbps
|
|
2.0
|
|
48 kHz
|
64 kbps
|
|
Deadly Friend (1986)
|
|
|
|
4.38
|
1:30:35
|
1,920 x 1,036
|
6,545 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
371 kbps
|
|
Deadly Games (1982)
|
|
|
|
17.21
|
1:35:11
|
1,920 x 1,032
|
25,323 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
560 kbps
|
|
Deadly House Call (2022)
|
|
|
|
0.98
|
1:27:47
|
1,920 x 1,080
|
1,367 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Deadly Illusions (2021)
|
|
|
|
12.32
|
1:54:16
|
3,840 x 1,600
|
14,796 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Deadly Mile High Club (2020)
|
|
|
|
2.29
|
1:27:56
|
1,920 x 1,080
|
3,088 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Deadly Misconduct (2021)
|
|
|
|
1.96
|
1:29:54
|
1,920 x 1,080
|
2,896 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Deadly Skies (2007)
|
|
|
|
3.30
|
1:26:19
|
1,912 x 1,080
|
5,252 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Deadpool (2016)
|
|
|
|
|
|
|
10.37
|
1:48:06
|
3,840 x 1,606
|
10,973 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,756 kbps
|
|
Deadpool 2 (2018)
|
|
|
|
|
|
|
13.94
|
2:14:00
|
3,840 x 1,608
|
12,066 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,820 kbps
|
|
Dear Christmas (2020)
|
|
|
|
2.58
|
1:27:57
|
1,920 x 1,080
|
3,975 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Dear Dictator (2018)
|
|
|
|
3.69
|
1:30:21
|
1,920 x 1,034
|
3,104 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,749 kbps
|
|
Dear Frankie (2005)
|
|
|
|
1.71
|
1:44:49
|
1,920 x 1,072
|
1,955 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Dear John (2010)
|
|
|
|
4.23
|
1:47:42
|
1,920 x 800
|
3,748 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,877 kbps
|
|
Dear Zoe (2022)
|
|
|
|
2.11
|
1:34:28
|
1,920 x 954
|
2,818 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Death at a Funeral (2010)
|
|
|
|
|
4.05
|
1:32:19
|
1,920 x 800
|
3,098 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,183 kbps
|
|
Death Becomes Her (1992)
|
|
|
|
7.77
|
1:43:22
|
1,920 x 1,040
|
7,771 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,993 kbps
|
|
Death Before Dishonor (1987)
|
|
|
|
6.04
|
1:35:23
|
1,920 x 1,064
|
8,409 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
657 kbps
|
|
Death Game (1977)
|
|
|
|
6.80
|
1:26:58
|
1,920 x 800
|
10,574 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
624 kbps
|
|
Death Kick (1998)
|
|
|
|
1.47
|
1:26:34
|
704 x 480
|
2,169 kbps
|
|
2.0
|
|
48 kHz
|
256 kbps
|
|
Death Machines (1976)
|
|
|
|
11.51
|
1:33:35
|
1,920 x 800
|
16,351 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,263 kbps
|
|
Death of Me (2020)
|
|
|
|
3.53
|
1:34:06
|
1,920 x 1,032
|
4,026 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,343 kbps
|
|
Death on the Nile (2022)
|
|
|
|
|
|
8.89
|
2:06:58
|
3,840 x 1,604
|
7,437 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,582 kbps
|
|
Death Proof (2007)
|
|
|
|
7.16
|
1:53:37
|
1,920 x 816
|
6,171 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,851 kbps
|
|
Death Race 2000 (1975)
|
|
|
|
5.68
|
1:19:36
|
1,920 x 1,080
|
9,769 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Death Saved My Life (2021)
|
|
|
|
1.63
|
1:27:46
|
1,920 x 1,080
|
2,440 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Death Sentence (2007)
|
|
|
|
4.88
|
1:45:30
|
1,920 x 796
|
5,351 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,270 kbps
|
|
Death to Smoochy (2002)
|
|
|
|
6.77
|
1:49:25
|
1,904 x 1,080
|
8,414 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Death Train (1993)
|
|
|
|
2.38
|
1:38:24
|
1,424 x 1,080
|
3,014 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Death Valley (1982)
|
|
|
|
6.38
|
1:28:06
|
1,920 x 1,080
|
7,532 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,844 kbps
|
|
Death Warrant (1990)
|
|
|
|
7.67
|
1:29:03
|
1,920 x 1,038
|
11,004 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,327 kbps
|
|
Death Wish (1974)
|
|
|
|
|
11.99
|
1:33:24
|
3,840 x 2,072
|
15,319 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,060 kbps
|
|
Death Wish (2018)
|
|
|
|
|
6.09
|
1:48:18
|
3,840 x 1,600
|
5,038 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
Death Wish 3 (1985)
|
|
|
|
5.82
|
1:30:37
|
1,920 x 1,040
|
8,419 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
771 kbps
|
|
Death Wish 4: The Crackdown (1987)
|
|
|
|
9.09
|
1:39:36
|
1,920 x 1,036
|
12,376 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
683 kbps
|
|
Death Wish II (1982)
|
|
|
|
|
64.93
|
1:31:38
|
3,840 x 2,076
|
100,810 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
633 kbps
|
|
Death Wish V: The Face of Death (1994)
|
|
|
|
6.46
|
1:35:10
|
1,920 x 1,036
|
9,024 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
695 kbps
|
|
Deathsport (1978)
|
|
|
|
11.97
|
1:22:48
|
1,920 x 1,036
|
20,504 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Deathstalker (1983)
|
|
|
|
5.79
|
1:19:59
|
1,920 x 1,056
|
10,088 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
277 kbps
|
|
Deathstalker II: Duel of the Titans (1987)
|
|
|
|
3.16
|
1:17:27
|
1,904 x 1,080
|
5,542 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
303 kbps
|
|
Deathtrap (1982)
|
|
|
|
6.63
|
1:56:10
|
1,910 x 1,080
|
7,863 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
303 kbps
|
|
Debug (2015)
|
|
|
|
3.03
|
1:25:57
|
1,920 x 1,036
|
3,883 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,169 kbps
|
|
Deceived (1991)
|
|
|
|
7.11
|
1:48:13
|
1,920 x 1,036
|
8,908 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
502 kbps
|
|
Deception (2008)
|
|
|
|
6.59
|
1:47:11
|
1,920 x 800
|
5,284 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,514 kbps
|
|
Deck the Halls (2006)
|
|
|
|
|
6.43
|
1:32:59
|
1,920 x 1,040
|
6,504 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,392 kbps
|
|
Dedication (2008)
|
|
|
|
3.20
|
1:34:50
|
1,920 x 1,080
|
4,184 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Deep Blue Sea (1999)
|
|
|
|
7.06
|
1:45:00
|
1,920 x 800
|
5,756 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,873 kbps
|
|
Deep Cover (1992)
|
|
|
|
4.30
|
1:47:48
|
1,920 x 1,036
|
4,285 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,418 kbps
|
|
Deep Impact (1998)
|
|
|
|
|
|
12.02
|
2:01:11
|
3,840 x 1,632
|
12,738 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,457 kbps
|
|
Deep in the Darkness (2014)
|
|
|
|
3.15
|
1:41:08
|
1,920 x 800
|
3,176 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,285 kbps
|
|
Deep Murder (2019)
|
|
|
|
1.45
|
1:25:24
|
1,920 x 1,032
|
1,792 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Deep Rising (1998)
|
|
|
|
6.53
|
1:46:08
|
1,920 x 820
|
4,767 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,045 kbps
|
|
Deep Water (2022)
|
|
|
|
|
7.86
|
1:56:31
|
3,840 x 2,080
|
9,009 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
DeepStar Six (1989)
|
|
|
|
4.01
|
1:39:34
|
1,920 x 816
|
5,150 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
619 kbps
|
|
Deepwater Horizon (2016)
|
|
|
|
|
12.22
|
1:47:19
|
3,840 x 1,600
|
13,331 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,968 kbps
|
|
Def Jam's How to Be a Player (1997)
|
|
|
|
4.28
|
1:34:00
|
1,920 x 1,080
|
6,289 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Def-Con 4 (1985)
|
|
|
|
11.77
|
1:27:55
|
1,920 x 1,036
|
18,473 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
685 kbps
|
|
Defending Your Life (1991)
|
|
|
|
18.60
|
1:51:29
|
1,920 x 1,036
|
22,589 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,300 kbps
|
|
Defendor (2010)
|
|
|
|
5.37
|
1:41:23
|
1,920 x 804
|
6,486 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,098 kbps
|
|
Defenseless (1991)
|
|
|
|
4.63
|
1:44:04
|
1,920 x 1,076
|
5,926 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Defiance (1980)
|
|
|
|
9.23
|
1:42:59
|
1,920 x 1,040
|
12,121 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
701 kbps
|
|
Defiance (2008)
|
|
|
|
16.87
|
2:16:48
|
1,920 x 1,080
|
14,712 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,943 kbps
|
|
Defining Moments (2021)
|
|
|
|
1.69
|
1:28:29
|
1,920 x 812
|
2,345 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Definitely, Maybe (2008)
|
|
|
|
6.08
|
1:51:41
|
1,920 x 818
|
4,651 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,146 kbps
|
|
Definition Please (2020)
|
|
|
|
3.02
|
1:31:02
|
1,920 x 800
|
4,101 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Déjà Vu (2006)
|
|
|
|
|
7.76
|
2:06:27
|
1,920 x 800
|
7,375 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,403 kbps
|
|
Delirious (1991)
|
|
|
|
|
7.06
|
1:36:05
|
1,920 x 1,040
|
9,966 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
545 kbps
|
|
Deliverance (1972)
|
|
|
|
7.09
|
1:49:03
|
1,920 x 800
|
6,514 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,793 kbps
|
|
Delivery Man (2013)
|
|
|
|
|
4.14
|
1:44:47
|
1,920 x 796
|
2,751 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,901 kbps
|
|
Delta Farce (2007)
|
|
|
|
5.73
|
1:29:28
|
1,912 x 1,080
|
7,331 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,838 kbps
|
|
Dementia (2015)
|
|
|
|
1.41
|
1:29:56
|
1,920 x 800
|
1,219 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,023 kbps
|
|
Demolition (2016)
|
|
|
|
3.64
|
1:40:53
|
1,920 x 818
|
2,589 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,576 kbps
|
|
Demolition Man (1993)
|
|
|
|
|
5.91
|
1:55:03
|
1,920 x 800
|
3,633 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,721 kbps
|
|
Demon House (2018)
|
|
|
|
3.01
|
1:35:29
|
1,920 x 1,080
|
4,122 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Den of Thieves (2018)
|
|
|
|
6.81
|
2:28:50
|
1,920 x 796
|
3,718 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,830 kbps
|
|
Denise Calls Up (1996)
|
|
|
|
3.29
|
1:19:35
|
1,920 x 1,036
|
4,540 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,385 kbps
|
|
Dennis the Menace (1993)
|
|
|
|
5.83
|
1:35:58
|
1,920 x 1,080
|
7,123 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,569 kbps
|
|
Dennis the Menace Strikes Again (1998)
|
|
|
|
4.18
|
1:15:36
|
1,920 x 1,080
|
7,268 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Departure (2019)
|
|
|
|
1.72
|
1:21:35
|
1,920 x 946
|
2,787 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Derailed (2002)
|
|
|
|
17.69
|
1:28:40
|
1,920 x 1,080
|
24,717 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,838 kbps
|
|
Derailed (2005)
|
|
|
|
10.26
|
1:52:32
|
1,920 x 816
|
9,907 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,141 kbps
|
|
Deranged Granny (2020)
|
|
|
|
3.23
|
1:27:05
|
1,920 x 1,080
|
5,090 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Desert Flower (2009)
|
|
|
|
13.20
|
2:07:25
|
1,920 x 1,040
|
11,551 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,283 kbps
|
|
Desperado (1995)
|
|
|
|
|
9.83
|
1:44:30
|
1,920 x 1,038
|
12,149 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,313 kbps
|
|
Desperate Hours (1990)
|
|
|
|
6.34
|
1:45:03
|
1,920 x 1,040
|
7,770 kbps
|
|
2.0
|
|
21 bits / 48 kHz
|
875 kbps
|
|
Desperate Measures (1998)
|
|
|
|
5.01
|
1:40:53
|
1,920 x 1,072
|
6,981 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
Desperation Road (2023)
|
|
|
|
4.69
|
1:52:04
|
1,920 x 796
|
2,954 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,039 kbps
|
|
Despicable Me (2010)
|
|
|
|
|
|
5.87
|
1:34:40
|
3,840 x 2,076
|
4,427 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,456 kbps
|
|
Despicable Me 2 (2013)
|
|
|
|
|
6.39
|
1:37:59
|
3,840 x 2,076
|
4,968 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,371 kbps
|
|
Despicable Me 3 (2017)
|
|
|
|
|
7.58
|
1:29:39
|
3,840 x 1,604
|
7,624 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,479 kbps
|
|
Despite the Falling Snow (2016)
|
|
|
|
3.71
|
1:33:38
|
1,920 x 1,036
|
2,844 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,832 kbps
|
|
Destination Wedding (2018)
|
|
|
|
1.97
|
1:26:31
|
1,920 x 800
|
2,084 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,180 kbps
|
|
Destiny Turns on the Radio (1995)
|
|
|
|
7.67
|
1:42:34
|
1,916 x 1,080
|
10,059 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Destroy All Monsters (1968)
|
|
|
|
6.65
|
1:29:06
|
1,920 x 788
|
9,979 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
705 kbps
|
|
Detachment (2012)
|
|
|
|
15.00
|
1:37:46
|
1,920 x 1,080
|
21,067 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
895 kbps
|
|
Detective Knight: Independence (2023)
|
|
|
|
|
9.30
|
1:31:54
|
3,840 x 1,608
|
11,489 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,999 kbps
|
|
Detective Knight: Redemption (2022)
|
|
|
|
|
9.85
|
1:37:26
|
3,840 x 1,608
|
11,371 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,103 kbps
|
|
Detective Knight: Rogue (2022)
|
|
|
|
|
10.17
|
1:45:26
|
3,840 x 1,608
|
10,716 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,091 kbps
|
|
Detroit Rock City (1999)
|
|
|
|
6.41
|
1:34:36
|
1,920 x 800
|
6,106 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,588 kbps
|
|
Deuce Bigalow: European Gigolo (2005)
|
|
|
|
3.89
|
1:23:14
|
1,920 x 1,080
|
6,042 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Deuce Bigalow: Male Gigolo (1999)
|
|
|
|
2.28
|
1:28:51
|
1,920 x 1,036
|
3,289 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Deuces Wild (2002)
|
|
|
|
5.40
|
1:36:17
|
1,920 x 812
|
4,367 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,659 kbps
|
|
Deviant Love (2019)
|
|
|
|
2.17
|
1:26:53
|
1,920 x 1,080
|
2,940 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Devil in a Blue Dress (1995)
|
|
|
|
|
29.80
|
1:41:31
|
3,840 x 2,076
|
39,034 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
Devil's Den (2006)
|
|
|
|
3.69
|
1:24:18
|
1,912 x 1,080
|
5,620 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Devil's Knot (2013)
|
|
|
|
2.23
|
1:54:13
|
1,920 x 1,072
|
2,414 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Devil's Night: Dawn of the Nain Rouge (2020)
|
|
|
|
1.84
|
1:34:59
|
1,920 x 800
|
2,580 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Devoured (2014)
|
|
|
|
1.98
|
1:29:16
|
1,920 x 1,080
|
2,319 kbps
|
|
5.1
|
|
15 bits / 48 kHz
|
852 kbps
|
|
Dial M for Murder (1954)
|
|
|
|
12.52
|
1:45:24
|
1,920 x 1,080
|
16,388 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
619 kbps
|
|
Diamond Cartel (2017)
|
|
|
|
3.65
|
1:39:39
|
1,920 x 816
|
4,603 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Diamond Men (2000)
|
|
|
|
3.89
|
1:40:19
|
1,912 x 1,080
|
5,327 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Diamonds Are Forever (1971)
|
|
|
|
16.97
|
2:00:05
|
3,840 x 1,632
|
16,757 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,475 kbps
|
|
Diary of a Hitman (1992)
|
|
|
|
6.50
|
1:30:20
|
1,920 x 1,036
|
9,835 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
457 kbps
|
|
Diary of a Wimpy Kid (2010)
|
|
|
|
|
9.26
|
1:32:34
|
1,920 x 1,036
|
11,271 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,046 kbps
|
|
Dick (1999)
|
|
|
|
6.42
|
1:34:32
|
1,920 x 1,040
|
8,411 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,309 kbps
|
|
Dick Tracy (1990)
|
|
|
|
6.90
|
1:45:05
|
1,920 x 1,040
|
5,659 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,738 kbps
|
|
Did I Kill My Mother? (2019)
|
|
|
|
1.90
|
1:26:19
|
1,920 x 1,080
|
2,926 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Did You Hear About the Morgans? (2009)
|
|
|
|
|
4.36
|
1:43:28
|
1,920 x 816
|
2,834 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,193 kbps
|
|
Die Another Day (2002)
|
|
|
|
17.55
|
2:12:32
|
3,840 x 1,632
|
17,557 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,396 kbps
|
|
Die Hard (1988)
|
|
|
|
|
|
28.58
|
2:12:07
|
3,840 x 1,604
|
27,890 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,080 kbps
|
|
Die Hard 2 (1990)
|
|
|
|
|
4.58
|
2:03:22
|
1,920 x 812
|
3,856 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,460 kbps
|
|
Die Hard with a Vengeance (1995)
|
|
|
|
|
8.63
|
2:08:32
|
1,920 x 816
|
8,037 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,577 kbps
|
|
Die Hart (2023)
|
|
|
|
|
10.78
|
1:24:34
|
3,840 x 2,160
|
17,604 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Die in a Gunfight (2021)
|
|
|
|
3.49
|
1:32:20
|
1,920 x 796
|
2,657 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,759 kbps
|
|
DieRy (2020)
|
|
|
|
1.51
|
1:41:41
|
1,920 x 792
|
1,906 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Different Flowers (2017)
|
|
|
|
2.46
|
1:38:42
|
1,920 x 1,032
|
3,183 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Digging to China (1998)
|
|
|
|
5.51
|
1:39:27
|
1,916 x 1,080
|
7,344 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
584 kbps
|
|
Dimension 5 (1966)
|
|
|
|
7.30
|
1:30:46
|
1,920 x 1,036
|
11,326 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
187 kbps
|
|
Diminuendo (2019)
|
|
|
|
1.60
|
1:45:11
|
1,920 x 804
|
1,861 kbps
|
|
5.1
|
|
48 kHz
|
320 kbps
|
|
Diner (1982)
|
|
|
|
6.53
|
1:49:55
|
1,920 x 1,080
|
7,830 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
677 kbps
|
|
Dinner for Schmucks (2010)
|
|
|
|
|
8.30
|
1:54:03
|
1,920 x 1,080
|
7,749 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,673 kbps
|
|
Dinosaur (2000)
|
|
|
|
3.66
|
1:22:00
|
1,920 x 1,040
|
3,678 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,704 kbps
|
|
Dinosaur Island (2014)
|
|
|
|
2.23
|
1:23:02
|
1,920 x 1,076
|
2,359 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,478 kbps
|
|
Dirty Dancing (1987)
|
|
|
|
|
15.91
|
1:40:23
|
3,840 x 2,076
|
20,804 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,886 kbps
|
|
Dirty Grandpa (2016)
|
|
|
|
6.07
|
1:49:35
|
1,920 x 800
|
4,803 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,129 kbps
|
|
Dirty Harry (1971)
|
|
|
|
|
6.17
|
1:42:29
|
1,920 x 800
|
7,289 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,321 kbps
|
|
Dirty Movie (2011)
|
|
|
|
|
4.01
|
1:31:20
|
1,904 x 1,080
|
5,221 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,056 kbps
|
|
Dirty O'Neil (1974)
|
|
|
|
4.51
|
1:29:17
|
1,920 x 1,036
|
6,652 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
571 kbps
|
|
Dirty Pretty Things (2003)
|
|
|
|
5.98
|
1:36:55
|
1,920 x 1,040
|
5,340 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,484 kbps
|
|
Dirty Rotten Scoundrels (1988)
|
|
|
|
8.84
|
1:50:21
|
1,920 x 1,040
|
8,621 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,851 kbps
|
|
Dirty Work (1998)
|
|
|
|
|
4.35
|
1:21:33
|
1,920 x 1,032
|
4,081 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,553 kbps
|
|
Disappearance at Clifton Hill (2020)
|
|
|
|
1.41
|
1:40:32
|
1,920 x 792
|
1,616 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Disaster Movie (2008)
|
|
|
|
10.96
|
1:28:28
|
1,920 x 1,080
|
13,017 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,720 kbps
|
|
Disclosure (1994)
|
|
|
|
7.20
|
2:08:21
|
1,920 x 800
|
4,496 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,528 kbps
|
|
Disconnect (2013)
|
|
|
|
3.52
|
1:55:40
|
1,920 x 1,036
|
2,024 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,331 kbps
|
|
Disenchanted (2022)
|
|
|
|
|
7.10
|
1:58:17
|
3,840 x 1,600
|
7,818 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Disrupted (2020)
|
|
|
|
2.98
|
1:35:53
|
1,920 x 816
|
3,802 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Disruption (2020)
|
|
|
|
0.97
|
1:02:05
|
1,920 x 816
|
2,016 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Distorted (2018)
|
|
|
|
1.98
|
1:26:38
|
1,920 x 804
|
2,057 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,215 kbps
|
|
District 9 (2009)
|
|
|
|
|
|
16.42
|
1:52:16
|
3,840 x 2,076
|
19,113 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,814 kbps
|
|
Disturbia (2007)
|
|
|
|
5.58
|
1:44:36
|
1,920 x 1,080
|
4,630 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,002 kbps
|
|
Disturbing Behavior (1998)
|
|
|
|
4.24
|
1:23:44
|
1,920 x 1,016
|
5,803 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,441 kbps
|
|
Divergent (2014)
|
|
|
|
|
|
8.67
|
2:19:39
|
3,840 x 1,600
|
6,323 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,561 kbps
|
|
Divorce Invitation (2012)
|
|
|
|
5.10
|
1:52:57
|
1,920 x 1,080
|
3,517 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Django Unchained (2012)
|
|
|
|
6.88
|
2:45:23
|
1,920 x 800
|
3,890 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,060 kbps
|
|
Do or Die (1991)
|
|
|
|
11.44
|
1:36:51
|
1,920 x 1,080
|
16,255 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
658 kbps
|
|
Do Revenge (2022)
|
|
|
|
|
6.71
|
1:59:08
|
3,840 x 1,608
|
7,274 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Do the Right Thing (1989)
|
|
|
|
|
22.35
|
1:59:49
|
3,840 x 2,072
|
22,463 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,238 kbps
|
|
DOA: Dead or Alive (2007)
|
|
|
|
6.84
|
1:26:10
|
1,920 x 816
|
7,593 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,774 kbps
|
|
Doc Hollywood (1991)
|
|
|
|
7.71
|
1:43:22
|
1,920 x 1,080
|
9,353 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,323 kbps
|
|
Doc Savage: The Man of Bronze (1975)
|
|
|
|
4.41
|
1:40:17
|
1,920 x 1,080
|
5,580 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
719 kbps
|
|
Doctor Atomic (2007)
|
|
|
|
11.76
|
2:50:25
|
1,904 x 1,080
|
5,995 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,878 kbps
|
|
Doctor Detroit (1983)
|
|
|
|
3.47
|
1:30:16
|
1,920 x 1,040
|
5,171 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
331 kbps
|
|
Doctor Dolittle (1967)
|
|
|
|
12.03
|
2:31:22
|
1,920 x 868
|
7,895 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,479 kbps
|
|
Doctor Dolittle (1998)
|
|
|
|
6.70
|
1:25:22
|
1,920 x 1,036
|
7,761 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,468 kbps
|
|
Doctor Dolittle 2 (2001)
|
|
|
|
5.75
|
1:27:23
|
1,904 x 1,080
|
8,785 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Doctor Dolittle 3 (2006)
|
|
|
|
4.97
|
1:34:11
|
1,920 x 1,036
|
6,916 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Doctor Mordrid (1992)
|
|
|
|
4.38
|
1:14:38
|
1,920 x 1,080
|
7,826 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
573 kbps
|
|
Doctor Sleep (2019)
|
|
|
|
4.52
|
3:00:14
|
1,920 x 1,036
|
2,009 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,579 kbps
|
|
Doctor Strange (2016)
|
|
|
|
|
4.58
|
1:54:59
|
3,840 x 1,604
|
4,175 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,527 kbps
|
|
Doctor Strange in the Multiverse of Madness (2022)
|
|
|
|
|
|
6.25
|
2:06:31
|
3,840 x 1,608
|
5,483 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,579 kbps
|
|
DodgeBall: A True Underdog Story (2004)
|
|
|
|
|
7.59
|
1:32:36
|
1,920 x 820
|
8,152 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,584 kbps
|
|
Dog (2022)
|
|
|
|
|
3.57
|
1:41:22
|
3,840 x 1,592
|
3,910 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,122 kbps
|
|
Dog Day Afternoon (1975)
|
|
|
|
7.57
|
2:04:40
|
1,904 x 1,080
|
8,500 kbps
|
|
1.0
|
|
48 kHz
|
192 kbps
|
|
Dog Eat Dog (2016)
|
|
|
|
3.76
|
1:33:01
|
1,920 x 792
|
2,935 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,847 kbps
|
|
Dog Soldiers (2002)
|
|
|
|
|
38.90
|
1:45:01
|
3,840 x 2,076
|
49,298 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,732 kbps
|
|
Doghouse (2009)
|
|
|
|
1.60
|
1:28:40
|
1,920 x 816
|
1,938 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Dogma (1999)
|
|
|
|
|
5.83
|
2:08:12
|
1,920 x 796
|
2,789 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,724 kbps
|
|
Dogman (2023)
|
|
|
|
|
|
8.01
|
1:54:39
|
3,840 x 1,604
|
8,313 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,678 kbps
|
|
Dolittle (2020)
|
|
|
|
|
|
9.81
|
1:41:25
|
3,840 x 2,076
|
12,318 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,521 kbps
|
|
Dollman (1992)
|
|
|
|
4.76
|
1:21:43
|
1,920 x 1,080
|
7,896 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Dolores Claiborne (1995)
|
|
|
|
7.46
|
2:11:32
|
1,920 x 800
|
4,643 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,471 kbps
|
|
Dolphin Island (2021)
|
|
|
|
3.62
|
1:31:37
|
1,920 x 1,080
|
5,020 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dom Hemingway (2013)
|
|
|
|
3.36
|
1:33:47
|
1,920 x 816
|
3,860 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,263 kbps
|
|
Domestic Disturbance (2001)
|
|
|
|
|
8.17
|
1:29:11
|
1,920 x 800
|
12,008 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,114 kbps
|
|
Domino (2005)
|
|
|
|
8.44
|
2:07:35
|
1,920 x 800
|
7,913 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,558 kbps
|
|
Don Jon (2013)
|
|
|
|
4.36
|
1:30:16
|
1,920 x 796
|
4,383 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,526 kbps
|
|
Don Peyote (2014)
|
|
|
|
2.86
|
1:39:25
|
1,920 x 1,072
|
3,738 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Don Verdean (2015)
|
|
|
|
5.29
|
1:36:05
|
1,920 x 1,080
|
6,796 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,080 kbps
|
|
Don't Be Afraid of the Dark (2011)
|
|
|
|
5.46
|
1:39:06
|
1,920 x 1,072
|
6,478 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,406 kbps
|
|
Don't Breathe (2016)
|
|
|
|
3.19
|
1:28:32
|
1,920 x 800
|
1,983 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,170 kbps
|
|
Don't Breathe 2 (2021)
|
|
|
|
|
9.51
|
1:38:15
|
3,840 x 1,608
|
11,158 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,690 kbps
|
|
Don't Look Now (1973)
|
|
|
|
|
46.58
|
1:50:14
|
3,840 x 2,076
|
59,836 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
661 kbps
|
|
Don't Look Up (2021)
|
|
|
|
|
|
21.80
|
2:18:18
|
3,840 x 1,604
|
21,769 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Don't Open Till Christmas (1984)
|
|
|
|
7.82
|
1:26:39
|
1,800 x 1,080
|
12,578 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
340 kbps
|
|
Don't Read This on a Plane (2021)
|
|
|
|
3.29
|
1:27:25
|
1,920 x 804
|
2,429 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,961 kbps
|
|
Don't Say a Word (2001)
|
|
|
|
5.13
|
1:53:36
|
1,920 x 812
|
3,616 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,850 kbps
|
|
Don't Tell a Soul (2021)
|
|
|
|
3.54
|
1:23:32
|
1,920 x 796
|
2,847 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,212 kbps
|
|
Don't Tell Mom the Babysitter's Dead (1991)
|
|
|
|
6.40
|
1:45:04
|
1,916 x 1,080
|
8,491 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Don't Think Twice (2016)
|
|
|
|
3.17
|
1:32:05
|
1,920 x 800
|
1,993 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,932 kbps
|
|
Don't Worry Baby (2016)
|
|
|
|
2.45
|
1:27:33
|
1,920 x 956
|
3,614 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Don't Worry Darling (2022)
|
|
|
|
|
8.69
|
2:02:42
|
3,840 x 1,604
|
8,614 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,517 kbps
|
|
Don't Worry, He Won't Get Far on Foot (2018)
|
|
|
|
|
8.59
|
1:53:42
|
3,836 x 2,160
|
10,175 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Donato and Daughter (1993)
|
|
|
|
1.00
|
1:33:10
|
720 x 480
|
1,041 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
493 kbps
|
|
Donnie Brasco (1997)
|
|
|
|
7.67
|
2:27:08
|
1,920 x 796
|
6,234 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,231 kbps
|
|
Donnie Darko (2001)
|
|
|
|
|
31.04
|
2:13:51
|
3,840 x 1,632
|
31,906 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,294 kbps
|
|
Donovan Reid (2019)
|
|
|
|
0.90
|
1:18:34
|
1,920 x 812
|
1,413 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Donovan's Echo (2012)
|
|
|
|
1.87
|
1:30:57
|
1,920 x 816
|
2,487 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Doom (2005)
|
|
|
|
|
15.13
|
1:52:44
|
3,840 x 1,632
|
15,159 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,048 kbps
|
|
Doomsday (2008)
|
|
|
|
7.88
|
1:52:45
|
1,920 x 818
|
5,929 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,078 kbps
|
|
Doors (2021)
|
|
|
|
4.90
|
1:24:04
|
1,920 x 816
|
5,401 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Dora and the Lost City of Gold (2019)
|
|
|
|
|
9.39
|
1:42:27
|
3,840 x 2,160
|
10,121 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,998 kbps
|
|
Double Blind (2023)
|
|
|
|
1.08
|
1:30:00
|
1,920 x 796
|
1,269 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Double Dragon (1994)
|
|
|
|
8.77
|
1:35:59
|
1,920 x 1,080
|
12,451 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
628 kbps
|
|
Double Exposure (1982)
|
|
|
|
12.19
|
1:34:56
|
1,920 x 808
|
17,699 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
684 kbps
|
|
Double Indemnity (1944)
|
|
|
|
|
18.09
|
1:47:52
|
2,960 x 2,160
|
23,454 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
547 kbps
|
|
Double Jeopardy (1999)
|
|
|
|
6.78
|
1:45:12
|
1,920 x 796
|
5,630 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,601 kbps
|
|
Double Team (1997)
|
|
|
|
6.46
|
1:33:06
|
1,920 x 808
|
9,165 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Doubt (2008)
|
|
|
|
6.20
|
1:43:54
|
1,920 x 1,040
|
5,554 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,992 kbps
|
|
Down a Dark Hall (2018)
|
|
|
|
3.03
|
1:36:26
|
1,920 x 796
|
1,674 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,824 kbps
|
|
Down and Out in Beverly Hills (1986)
|
|
|
|
5.38
|
1:43:18
|
1,920 x 1,036
|
6,821 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Down Periscope (1996)
|
|
|
|
2.83
|
1:32:47
|
1,920 x 1,036
|
4,146 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Down to Earth (2001)
|
|
|
|
12.08
|
1:27:23
|
1,912 x 1,080
|
18,665 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,118 kbps
|
|
Down with Love (2003)
|
|
|
|
2.16
|
1:41:33
|
1,920 x 800
|
2,653 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Downhill (2020)
|
|
|
|
|
3.86
|
1:26:11
|
3,840 x 1,604
|
3,718 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,693 kbps
|
|
Downsizing (2017)
|
|
|
|
|
|
14.08
|
2:15:20
|
3,840 x 1,604
|
11,327 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,561 kbps
|
|
Dr. Dolittle: Tail to the Chief (2008)
|
|
|
|
4.93
|
1:27:27
|
1,904 x 1,080
|
7,437 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dr. Goldfoot and the Bikini Machine (1965)
|
|
|
|
5.30
|
1:28:50
|
1,920 x 816
|
8,229 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
305 kbps
|
|
Dr. Goldfoot and the Girl Bombs (1966)
|
|
|
|
5.23
|
1:22:06
|
1,920 x 1,040
|
8,793 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
319 kbps
|
|
Dr. No (1962)
|
|
|
|
|
11.55
|
1:49:47
|
3,600 x 2,160
|
12,639 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,420 kbps
|
|
Dr. Otto and the Riddle of the Gloom Beam (1985)
|
|
|
|
0.83
|
1:31:14
|
720 x 480
|
1,176 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
|
|
|
|
|
|
23.43
|
1:34:46
|
3,584 x 2,160
|
34,264 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,129 kbps
|
|
Dr. Terror's House of Horrors (1965)
|
|
|
|
|
31.06
|
1:38:17
|
3,840 x 1,632
|
44,650 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
589 kbps
|
|
Dracula (1931)
|
|
|
|
|
31.02
|
1:14:27
|
2,908 x 2,160
|
59,143 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
503 kbps
|
|
Dracula Untold (2014)
|
|
|
|
|
|
8.10
|
1:32:14
|
3,840 x 1,600
|
8,571 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,002 kbps
|
|
Dracula: Dead and Loving It (1995)
|
|
|
|
5.01
|
1:29:54
|
1,920 x 1,036
|
7,419 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
551 kbps
|
|
Draft Day (2014)
|
|
|
|
4.49
|
1:51:00
|
1,920 x 800
|
3,033 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,755 kbps
|
|
Dragnet (1987)
|
|
|
|
8.69
|
1:45:50
|
1,920 x 1,040
|
8,609 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,139 kbps
|
|
Dragon Eyes (2014)
|
|
|
|
3.65
|
1:31:45
|
1,920 x 816
|
2,295 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,395 kbps
|
|
Dragon Soldiers (2020)
|
|
|
|
6.79
|
1:29:54
|
1,920 x 1,080
|
9,561 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,256 kbps
|
|
Dragonfly (2002)
|
|
|
|
5.38
|
1:44:20
|
1,920 x 816
|
3,674 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,703 kbps
|
|
DragonHeart (1996)
|
|
|
|
|
18.32
|
1:43:05
|
3,840 x 1,604
|
21,563 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
DragonHeart: Battle for the Heartfire (2017)
|
|
|
|
4.44
|
1:37:45
|
1,920 x 1,080
|
3,294 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,202 kbps
|
|
Dragonslayer (1981)
|
|
|
|
|
17.79
|
1:49:29
|
3,840 x 1,604
|
20,129 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,133 kbps
|
|
Dragonworld (1994)
|
|
|
|
5.58
|
1:25:46
|
1,916 x 1,080
|
8,862 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Dream a Little Dream (1989)
|
|
|
|
5.34
|
1:54:52
|
1,920 x 1,080
|
6,151 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
502 kbps
|
|
Dream Scenario (2023)
|
|
|
|
|
10.78
|
1:41:47
|
3,840 x 2,076
|
14,519 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dreamcatcher (2003)
|
|
|
|
8.95
|
2:13:46
|
1,920 x 798
|
6,401 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,179 kbps
|
|
Dreamland (2020)
|
|
|
|
4.35
|
1:41:00
|
1,920 x 796
|
2,954 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,213 kbps
|
|
Dreams Don't Die (1982)
|
|
|
|
12.09
|
1:34:41
|
1,440 x 1,080
|
17,620 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
653 kbps
|
|
Dreamscape (1984)
|
|
|
|
5.43
|
1:39:01
|
1,920 x 1,036
|
6,500 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,346 kbps
|
|
Dreamworld (2012)
|
|
|
|
2.77
|
1:32:50
|
1,920 x 1,080
|
3,821 kbps
|
|
5.0
|
|
48 kHz
|
448 kbps
|
|
Dredd (2012)
|
|
|
|
|
10.70
|
1:35:55
|
3,840 x 1,600
|
13,089 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,871 kbps
|
|
Dressed to Kill (1980)
|
|
|
|
|
26.23
|
1:44:51
|
3,840 x 1,592
|
32,581 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,232 kbps
|
|
Drinking Buddies (2013)
|
|
|
|
3.29
|
1:30:23
|
1,920 x 816
|
4,039 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,173 kbps
|
|
Drive (1997)
|
|
|
|
|
|
28.59
|
1:57:50
|
3,840 x 1,632
|
33,097 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,636 kbps
|
|
Drive (2011)
|
|
|
|
|
6.71
|
1:40:41
|
3,840 x 1,608
|
6,473 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,069 kbps
|
|
Drive Hard (2014)
|
|
|
|
5.49
|
1:36:03
|
1,920 x 1,080
|
4,902 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,280 kbps
|
|
Drive Me Crazy (1999)
|
|
|
|
15.76
|
1:31:15
|
1,920 x 1,036
|
21,302 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,426 kbps
|
|
Driven (2001)
|
|
|
|
|
10.05
|
1:56:49
|
1,920 x 796
|
8,167 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,148 kbps
|
|
Driven (2018)
|
|
|
|
3.07
|
1:53:51
|
1,920 x 804
|
2,850 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,006 kbps
|
|
Driven to Kill (2009)
|
|
|
|
14.26
|
1:38:08
|
1,920 x 1,036
|
19,477 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,318 kbps
|
|
Driving Miss Daisy (1990)
|
|
|
|
8.62
|
1:39:33
|
1,920 x 1,036
|
9,371 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,017 kbps
|
|
Drop Dead Fred (1991)
|
|
|
|
|
4.46
|
1:39:15
|
1,920 x 1,036
|
5,833 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
601 kbps
|
|
Drop Dead Gorgeous (1999)
|
|
|
|
7.30
|
1:37:54
|
1,920 x 1,036
|
7,033 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,637 kbps
|
|
Drop Zone (1994)
|
|
|
|
9.93
|
1:41:32
|
1,920 x 800
|
10,117 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,880 kbps
|
|
Drowning by Numbers (1988)
|
|
|
|
|
32.62
|
1:58:40
|
3,600 x 2,160
|
37,872 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,482 kbps
|
|
Drugstore Cowboy (1989)
|
|
|
|
8.71
|
1:41:27
|
1,904 x 1,080
|
10,952 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,332 kbps
|
|
Drunk Parents (2019)
|
|
|
|
3.69
|
1:37:06
|
1,920 x 1,036
|
2,726 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,719 kbps
|
|
Duck Soup (1933)
|
|
|
|
5.03
|
1:08:53
|
1,456 x 1,080
|
9,913 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
541 kbps
|
|
Dude, Where's My Car? (2000)
|
|
|
|
5.29
|
1:23:05
|
1,920 x 1,040
|
5,966 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,148 kbps
|
|
Due Date (2010)
|
|
|
|
|
4.29
|
1:35:16
|
1,920 x 800
|
5,111 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,340 kbps
|
|
Duel (1971)
|
|
|
|
|
12.62
|
1:29:15
|
3,840 x 2,076
|
18,820 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
Dumb and Dumber (1994)
|
|
|
|
|
6.58
|
1:52:50
|
1,920 x 1,080
|
6,868 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,480 kbps
|
|
Dumb and Dumber To (2014)
|
|
|
|
|
6.11
|
1:49:31
|
1,920 x 1,036
|
4,800 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,182 kbps
|
|
Dumb and Dumberer: When Harry Met Lloyd (2003)
|
|
|
|
|
6.15
|
1:24:54
|
1,920 x 1,076
|
9,726 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Dumbo (1941)
|
|
|
|
2.05
|
1:03:57
|
1,436 x 1,080
|
3,303 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,286 kbps
|
|
Dumbo (2019)
|
|
|
|
|
14.24
|
1:51:57
|
3,840 x 2,076
|
16,486 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,714 kbps
|
|
Dune (1984)
|
|
|
|
|
63.61
|
2:16:46
|
3,840 x 1,632
|
65,222 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,364 kbps
|
|
Dune: Part One (2021)
|
|
|
|
|
10.03
|
2:35:27
|
3,840 x 1,604
|
7,488 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,748 kbps
|
|
Dunkirk (2017)
|
|
|
|
|
9.91
|
1:46:38
|
3,840 x 2,160
|
11,563 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,738 kbps
|
|
Dunston Checks In (1996)
|
|
|
|
|
6.34
|
1:28:12
|
1,920 x 1,040
|
9,909 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Duplex (2003)
|
|
|
|
7.06
|
1:29:20
|
1,920 x 1,036
|
10,121 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,199 kbps
|
|
Duplicity (2009)
|
|
|
|
5.27
|
2:05:02
|
1,920 x 800
|
2,770 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,257 kbps
|
|
Dutch (1991)
|
|
|
|
|
10.75
|
1:47:32
|
1,920 x 1,040
|
10,899 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,404 kbps
|
|
Dying of the Light (2014)
|
|
|
|
2.93
|
1:34:06
|
1,920 x 816
|
3,324 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,135 kbps
|
|
E.T. the Extra-Terrestrial (1982)
|
|
|
|
|
|
20.77
|
1:54:29
|
3,840 x 2,076
|
21,508 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,461 kbps
|
|
Eagle Eye (2008)
|
|
|
|
8.98
|
1:57:35
|
1,920 x 800
|
7,579 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,358 kbps
|
|
Eagles: Hell Freezes Over (1994)
|
|
|
|
|
2.79
|
1:38:46
|
720 x 480
|
1,784 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
737 kbps
|
|
Early Man (2018)
|
|
|
|
|
6.23
|
1:28:37
|
3,840 x 2,076
|
8,209 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,845 kbps
|
|
Earth Girls Are Easy (1989)
|
|
|
|
5.13
|
1:40:19
|
1,920 x 816
|
6,725 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
600 kbps
|
|
Earth Mother (2020)
|
|
|
|
1.67
|
1:34:13
|
1,920 x 816
|
2,316 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Earth to Echo (2014)
|
|
|
|
4.94
|
1:31:15
|
1,920 x 1,080
|
4,492 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,262 kbps
|
|
Earth vs. the Flying Saucers (1956)
|
|
|
|
7.44
|
1:23:43
|
1,920 x 1,040
|
11,483 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,233 kbps
|
|
Earthquake (1974)
|
|
|
|
10.04
|
2:32:25
|
1,440 x 1,080
|
9,180 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
512 kbps
|
|
Earthquake Bird (2019)
|
|
|
|
|
|
2.00
|
1:46:15
|
1,920 x 800
|
1,915 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
East End Hustle (1976)
|
|
|
|
|
26.08
|
1:31:20
|
3,840 x 2,076
|
40,139 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
738 kbps
|
|
East of Eden (1955)
|
|
|
|
|
17.58
|
1:57:43
|
3,840 x 1,504
|
20,139 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Eastern Promises (2007)
|
|
|
|
|
24.96
|
1:40:23
|
3,840 x 2,076
|
32,529 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,064 kbps
|
|
Easy A (2010)
|
|
|
|
5.17
|
1:32:24
|
1,920 x 1,036
|
5,955 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,053 kbps
|
|
Easy Does It (2020)
|
|
|
|
3.57
|
1:37:07
|
1,920 x 804
|
4,878 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Easy Money (1983)
|
|
|
|
4.04
|
1:35:37
|
1,920 x 1,032
|
5,737 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
304 kbps
|
|
Easy Rider (1969)
|
|
|
|
|
31.06
|
1:35:34
|
3,840 x 2,076
|
43,387 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,139 kbps
|
|
Eat Pray Love (2010)
|
|
|
|
|
6.75
|
2:25:39
|
1,920 x 1,036
|
5,321 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,315 kbps
|
|
Eat Wheaties! (2020)
|
|
|
|
1.77
|
1:29:13
|
1,920 x 800
|
1,631 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,203 kbps
|
|
Ebirah, Horror of the Deep (1966)
|
|
|
|
5.30
|
1:26:57
|
1,920 x 808
|
8,017 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
701 kbps
|
|
Echelon Conspiracy (2009)
|
|
|
|
8.84
|
1:45:17
|
1,920 x 792
|
8,364 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,649 kbps
|
|
Echo Boomers (2020)
|
|
|
|
2.06
|
1:34:00
|
1,920 x 1,080
|
2,493 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Echoes of Violence (2021)
|
|
|
|
2.38
|
1:46:26
|
1,920 x 768
|
3,034 kbps
|
|
2.0
|
|
48 kHz
|
159 kbps
|
|
Ed (1996)
|
|
|
|
7.42
|
1:34:04
|
1,920 x 1,040
|
7,879 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,413 kbps
|
|
Ed Wood (1994)
|
|
|
|
11.06
|
2:06:34
|
1,920 x 1,040
|
9,436 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,072 kbps
|
|
Eddie the Eagle (2016)
|
|
|
|
|
|
6.26
|
1:45:43
|
3,840 x 1,604
|
5,656 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,809 kbps
|
|
Eden (2013)
|
|
|
|
3.76
|
1:38:08
|
1,920 x 816
|
4,497 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
988 kbps
|
|
Eden Lake (2008)
|
|
|
|
|
15.45
|
1:31:07
|
3,840 x 1,632
|
20,572 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,692 kbps
|
|
Edge of Darkness (2010)
|
|
|
|
3.42
|
1:56:52
|
1,920 x 800
|
3,003 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,188 kbps
|
|
Edge of Extinction (2020)
|
|
|
|
3.20
|
2:21:44
|
1,920 x 812
|
2,844 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Edge of Tomorrow (2014)
|
|
|
|
|
|
12.86
|
1:53:28
|
3,840 x 1,600
|
14,463 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,762 kbps
|
|
Edmond (2005)
|
|
|
|
4.83
|
1:22:45
|
1,920 x 1,072
|
7,910 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
EDtv (1999)
|
|
|
|
16.41
|
2:03:11
|
1,920 x 1,040
|
15,358 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,711 kbps
|
|
Edward Scissorhands (1990)
|
|
|
|
|
8.57
|
1:45:01
|
1,920 x 1,036
|
10,122 kbps
|
|
3/1
|
|
20 bits / 48 kHz
|
1,559 kbps
|
|
Egg (2018)
|
|
|
|
2.89
|
1:23:24
|
1,920 x 800
|
2,496 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,467 kbps
|
|
Eight Below (2006)
|
|
|
|
3.88
|
2:00:24
|
1,920 x 800
|
3,393 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,224 kbps
|
|
Eight Crazy Nights (2002)
|
|
|
|
2.22
|
1:16:15
|
1,920 x 1,036
|
2,709 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,463 kbps
|
|
Eight Legged Freaks (2002)
|
|
|
|
6.54
|
1:39:20
|
1,920 x 800
|
8,342 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,083 kbps
|
|
Eight Men Out (1989)
|
|
|
|
8.91
|
1:59:50
|
1,920 x 1,040
|
7,580 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,059 kbps
|
|
Eighth Grade (2018)
|
|
|
|
3.77
|
1:33:39
|
1,920 x 1,036
|
3,199 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,562 kbps
|
|
Ejecta (2014)
|
|
|
|
2.44
|
1:22:12
|
1,920 x 960
|
2,875 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,387 kbps
|
|
El Camino: A Breaking Bad Movie (2019)
|
|
|
|
|
|
15.64
|
2:02:18
|
3,840 x 1,604
|
17,102 kbps
|
|
5.1
|
|
48 kHz
|
1,194 kbps
|
|
El Cantante (2006)
|
|
|
|
11.87
|
1:54:17
|
1,920 x 1,032
|
14,482 kbps
|
|
5.0
|
|
48 kHz
|
384 kbps
|
|
El Gringo (2012)
|
|
|
|
5.18
|
1:38:45
|
1,920 x 812
|
3,988 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,517 kbps
|
|
Election (1999)
|
|
|
|
8.77
|
1:43:09
|
1,920 x 816
|
9,272 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,899 kbps
|
|
Electra Glide in Blue (1973)
|
|
|
|
9.56
|
1:53:00
|
1,920 x 816
|
11,556 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
551 kbps
|
|
Electric Dreams (1984)
|
|
|
|
|
7.48
|
1:36:00
|
1,920 x 1,040
|
9,879 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,274 kbps
|
|
Electric Love (2019)
|
|
|
|
1.38
|
1:18:34
|
1,920 x 804
|
1,868 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Elektra (2005)
|
|
|
|
8.06
|
1:39:51
|
1,920 x 816
|
8,097 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,454 kbps
|
|
Elektra Luxx (2010)
|
|
|
|
5.63
|
1:39:56
|
1,904 x 1,080
|
4,900 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,169 kbps
|
|
Elemental (2023)
|
|
|
|
|
16.26
|
1:41:28
|
3,840 x 2,076
|
21,484 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,455 kbps
|
|
Elephant White (2011)
|
|
|
|
2.79
|
1:31:30
|
1,920 x 816
|
2,625 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,736 kbps
|
|
Elevator (2012)
|
|
|
|
2.27
|
1:24:08
|
1,920 x 816
|
3,065 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
791 kbps
|
|
Elevator Game (2023)
|
|
|
|
4.96
|
1:34:40
|
3,840 x 1,628
|
6,855 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Elf (2003)
|
|
|
|
|
|
11.86
|
1:36:44
|
3,840 x 2,076
|
14,352 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,196 kbps
|
|
Eliminators (1986)
|
|
|
|
6.00
|
1:35:26
|
1,904 x 1,080
|
8,627 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
372 kbps
|
|
Elizabeth (1998)
|
|
|
|
|
19.30
|
2:03:30
|
3,840 x 2,076
|
18,607 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,766 kbps
|
|
Elizabeth Harvest (2018)
|
|
|
|
1.99
|
1:48:51
|
1,920 x 804
|
1,570 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,046 kbps
|
|
Elizabeth: The Golden Age (2007)
|
|
|
|
5.21
|
1:55:10
|
1,920 x 1,036
|
5,175 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,302 kbps
|
|
Elizabethtown (2005)
|
|
|
|
|
7.03
|
2:03:38
|
3,840 x 2,076
|
5,203 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,928 kbps
|
|
Ellipse (2019)
|
|
|
|
2.89
|
1:16:49
|
1,920 x 798
|
4,998 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Eloise (2016)
|
|
|
|
3.77
|
1:36:01
|
1,920 x 800
|
2,635 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,981 kbps
|
|
Elsewhere (2020)
|
|
|
|
1.56
|
1:38:22
|
1,920 x 800
|
1,626 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Elvira's Haunted Hills (2002)
|
|
|
|
8.54
|
1:30:05
|
1,920 x 1,036
|
12,133 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,434 kbps
|
|
Elvis & Nixon (2016)
|
|
|
|
|
2.44
|
1:26:09
|
1,920 x 800
|
1,919 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,140 kbps
|
|
Elvis (2022)
|
|
|
|
|
11.68
|
2:39:16
|
3,840 x 1,604
|
8,858 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,636 kbps
|
|
Elysium (2013)
|
|
|
|
|
|
8.19
|
1:49:36
|
3,840 x 1,596
|
7,795 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,898 kbps
|
|
Embrace of the Vampire (1995)
|
|
|
|
4.60
|
1:32:40
|
1,920 x 1,028
|
5,687 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,412 kbps
|
|
Emily the Criminal (2022)
|
|
|
|
|
7.58
|
1:36:53
|
3,840 x 1,600
|
10,809 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Eminent Domain (1990)
|
|
|
|
13.36
|
1:46:13
|
1,920 x 1,036
|
17,378 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
623 kbps
|
|
Emma. (2020)
|
|
|
|
|
5.51
|
2:04:43
|
3,840 x 2,160
|
3,524 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,793 kbps
|
|
Empire of the Sun (1987)
|
|
|
|
16.68
|
2:32:49
|
1,920 x 1,080
|
11,967 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,658 kbps
|
|
Empire Records (1995)
|
|
|
|
5.10
|
1:30:05
|
1,920 x 800
|
4,974 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,123 kbps
|
|
Empire State (2013)
|
|
|
|
3.56
|
1:34:20
|
1,920 x 800
|
2,591 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,817 kbps
|
|
Employee of the Month (2004)
|
|
|
|
2.96
|
1:38:24
|
1,920 x 810
|
4,077 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Employee of the Month (2006)
|
|
|
|
|
8.57
|
1:48:07
|
1,920 x 1,038
|
7,810 kbps
|
|
6.1
|
|
24 bits / 48 kHz
|
3,529 kbps
|
|
Encino Man (1992)
|
|
|
|
|
2.98
|
1:28:26
|
1,920 x 1,036
|
4,605 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Encounter (2018)
|
|
|
|
2.93
|
1:32:20
|
1,920 x 804
|
1,272 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,265 kbps
|
|
End of Days (1999)
|
|
|
|
5.75
|
2:02:18
|
1,920 x 808
|
2,873 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,851 kbps
|
|
End of the Spear (2006)
|
|
|
|
7.08
|
1:51:32
|
1,920 x 808
|
8,440 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
End of Watch (2012)
|
|
|
|
5.29
|
1:49:17
|
1,920 x 1,040
|
3,974 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,958 kbps
|
|
Endangered Species (2021)
|
|
|
|
5.25
|
1:41:08
|
1,920 x 796
|
3,979 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,448 kbps
|
|
Ender's Game (2013)
|
|
|
|
|
7.00
|
1:53:49
|
3,840 x 1,600
|
6,036 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,762 kbps
|
|
Endings, Beginnings (2020)
|
|
|
|
1.10
|
1:50:18
|
1,920 x 800
|
1,040 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Endless (2020)
|
|
|
|
2.45
|
1:34:33
|
1,920 x 796
|
2,464 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,239 kbps
|
|
Enemy at the Gates (2001)
|
|
|
|
|
22.87
|
2:11:05
|
3,840 x 1,632
|
21,480 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,490 kbps
|
|
Enemy Gold (1994)
|
|
|
|
9.35
|
1:31:34
|
1,920 x 1,080
|
13,340 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,281 kbps
|
|
Enemy Mine (1985)
|
|
|
|
7.60
|
1:48:08
|
1,920 x 808
|
7,170 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,875 kbps
|
|
Enemy of the State (1998)
|
|
|
|
|
5.18
|
2:12:11
|
1,920 x 804
|
3,946 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,667 kbps
|
|
Engaging Father Christmas (2017)
|
|
|
|
2.11
|
1:28:02
|
1,920 x 1,080
|
2,975 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Enhanced (2019)
|
|
|
|
1.71
|
1:39:47
|
1,920 x 800
|
1,524 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
928 kbps
|
|
Enid Is Sleeping (1991)
|
|
|
|
4.40
|
1:41:51
|
1,920 x 1,080
|
5,997 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Enigma (2001)
|
|
|
|
7.43
|
1:58:52
|
1,920 x 816
|
5,292 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,654 kbps
|
|
Enough Said (2013)
|
|
|
|
3.58
|
1:33:00
|
1,920 x 1,036
|
3,163 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,353 kbps
|
|
Entanglement (2017)
|
|
|
|
2.12
|
1:24:47
|
1,920 x 800
|
2,944 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Enter the Void (2010)
|
|
|
|
5.59
|
2:41:16
|
1,920 x 816
|
4,322 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
639 kbps
|
|
Entrapment (1999)
|
|
|
|
|
4.53
|
1:52:57
|
1,920 x 814
|
2,139 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,603 kbps
|
|
Envision (2021)
|
|
|
|
1.59
|
1:21:12
|
1,920 x 840
|
2,574 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Envy (2004)
|
|
|
|
|
3.38
|
1:39:16
|
1,912 x 1,080
|
4,234 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Epic (2013)
|
|
|
|
5.65
|
1:42:29
|
1,920 x 796
|
3,635 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,249 kbps
|
|
Epiphany (2019)
|
|
|
|
2.07
|
1:25:19
|
1,920 x 1,028
|
3,079 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Equalizer 2000 (1988)
|
|
|
|
6.25
|
1:27:48
|
1,912 x 1,080
|
9,687 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
509 kbps
|
|
Equals (2016)
|
|
|
|
3.33
|
1:42:12
|
1,920 x 1,040
|
2,105 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,555 kbps
|
|
Equilibrium (2002)
|
|
|
|
|
5.75
|
1:47:02
|
1,920 x 820
|
6,171 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,512 kbps
|
|
Equity (2016)
|
|
|
|
1.84
|
1:40:21
|
1,920 x 1,036
|
1,508 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,110 kbps
|
|
Eradication (2022)
|
|
|
|
2.55
|
1:27:26
|
1,920 x 800
|
2,929 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,251 kbps
|
|
Eragon (2006)
|
|
|
|
6.76
|
1:44:01
|
1,920 x 818
|
5,846 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,458 kbps
|
|
Eraser (1996)
|
|
|
|
4.25
|
1:54:32
|
1,920 x 800
|
3,726 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,586 kbps
|
|
Eraserhead (1978)
|
|
|
|
2.13
|
1:29:18
|
1,920 x 1,036
|
2,827 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
578 kbps
|
|
Erasing His Past (2019)
|
|
|
|
2.41
|
1:24:32
|
1,920 x 1,080
|
3,433 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Erik the Viking (1989)
|
|
|
|
5.37
|
1:43:11
|
1,920 x 1,080
|
6,173 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,273 kbps
|
|
Erin Brockovich (2000)
|
|
|
|
|
8.03
|
2:11:12
|
1,920 x 1,040
|
7,637 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,123 kbps
|
|
Ernest Goes to Africa (1997)
|
|
|
|
1.13
|
1:30:28
|
720 x 480
|
1,562 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Ernest Goes to Camp (1987)
|
|
|
|
|
4.49
|
1:32:00
|
1,920 x 816
|
6,351 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
629 kbps
|
|
Ernest Goes to Jail (1990)
|
|
|
|
|
4.60
|
1:21:16
|
1,920 x 1,080
|
7,520 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
576 kbps
|
|
Ernest Goes to School (1994)
|
|
|
|
1.16
|
1:29:13
|
720 x 480
|
1,637 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Ernest in the Army (1998)
|
|
|
|
0.84
|
1:25:07
|
720 x 480
|
1,278 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Ernest Rides Again (1993)
|
|
|
|
1.08
|
1:39:30
|
720 x 480
|
1,424 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Ernest Saves Christmas (1988)
|
|
|
|
|
6.05
|
1:31:30
|
1,920 x 1,040
|
9,234 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Ernest Scared Stupid (1991)
|
|
|
|
|
5.05
|
1:32:24
|
1,920 x 1,080
|
7,628 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Escape from Alcatraz (1979)
|
|
|
|
|
17.44
|
1:51:54
|
3,840 x 2,160
|
20,088 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,223 kbps
|
|
Escape from Area 51 (2021)
|
|
|
|
6.57
|
1:16:30
|
1,920 x 1,080
|
11,850 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Escape from L.A. (1996)
|
|
|
|
|
|
12.13
|
1:40:40
|
3,840 x 1,632
|
13,584 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,665 kbps
|
|
Escape from New York (1981)
|
|
|
|
|
|
25.61
|
1:39:10
|
3,840 x 1,632
|
33,693 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,277 kbps
|
|
Escape from Planet Earth (2013)
|
|
|
|
3.95
|
1:29:13
|
1,920 x 804
|
2,833 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,501 kbps
|
|
Escape from Pretoria (2020)
|
|
|
|
|
2.08
|
1:45:59
|
1,920 x 802
|
1,784 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,021 kbps
|
|
Escape from the Planet of the Apes (1971)
|
|
|
|
5.90
|
1:37:33
|
1,920 x 812
|
6,583 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,076 kbps
|
|
Escape Plan (2013)
|
|
|
|
|
|
7.95
|
1:55:36
|
3,840 x 1,600
|
6,999 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,845 kbps
|
|
Escape Plan 2: Hades (2018)
|
|
|
|
|
|
5.27
|
1:33:38
|
1,920 x 804
|
4,564 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,490 kbps
|
|
Escape Plan: The Extractors (2019)
|
|
|
|
|
6.97
|
1:27:33
|
3,840 x 1,600
|
10,005 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,386 kbps
|
|
Escape Room (2019)
|
|
|
|
|
4.85
|
1:39:36
|
3,840 x 1,608
|
5,488 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,476 kbps
|
|
Escape Room: Tournament of Champions (2021)
|
|
|
|
2.57
|
1:35:46
|
1,920 x 800
|
2,211 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,624 kbps
|
|
Escape to Athena (1979)
|
|
|
|
7.24
|
1:59:17
|
1,920 x 816
|
8,307 kbps
|
|
1.0
|
|
48 kHz
|
384 kbps
|
|
Escape to the Cove (2021)
|
|
|
|
2.59
|
1:39:41
|
1,920 x 1,076
|
3,334 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Escape: Puzzle of Fear (2020)
|
|
|
|
1.61
|
1:23:37
|
1,920 x 1,080
|
2,120 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Eternal Sunshine of the Spotless Mind (2004)
|
|
|
|
|
11.93
|
1:47:46
|
3,840 x 2,076
|
12,851 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,995 kbps
|
|
Eternals (2021)
|
|
|
|
|
|
5.42
|
2:35:50
|
3,840 x 1,608
|
3,471 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,505 kbps
|
|
Eureka (1983)
|
|
|
|
12.96
|
2:09:43
|
1,920 x 1,036
|
13,602 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
698 kbps
|
|
Europa Report (2013)
|
|
|
|
5.55
|
1:30:25
|
1,920 x 1,080
|
7,579 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,213 kbps
|
|
EuroTrip (2004)
|
|
|
|
|
5.97
|
1:30:06
|
1,920 x 1,080
|
8,211 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,279 kbps
|
|
Eurovision Song Contest: The Story of Fire Saga (2020)
|
|
|
|
|
|
|
10.56
|
2:00:54
|
3,840 x 2,076
|
11,838 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Evan Almighty (2007)
|
|
|
|
|
4.92
|
1:35:41
|
1,920 x 816
|
3,943 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,422 kbps
|
|
Eve's Bayou (1997)
|
|
|
|
13.86
|
1:55:34
|
1,920 x 1,036
|
13,851 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,313 kbps
|
|
Evelyn (2002)
|
|
|
|
2.90
|
1:35:01
|
1,920 x 816
|
3,260 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,108 kbps
|
|
Event Horizon (1997)
|
|
|
|
|
11.66
|
1:35:54
|
3,840 x 1,632
|
14,137 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,263 kbps
|
|
Ever After (1998)
|
|
|
|
10.30
|
2:01:13
|
1,920 x 816
|
8,539 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,626 kbps
|
|
Everest (2015)
|
|
|
|
|
11.50
|
2:01:11
|
3,840 x 1,600
|
10,493 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,089 kbps
|
|
Everly (2015)
|
|
|
|
|
3.68
|
1:32:23
|
1,920 x 800
|
2,441 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,260 kbps
|
|
Every Breath You Take (2021)
|
|
|
|
4.52
|
1:46:10
|
3,840 x 1,604
|
3,274 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,825 kbps
|
|
Every Christmas Has a Story (2016)
|
|
|
|
3.50
|
1:22:00
|
1,920 x 1,080
|
5,468 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Every Day (2018)
|
|
|
|
3.14
|
1:37:24
|
1,920 x 804
|
1,912 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,698 kbps
|
|
Every Last One of Them (2021)
|
|
|
|
|
2.07
|
1:22:43
|
1,920 x 792
|
2,935 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Every Thing Will Be Fine (2015)
|
|
|
|
3.28
|
1:59:08
|
1,920 x 800
|
2,832 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,113 kbps
|
|
Every Which Way but Loose (1978)
|
|
|
|
8.53
|
1:54:39
|
1,904 x 1,080
|
9,318 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,333 kbps
|
|
Everything Beautiful Is Far Away (2017)
|
|
|
|
1.23
|
1:31:07
|
1,280 x 716
|
1,551 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Everything Everywhere All at Once (2022)
|
|
|
|
|
|
9.11
|
2:19:19
|
3,840 x 2,072
|
6,848 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,507 kbps
|
|
Everything Is Illuminated (2005)
|
|
|
|
3.51
|
1:45:32
|
1,916 x 1,080
|
4,375 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Everything Must Go (2011)
|
|
|
|
4.96
|
1:36:36
|
1,920 x 1,080
|
6,195 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,160 kbps
|
|
Everything, Everything (2017)
|
|
|
|
3.82
|
1:36:32
|
1,920 x 1,080
|
2,874 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,783 kbps
|
|
Evil Angel (2010)
|
|
|
|
4.94
|
2:04:02
|
1,920 x 812
|
4,381 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,315 kbps
|
|
Evil Dead (2013)
|
|
|
|
|
10.82
|
1:36:24
|
3,840 x 1,596
|
12,737 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,332 kbps
|
|
Evil Dead II (1987)
|
|
|
|
|
16.98
|
1:24:28
|
3,840 x 2,076
|
26,606 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,164 kbps
|
|
Evil Dead Rise (2023)
|
|
|
|
|
3.25
|
1:36:27
|
3,840 x 1,604
|
3,125 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,690 kbps
|
|
Evil Eye (2020)
|
|
|
|
|
3.84
|
1:29:17
|
3,840 x 1,600
|
5,515 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Evil Under the Sun (1982)
|
|
|
|
15.70
|
1:56:32
|
1,920 x 1,016
|
18,969 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
315 kbps
|
|
Evolution (2001)
|
|
|
|
8.06
|
1:41:43
|
1,920 x 1,080
|
7,768 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,572 kbps
|
|
Ex Machina (2015)
|
|
|
|
|
17.11
|
1:48:16
|
3,840 x 1,606
|
19,256 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,363 kbps
|
|
Excalibur (1981)
|
|
|
|
14.03
|
2:20:47
|
1,920 x 1,080
|
10,791 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,475 kbps
|
|
Excess Baggage (1997)
|
|
|
|
3.35
|
1:41:07
|
1,920 x 1,032
|
4,356 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Excision (2012)
|
|
|
|
2.58
|
1:21:17
|
1,920 x 798
|
1,797 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,737 kbps
|
|
Executive Decision (1996)
|
|
|
|
|
7.36
|
2:12:41
|
1,920 x 800
|
4,284 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,654 kbps
|
|
eXistenZ (1999)
|
|
|
|
|
42.10
|
1:37:03
|
3,840 x 2,076
|
58,642 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Exit Speed (2008)
|
|
|
|
2.95
|
1:31:03
|
1,920 x 1,038
|
3,994 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Exit Wounds (2001)
|
|
|
|
5.38
|
1:41:22
|
1,920 x 800
|
4,370 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,220 kbps
|
|
EXmas (2023)
|
|
|
|
|
4.45
|
1:33:34
|
3,840 x 1,920
|
6,162 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Exodus (2021)
|
|
|
|
1.24
|
1:15:25
|
1,920 x 788
|
1,977 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Exorcism at 60,000 Feet (2019)
|
|
|
|
3.72
|
1:35:56
|
1,920 x 1,080
|
4,059 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,487 kbps
|
|
Exotica (1995)
|
|
|
|
4.20
|
1:43:13
|
1,904 x 1,080
|
4,451 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,377 kbps
|
|
Expect No Mercy (1995)
|
|
|
|
15.92
|
1:31:08
|
1,920 x 1,036
|
23,597 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,420 kbps
|
|
Expend4bles (2023)
|
|
|
|
|
10.88
|
1:43:34
|
3,840 x 1,604
|
11,895 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,140 kbps
|
|
Experimenter (2015)
|
|
|
|
2.71
|
1:38:05
|
1,920 x 1,080
|
3,114 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
844 kbps
|
|
Expired (2022)
|
|
|
|
|
3.41
|
1:42:34
|
1,920 x 800
|
2,117 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,645 kbps
|
|
Expiry (2021)
|
|
|
|
1.63
|
1:25:40
|
1,920 x 800
|
2,496 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Explorers (1985)
|
|
|
|
7.26
|
1:49:14
|
1,920 x 1,036
|
8,107 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,411 kbps
|
|
Exposed (2016)
|
|
|
|
|
|
3.33
|
1:42:37
|
1,920 x 800
|
1,724 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,914 kbps
|
|
Extinct (2021)
|
|
|
|
1.87
|
1:23:50
|
1,920 x 1,036
|
2,941 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Extinction (2015)
|
|
|
|
4.00
|
1:52:58
|
1,920 x 800
|
1,540 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,531 kbps
|
|
Extinction (2018)
|
|
|
|
|
3.21
|
1:34:46
|
3,840 x 1,604
|
4,194 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Extortion (2017)
|
|
|
|
5.40
|
1:49:32
|
1,920 x 800
|
3,932 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,122 kbps
|
|
Extra Ordinary (2019)
|
|
|
|
3.11
|
1:34:21
|
1,920 x 800
|
1,858 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,863 kbps
|
|
Extract (2009)
|
|
|
|
|
5.18
|
1:31:47
|
1,920 x 1,036
|
5,492 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,590 kbps
|
|
Extracted (2013)
|
|
|
|
2.46
|
1:28:53
|
1,920 x 796
|
1,364 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,590 kbps
|
|
Extraction (2020)
|
|
|
|
|
|
5.75
|
1:56:00
|
3,840 x 1,604
|
6,317 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Extraction 2 (2023)
|
|
|
|
|
|
7.66
|
2:03:58
|
3,840 x 1,604
|
8,084 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Extraordinary Measures (2010)
|
|
|
|
6.83
|
1:45:05
|
1,920 x 1,080
|
6,480 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,820 kbps
|
|
Extraterrestrial (2014)
|
|
|
|
4.46
|
1:40:29
|
1,920 x 800
|
3,035 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,321 kbps
|
|
Extreme Prejudice (1987)
|
|
|
|
6.45
|
1:45:00
|
1,920 x 1,036
|
8,246 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
542 kbps
|
|
Extremely Loud and Incredibly Close (2012)
|
|
|
|
|
4.76
|
2:09:29
|
1,920 x 800
|
2,394 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,868 kbps
|
|
Extremely Wicked, Shockingly Evil and Vile (2019)
|
|
|
|
4.19
|
1:50:17
|
1,920 x 804
|
2,794 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,649 kbps
|
|
Eye for an Eye (1996)
|
|
|
|
2.27
|
1:41:15
|
1,920 x 1,076
|
2,826 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Eye in the Sky (2015)
|
|
|
|
3.38
|
1:42:45
|
1,920 x 800
|
2,116 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,598 kbps
|
|
Eye of the Beholder (1999)
|
|
|
|
3.83
|
1:41:32
|
1,920 x 796
|
5,177 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Eye of the Needle (1981)
|
|
|
|
6.07
|
1:51:42
|
1,920 x 1,040
|
7,099 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
678 kbps
|
|
Eye of the Tiger (1986)
|
|
|
|
7.94
|
1:31:42
|
1,920 x 1,036
|
10,977 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,415 kbps
|
|
Eyeborgs (2010)
|
|
|
|
5.27
|
1:42:40
|
1,920 x 816
|
5,838 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,516 kbps
|
|
Eyes of Laura Mars (1978)
|
|
|
|
10.15
|
1:43:20
|
1,920 x 1,036
|
13,363 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
699 kbps
|
|
Eyes Wide Shut (1999)
|
|
|
|
9.09
|
2:39:02
|
1,916 x 1,080
|
6,969 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,209 kbps
|
|
Eyewitness (1981)
|
|
|
|
15.96
|
1:42:08
|
1,920 x 1,040
|
21,017 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,348 kbps
|
|
F.E.A.R. (2021)
|
|
|
|
2.48
|
1:41:32
|
1,920 x 1,036
|
2,852 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
F.I.S.T. (1978)
|
|
|
|
9.29
|
2:25:21
|
1,920 x 1,040
|
8,760 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
392 kbps
|
|
F/X (1986)
|
|
|
|
5.22
|
1:48:34
|
1,920 x 1,036
|
6,367 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
511 kbps
|
|
F/X2 (1991)
|
|
|
|
5.41
|
1:48:11
|
1,920 x 1,040
|
6,444 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
711 kbps
|
|
F9: The Fast Saga (2021)
|
|
|
|
|
|
13.03
|
2:29:55
|
3,840 x 1,608
|
10,743 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,694 kbps
|
|
Face/Off (1997)
|
|
|
|
|
|
44.06
|
2:18:55
|
3,840 x 1,632
|
43,705 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
710 kbps
|
|
Faceless (1988)
|
|
|
|
|
59.36
|
1:39:14
|
3,600 x 2,160
|
84,924 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
712 kbps
|
|
Faceless (2021)
|
|
|
|
1.30
|
1:37:06
|
1,920 x 792
|
1,525 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Factory Girl (2007)
|
|
|
|
13.92
|
1:39:46
|
1,916 x 1,080
|
16,409 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,563 kbps
|
|
Fahrenheit 451 (1966)
|
|
|
|
8.63
|
1:52:26
|
1,920 x 1,036
|
10,776 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
213 kbps
|
|
Fail Safe (1964)
|
|
|
|
19.79
|
1:52:23
|
1,920 x 1,036
|
24,673 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
540 kbps
|
|
Failure to Launch (2006)
|
|
|
|
7.54
|
1:36:21
|
1,920 x 818
|
8,127 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,071 kbps
|
|
Fair Game (1995)
|
|
|
|
5.28
|
1:30:26
|
1,912 x 1,080
|
8,125 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Fair Game (2010)
|
|
|
|
3.76
|
1:47:43
|
1,920 x 800
|
1,834 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,160 kbps
|
|
Fair Play (2023)
|
|
|
|
|
3.98
|
1:53:15
|
3,840 x 1,604
|
4,255 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
FairyTale: A True Story (1997)
|
|
|
|
5.69
|
1:37:57
|
1,920 x 1,076
|
7,675 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Faithful (1996)
|
|
|
|
2.87
|
1:31:45
|
1,920 x 1,040
|
4,246 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Falcon Rising (2014)
|
|
|
|
3.87
|
1:40:39
|
1,920 x 1,080
|
4,272 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
Fall (2022)
|
|
|
|
|
5.96
|
1:47:23
|
3,840 x 1,920
|
4,920 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,593 kbps
|
|
Fall Time (1995)
|
|
|
|
5.58
|
1:28:44
|
1,912 x 1,080
|
8,769 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fallen (1998)
|
|
|
|
|
5.91
|
2:04:11
|
1,920 x 800
|
3,347 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,459 kbps
|
|
Fallen Angel (2003)
|
|
|
|
5.41
|
1:38:11
|
1,904 x 1,080
|
7,665 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Falling Down (1993)
|
|
|
|
|
4.08
|
1:52:36
|
1,920 x 796
|
4,618 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
567 kbps
|
|
Falling for Figaro (2021)
|
|
|
|
1.87
|
1:44:49
|
1,920 x 800
|
1,918 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
False Colors (2020)
|
|
|
|
2.59
|
2:01:21
|
1,920 x 788
|
2,864 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
False Positive (2021)
|
|
|
|
4.25
|
1:32:33
|
3,840 x 1,920
|
6,312 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
False Pretenses (2004)
|
|
|
|
6.02
|
1:29:30
|
1,904 x 1,080
|
9,409 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Family Business (1989)
|
|
|
|
13.28
|
1:53:48
|
1,920 x 1,038
|
16,057 kbps
|
|
3.1
|
|
16 bits / 48 kHz
|
647 kbps
|
|
Family Plot (1976)
|
|
|
|
|
29.68
|
2:00:05
|
3,840 x 2,076
|
34,747 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
641 kbps
|
|
Family Squares (2022)
|
|
|
|
16.47
|
1:34:59
|
3,840 x 2,152
|
24,438 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Family Weekend (2013)
|
|
|
|
|
2.35
|
1:45:34
|
1,920 x 816
|
2,539 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fanboys (2009)
|
|
|
|
5.57
|
1:29:41
|
1,916 x 1,080
|
7,563 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,332 kbps
|
|
Fandango (1985)
|
|
|
|
2.31
|
1:30:40
|
1,916 x 1,080
|
3,425 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Fantastic Beasts and Where to Find Them (2016)
|
|
|
|
|
|
10.96
|
2:12:52
|
3,840 x 1,600
|
9,629 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,174 kbps
|
|
Fantastic Beasts: The Crimes of Grindelwald (2018)
|
|
|
|
|
20.63
|
2:13:50
|
3,840 x 1,600
|
20,696 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,365 kbps
|
|
Fantastic Beasts: The Secrets of Dumbledore (2022)
|
|
|
|
|
3.96
|
2:22:40
|
3,840 x 1,604
|
2,592 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,376 kbps
|
|
Fantastic Four (2005)
|
|
|
|
|
6.23
|
1:45:29
|
1,920 x 818
|
4,929 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,528 kbps
|
|
Fantastic Four (2015)
|
|
|
|
|
|
|
9.19
|
1:39:58
|
3,840 x 1,606
|
8,937 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,215 kbps
|
|
Fantastic Four: Rise of the Silver Surfer (2007)
|
|
|
|
|
6.80
|
1:31:51
|
1,920 x 800
|
7,105 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,485 kbps
|
|
Fantastic Mr. Fox (2009)
|
|
|
|
3.82
|
1:27:00
|
1,920 x 1,036
|
3,615 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,662 kbps
|
|
Fantastic Voyage (1966)
|
|
|
|
12.95
|
1:40:38
|
1,920 x 816
|
15,649 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,776 kbps
|
|
Fantasy Island (2020)
|
|
|
|
|
9.08
|
1:49:23
|
3,840 x 1,608
|
10,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,497 kbps
|
|
Far Cry (2008)
|
|
|
|
4.84
|
1:34:40
|
1,920 x 810
|
3,542 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,769 kbps
|
|
Far from Home: The Adventures of Yellow Dog (1995)
|
|
|
|
3.91
|
1:20:45
|
1,920 x 1,040
|
6,698 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Farewell, My Lovely (1975)
|
|
|
|
5.02
|
1:35:14
|
1,920 x 1,080
|
7,285 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
265 kbps
|
|
Fargo (1996)
|
|
|
|
|
|
35.73
|
1:38:15
|
3,840 x 2,076
|
49,055 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
Farming (2018)
|
|
|
|
|
4.19
|
1:47:33
|
1,920 x 804
|
4,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,195 kbps
|
|
Fart: A Documentary (2016)
|
|
|
|
|
1.70
|
1:11:16
|
1,920 x 812
|
3,185 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Fast & Furious (2009)
|
|
|
|
|
|
12.73
|
1:46:47
|
3,840 x 1,600
|
14,877 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,188 kbps
|
|
Fast & Furious 6 (2013)
|
|
|
|
|
|
15.06
|
2:11:03
|
3,840 x 1,632
|
12,811 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,640 kbps
|
|
Fast & Furious Presents: Hobbs & Shaw (2019)
|
|
|
|
|
9.70
|
2:16:42
|
3,840 x 1,604
|
8,446 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,705 kbps
|
|
Fast and Fierce: Death Race (2020)
|
|
|
|
|
2.46
|
1:24:39
|
1,920 x 800
|
2,783 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,371 kbps
|
|
Fast Charlie... the Moonbeam Rider (1979)
|
|
|
|
12.30
|
1:38:57
|
1,920 x 1,024
|
17,142 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
650 kbps
|
|
Fast Color (2019)
|
|
|
|
|
3.98
|
1:41:57
|
1,920 x 1,036
|
2,974 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,619 kbps
|
|
Fast Company (1979)
|
|
|
|
13.13
|
1:32:59
|
1,920 x 1,034
|
18,840 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,370 kbps
|
|
Fast Five (2011)
|
|
|
|
|
|
19.61
|
2:11:33
|
3,840 x 1,632
|
19,189 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,149 kbps
|
|
Fast Girls (2012)
|
|
|
|
3.64
|
1:30:56
|
1,920 x 816
|
2,448 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,280 kbps
|
|
Fast Times at Ridgemont High (1982)
|
|
|
|
13.43
|
1:30:08
|
1,920 x 1,036
|
18,442 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,891 kbps
|
|
Fast X (2023)
|
|
|
|
|
|
9.11
|
2:20:50
|
3,840 x 1,608
|
7,453 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,795 kbps
|
|
Faster (2010)
|
|
|
|
|
7.42
|
1:37:58
|
1,920 x 800
|
8,556 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,292 kbps
|
|
Fat Albert (2004)
|
|
|
|
2.69
|
1:33:14
|
1,920 x 808
|
3,482 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fat Man and Little Boy (1989)
|
|
|
|
|
13.29
|
2:06:32
|
1,920 x 808
|
14,400 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fatal Attraction (1987)
|
|
|
|
|
|
28.84
|
1:59:24
|
3,840 x 2,160
|
31,696 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,876 kbps
|
|
Fatal Beauty (1987)
|
|
|
|
4.62
|
1:44:17
|
1,920 x 1,040
|
5,676 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
660 kbps
|
|
Fatal Frenemies (2021)
|
|
|
|
2.55
|
1:26:59
|
1,920 x 1,072
|
3,804 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Fatal Honeymoon (2012)
|
|
|
|
3.44
|
1:33:58
|
1,920 x 1,076
|
4,216 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,023 kbps
|
|
Fatal Instinct (1993)
|
|
|
|
3.42
|
1:29:51
|
1,920 x 1,036
|
4,089 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,356 kbps
|
|
Fatale (2020)
|
|
|
|
9.25
|
1:42:36
|
3,840 x 1,608
|
9,996 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,904 kbps
|
|
Fate Is the Hunter (1964)
|
|
|
|
7.75
|
1:45:45
|
1,920 x 820
|
9,912 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
572 kbps
|
|
Father Christmas Is Back (2021)
|
|
|
|
2.96
|
1:45:31
|
1,920 x 1,036
|
3,374 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Father Figures (2017)
|
|
|
|
|
5.48
|
1:52:51
|
1,920 x 800
|
4,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,873 kbps
|
|
Father Hood (1993)
|
|
|
|
6.22
|
1:35:03
|
1,920 x 1,034
|
7,985 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,378 kbps
|
|
Father of the Bride (1991)
|
|
|
|
10.03
|
1:45:13
|
1,920 x 1,036
|
10,846 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,804 kbps
|
|
Father of the Bride (2022)
|
|
|
|
|
|
7.33
|
1:57:35
|
3,840 x 1,608
|
8,153 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Father of the Bride, Part II (1995)
|
|
|
|
9.19
|
1:46:05
|
1,920 x 1,040
|
8,940 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,458 kbps
|
|
Father of the Year (2018)
|
|
|
|
|
10.97
|
1:34:38
|
3,840 x 2,160
|
15,953 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Father Stu (2022)
|
|
|
|
|
2.12
|
2:04:37
|
3,840 x 1,580
|
2,044 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Fatherhood (2021)
|
|
|
|
|
|
3.75
|
1:49:04
|
3,840 x 1,600
|
3,738 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,175 kbps
|
|
Fathers and Daughters (2015)
|
|
|
|
4.29
|
1:56:33
|
1,920 x 800
|
2,576 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,689 kbps
|
|
Fathers' Day (1997)
|
|
|
|
|
3.20
|
1:39:11
|
1,920 x 800
|
4,392 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Fatman (2020)
|
|
|
|
|
3.40
|
1:40:04
|
1,920 x 800
|
1,839 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,022 kbps
|
|
Fatso (1980)
|
|
|
|
|
8.72
|
1:33:32
|
1,920 x 1,042
|
13,042 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
297 kbps
|
|
Fauci (2021)
|
|
|
|
10.40
|
1:44:42
|
3,840 x 1,632
|
13,959 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Faults (2014)
|
|
|
|
1.81
|
1:29:56
|
1,920 x 816
|
2,439 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Fay Grim (2007)
|
|
|
|
5.53
|
1:57:57
|
1,912 x 1,080
|
6,257 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Fear (1996)
|
|
|
|
7.11
|
1:36:50
|
1,920 x 816
|
9,229 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,283 kbps
|
|
Fear and Loathing in Aspen (2021)
|
|
|
|
2.27
|
1:22:18
|
1,920 x 812
|
3,560 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Fear and Loathing in Las Vegas (1998)
|
|
|
|
|
|
45.11
|
1:58:04
|
3,840 x 1,632
|
51,781 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,920 kbps
|
|
Fear City (1984)
|
|
|
|
8.32
|
1:36:40
|
1,692 x 1,080
|
12,043 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
273 kbps
|
|
Fear of Rain (2021)
|
|
|
|
|
4.88
|
1:48:59
|
3,840 x 2,072
|
3,795 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,605 kbps
|
|
Fear Street: Part One – 1994 (2021)
|
|
|
|
|
1.66
|
1:45:38
|
1,920 x 800
|
1,461 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fear Street: Part Three – 1666 (2021)
|
|
|
|
|
1.93
|
1:52:37
|
1,920 x 800
|
1,662 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fear Street: Part Two – 1978 (2021)
|
|
|
|
|
2.14
|
1:49:13
|
1,920 x 800
|
2,017 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fear the Invisible Man (2023)
|
|
|
|
0.90
|
1:44:20
|
1,920 x 792
|
1,035 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Fear the Night (2023)
|
|
|
|
|
5.46
|
1:32:07
|
3,840 x 1,608
|
5,776 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,705 kbps
|
|
Fear X (2003)
|
|
|
|
1.68
|
1:31:10
|
720 x 384
|
934 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,708 kbps
|
|
Fearless (1993)
|
|
|
|
6.91
|
2:02:03
|
1,912 x 1,080
|
6,843 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,261 kbps
|
|
Felicity (1978)
|
|
|
|
9.09
|
1:34:08
|
1,916 x 1,080
|
13,196 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
631 kbps
|
|
Feliz NaviDAD (2020)
|
|
|
|
2.63
|
1:27:56
|
1,920 x 1,080
|
4,062 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Felony (2013)
|
|
|
|
4.07
|
1:46:35
|
1,920 x 808
|
4,288 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,181 kbps
|
|
Feral State (2020)
|
|
|
|
1.93
|
1:23:00
|
1,920 x 804
|
2,945 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ferdinand (2017)
|
|
|
|
|
7.26
|
1:48:07
|
3,840 x 1,608
|
6,989 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,618 kbps
|
|
FernGully: The Last Rainforest (1992)
|
|
|
|
7.50
|
1:15:53
|
1,920 x 1,040
|
10,363 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,792 kbps
|
|
Ferrari (2023)
|
|
|
|
|
|
7.05
|
2:10:11
|
3,840 x 1,608
|
5,583 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,171 kbps
|
|
Ferris Bueller's Day Off (1986)
|
|
|
|
|
|
10.55
|
1:42:58
|
3,840 x 1,604
|
13,168 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,592 kbps
|
|
Fever Pitch (1997)
|
|
|
|
5.15
|
1:42:51
|
1,920 x 1,064
|
5,833 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,338 kbps
|
|
Fiancé Killer (2018)
|
|
|
|
1.38
|
1:24:32
|
1,920 x 1,080
|
2,116 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Field of Dreams (1989)
|
|
|
|
|
24.62
|
1:45:32
|
3,840 x 2,076
|
29,564 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,834 kbps
|
|
Fifty Dead Men Walking (2009)
|
|
|
|
4.54
|
1:57:33
|
1,920 x 800
|
4,224 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,290 kbps
|
|
Fight Club (1999)
|
|
|
|
|
7.53
|
2:19:08
|
1,920 x 800
|
5,080 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,666 kbps
|
|
Fighting with My Family (2019)
|
|
|
|
4.63
|
1:48:26
|
1,920 x 800
|
3,263 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,853 kbps
|
|
Film Fest (2021)
|
|
|
|
2.59
|
1:36:45
|
1,920 x 1,032
|
3,192 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Filth (2013)
|
|
|
|
5.97
|
1:37:35
|
1,920 x 816
|
7,330 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,433 kbps
|
|
Final Destination (2000)
|
|
|
|
|
4.82
|
1:38:02
|
1,920 x 1,078
|
5,580 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
Final Destination 2 (2003)
|
|
|
|
|
5.27
|
1:30:11
|
1,920 x 1,078
|
4,964 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,403 kbps
|
|
Final Destination 3 (2006)
|
|
|
|
|
5.72
|
1:32:51
|
1,920 x 814
|
5,461 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,350 kbps
|
|
Final Destination 5 (2011)
|
|
|
|
|
2.85
|
1:31:49
|
1,920 x 798
|
3,423 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,026 kbps
|
|
Final Exam (1981)
|
|
|
|
53.77
|
1:29:50
|
3,840 x 2,072
|
84,939 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
750 kbps
|
|
Final Fantasy: The Spirits Within (2001)
|
|
|
|
|
8.08
|
1:45:58
|
3,840 x 2,072
|
7,842 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,065 kbps
|
|
Final Frequency (2021)
|
|
|
|
1.83
|
1:30:41
|
1,920 x 1,080
|
2,662 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Final Kill (2020)
|
|
|
|
3.03
|
1:20:54
|
1,920 x 792
|
2,402 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,962 kbps
|
|
Final Sale (2011)
|
|
|
|
1.29
|
1:30:10
|
1,920 x 1,080
|
1,818 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Finch (2021)
|
|
|
|
|
|
3.66
|
1:55:40
|
3,840 x 1,608
|
3,758 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Find Me Guilty (2006)
|
|
|
|
11.15
|
2:04:40
|
1,916 x 1,080
|
9,040 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,755 kbps
|
|
Finders Keepers (1984)
|
|
|
|
6.12
|
1:35:38
|
1,920 x 1,036
|
8,793 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
367 kbps
|
|
Finding Dory (2016)
|
|
|
|
|
7.99
|
1:37:04
|
3,840 x 2,160
|
9,362 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,421 kbps
|
|
Finding Father Christmas (2016)
|
|
|
|
2.36
|
1:26:25
|
1,920 x 1,080
|
3,261 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Finding Forrester (2001)
|
|
|
|
8.49
|
2:16:08
|
1,920 x 804
|
5,677 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,247 kbps
|
|
Finding Grace (2019)
|
|
|
|
1.97
|
1:51:35
|
1,920 x 1,080
|
2,303 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Finding Graceland (1999)
|
|
|
|
2.97
|
1:37:22
|
1,920 x 816
|
2,902 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,464 kbps
|
|
Finding Nemo (2003)
|
|
|
|
|
|
7.11
|
1:40:54
|
3,840 x 2,160
|
7,146 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,941 kbps
|
|
Finding Neverland (2004)
|
|
|
|
3.82
|
1:41:19
|
1,920 x 816
|
4,167 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,232 kbps
|
|
Finding You (2021)
|
|
|
|
8.89
|
2:00:01
|
3,840 x 1,608
|
7,674 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,929 kbps
|
|
Finestkind (2023)
|
|
|
|
7.59
|
2:06:08
|
3,840 x 1,600
|
7,967 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fingernails (2023)
|
|
|
|
|
4.39
|
1:52:42
|
3,840 x 1,920
|
4,803 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Fire Birds (1990)
|
|
|
|
3.86
|
1:26:40
|
1,920 x 1,028
|
5,120 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,250 kbps
|
|
Fire Down Below (1997)
|
|
|
|
|
4.87
|
1:44:32
|
1,904 x 1,080
|
5,162 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,501 kbps
|
|
Fire in the Sky (1993)
|
|
|
|
|
15.72
|
1:49:20
|
1,920 x 816
|
17,155 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,432 kbps
|
|
Fire with Fire (2012)
|
|
|
|
3.73
|
1:37:03
|
1,920 x 804
|
2,363 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,135 kbps
|
|
Fired Up! (2009)
|
|
|
|
6.28
|
1:30:49
|
1,920 x 800
|
6,802 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,098 kbps
|
|
Firefox (1982)
|
|
|
|
7.52
|
2:04:41
|
1,920 x 800
|
5,267 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,365 kbps
|
|
Firenado (2023)
|
|
|
|
1.36
|
1:18:59
|
1,920 x 796
|
1,825 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Fireproof (2008)
|
|
|
|
|
4.58
|
1:58:22
|
1,920 x 1,040
|
4,643 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
892 kbps
|
|
Firestarter (1984)
|
|
|
|
9.08
|
1:54:24
|
1,920 x 816
|
10,658 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
702 kbps
|
|
Firestarter (2022)
|
|
|
|
|
3.83
|
1:34:17
|
3,840 x 1,600
|
2,840 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,972 kbps
|
|
Firewalker (1986)
|
|
|
|
6.97
|
1:45:06
|
1,920 x 1,036
|
7,523 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,969 kbps
|
|
Firewall (2006)
|
|
|
|
2.11
|
1:44:52
|
1,920 x 796
|
2,237 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
First Blood (1982)
|
|
|
|
|
24.50
|
1:33:25
|
3,840 x 1,632
|
36,508 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,033 kbps
|
|
First Daughter (2004)
|
|
|
|
4.21
|
1:46:19
|
1,912 x 1,080
|
5,033 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
First Family (1980)
|
|
|
|
2.95
|
1:39:44
|
1,916 x 1,080
|
4,008 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
First Kid (1996)
|
|
|
|
3.19
|
1:40:49
|
1,918 x 1,080
|
4,299 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
First Man (2018)
|
|
|
|
|
24.50
|
2:21:00
|
3,840 x 1,600
|
23,694 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,180 kbps
|
|
First Men in the Moon (1964)
|
|
|
|
9.43
|
1:43:03
|
1,920 x 812
|
10,108 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,986 kbps
|
|
First Signal (2021)
|
|
|
|
1.76
|
1:42:53
|
1,920 x 1,076
|
2,223 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Firstborn (1984)
|
|
|
|
6.37
|
1:40:38
|
1,916 x 1,080
|
8,675 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
390 kbps
|
|
Fish Tank (2009)
|
|
|
|
6.83
|
2:03:01
|
1,432 x 1,080
|
6,213 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,735 kbps
|
|
Fishbowl California (2018)
|
|
|
|
4.02
|
1:23:34
|
1,920 x 1,080
|
3,897 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
Fisher (2021)
|
|
|
|
3.48
|
2:05:04
|
1,920 x 1,080
|
3,346 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fishing Naked (2015)
|
|
|
|
3.71
|
1:38:30
|
1,920 x 804
|
4,747 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fishtales (2008)
|
|
|
|
6.82
|
1:30:33
|
1,912 x 1,080
|
10,403 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Fist Fight (2017)
|
|
|
|
|
5.93
|
1:31:02
|
1,920 x 1,080
|
6,445 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,876 kbps
|
|
Fistful of Vengeance (2022)
|
|
|
|
|
|
6.06
|
1:34:52
|
3,840 x 1,604
|
8,372 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Five Easy Pieces (1970)
|
|
|
|
9.10
|
1:38:24
|
1,920 x 1,040
|
12,653 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
584 kbps
|
|
Five Feet Apart (2019)
|
|
|
|
|
4.48
|
1:56:15
|
1,920 x 800
|
2,856 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,665 kbps
|
|
Five Minutes of Heaven (2009)
|
|
|
|
8.22
|
1:29:09
|
1,920 x 1,036
|
12,040 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,156 kbps
|
|
Five Nights at Freddy's (2023)
|
|
|
|
|
3.50
|
1:49:26
|
3,840 x 1,920
|
3,226 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,353 kbps
|
|
Fixed (2021)
|
|
|
|
1.03
|
1:23:46
|
1,920 x 806
|
1,571 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Flag Day (2021)
|
|
|
|
7.57
|
1:49:21
|
1,920 x 1,036
|
7,130 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,784 kbps
|
|
Flaky (2021)
|
|
|
|
1.46
|
1:17:36
|
1,920 x 1,076
|
2,536 kbps
|
|
2.0
|
|
48 kHz
|
148 kbps
|
|
Flamin' Hot (2023)
|
|
|
|
|
|
9.87
|
1:38:48
|
3,840 x 1,608
|
13,533 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Flareup (1970)
|
|
|
|
6.87
|
1:37:58
|
1,920 x 1,080
|
9,813 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Flash Gordon (1980)
|
|
|
|
|
28.40
|
1:51:30
|
3,840 x 1,634
|
33,339 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,123 kbps
|
|
Flash of Genius (2008)
|
|
|
|
3.20
|
1:59:07
|
1,920 x 800
|
3,209 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Flashback (2021)
|
|
|
|
2.36
|
1:37:35
|
1,920 x 804
|
744 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,710 kbps
|
|
Flashburn (2017)
|
|
|
|
2.00
|
1:29:55
|
1,920 x 796
|
2,795 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Flashdance (1983)
|
|
|
|
|
19.37
|
1:34:40
|
3,840 x 2,160
|
26,339 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,956 kbps
|
|
Flashpoint (1984)
|
|
|
|
5.66
|
1:33:34
|
1,916 x 1,080
|
8,431 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Flatliners (1990)
|
|
|
|
|
64.61
|
1:54:10
|
3,840 x 1,604
|
77,641 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,367 kbps
|
|
Flatliners (2017)
|
|
|
|
|
3.49
|
1:49:46
|
3,840 x 1,604
|
3,192 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,357 kbps
|
|
Flawless (2008)
|
|
|
|
3.20
|
1:48:44
|
1,920 x 800
|
2,903 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,312 kbps
|
|
Fled (1996)
|
|
|
|
5.23
|
1:37:48
|
1,920 x 1,040
|
4,210 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,446 kbps
|
|
Flee the Light (2021)
|
|
|
|
2.07
|
1:21:09
|
1,920 x 1,076
|
3,269 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Flesh Eating Mothers (1988)
|
|
|
|
3.24
|
1:29:40
|
1,908 x 1,080
|
4,826 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
342 kbps
|
|
Flesh+Blood (1985)
|
|
|
|
22.80
|
2:07:53
|
1,920 x 816
|
24,126 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,402 kbps
|
|
Fletch (1985)
|
|
|
|
|
7.18
|
1:38:13
|
1,920 x 1,040
|
7,758 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,705 kbps
|
|
Fletch Lives (1989)
|
|
|
|
6.62
|
1:35:01
|
1,920 x 1,040
|
9,406 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
566 kbps
|
|
Flight (2012)
|
|
|
|
7.65
|
2:18:35
|
3,840 x 1,600
|
5,200 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,704 kbps
|
|
Flight of the Butterflies (2012)
|
|
|
|
|
16.28
|
44:14
|
3,840 x 2,160
|
49,997 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,702 kbps
|
|
Flight of the Intruder (1991)
|
|
|
|
12.70
|
1:54:45
|
1,920 x 814
|
12,448 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,396 kbps
|
|
Flight of the Navigator (1986)
|
|
|
|
|
12.40
|
1:29:39
|
1,920 x 1,036
|
18,408 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,394 kbps
|
|
Flight of the Phoenix (2004)
|
|
|
|
7.97
|
1:52:58
|
1,920 x 816
|
6,572 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,531 kbps
|
|
Flightplan (2005)
|
|
|
|
|
2.50
|
1:38:03
|
1,920 x 816
|
2,224 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,428 kbps
|
|
Flinch (2021)
|
|
|
|
1.87
|
1:39:14
|
1,920 x 792
|
2,062 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Flipped (2010)
|
|
|
|
4.96
|
1:29:45
|
1,920 x 1,080
|
5,408 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,499 kbps
|
|
Flirting with Disaster (1996)
|
|
|
|
5.03
|
1:32:48
|
1,920 x 1,036
|
6,475 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,281 kbps
|
|
Flora & Ulysses (2021)
|
|
|
|
|
9.73
|
1:30:45
|
3,840 x 2,076
|
14,576 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Flowers in the Attic (1987)
|
|
|
|
10.39
|
1:31:32
|
1,920 x 1,040
|
15,091 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,154 kbps
|
|
Flubber (1997)
|
|
|
|
4.54
|
1:33:58
|
1,920 x 1,036
|
6,277 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fluke (1995)
|
|
|
|
4.36
|
1:35:40
|
1,920 x 1,040
|
5,878 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Flushed Away (2006)
|
|
|
|
2.64
|
1:25:02
|
1,920 x 1,028
|
3,140 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,311 kbps
|
|
Fly Away Home (1996)
|
|
|
|
6.90
|
1:46:58
|
1,920 x 1,038
|
7,797 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,433 kbps
|
|
Flying By (2009)
|
|
|
|
6.14
|
1:35:20
|
1,916 x 1,080
|
8,766 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Flying Cars (2019)
|
|
|
|
2.65
|
1:27:56
|
1,920 x 1,076
|
3,929 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Flying Leathernecks (1951)
|
|
|
|
8.28
|
1:42:15
|
1,480 x 1,080
|
10,908 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
686 kbps
|
|
Flypaper (2011)
|
|
|
|
2.08
|
1:27:12
|
1,920 x 816
|
2,150 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,256 kbps
|
|
Focus (2015)
|
|
|
|
|
6.40
|
1:44:44
|
1,920 x 1,080
|
5,012 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,740 kbps
|
|
Foe (2023)
|
|
|
|
|
2.18
|
1:50:15
|
3,840 x 1,740
|
2,059 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Follow Her (2022)
|
|
|
|
1.79
|
1:31:52
|
1,920 x 952
|
2,147 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Follow Me (2020)
|
|
|
|
|
10.67
|
1:31:53
|
3,840 x 1,608
|
15,474 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,141 kbps
|
|
Follow Me! (1972)
|
|
|
|
4.19
|
1:33:21
|
1,920 x 816
|
6,173 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
256 kbps
|
|
Follow That Dream (1962)
|
|
|
|
11.89
|
1:49:32
|
1,920 x 808
|
14,933 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
611 kbps
|
|
Fool for Love (1985)
|
|
|
|
5.67
|
1:47:09
|
1,920 x 816
|
6,331 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,241 kbps
|
|
Fool's Gold (2008)
|
|
|
|
|
3.58
|
1:52:27
|
1,920 x 796
|
3,914 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Fool's Paradise (2023)
|
|
|
|
|
4.91
|
1:38:20
|
3,840 x 1,598
|
6,500 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Foolproof (2003)
|
|
|
|
1.82
|
1:33:46
|
1,920 x 1,054
|
2,396 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Fools Rush In (1997)
|
|
|
|
|
6.83
|
1:49:06
|
1,920 x 1,072
|
8,324 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Footloose (1984)
|
|
|
|
|
11.82
|
1:47:13
|
3,840 x 2,076
|
12,586 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,184 kbps
|
|
For a Few Dollars More (1967)
|
|
|
|
34.61
|
2:12:08
|
3,840 x 1,632
|
36,720 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
771 kbps
|
|
For a Good Time, Call... (2012)
|
|
|
|
3.10
|
1:27:27
|
1,920 x 816
|
2,589 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,488 kbps
|
|
For All Mankind (1989)
|
|
|
|
|
17.39
|
1:20:13
|
2,880 x 2,160
|
28,024 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,004 kbps
|
|
For Love of the Game (1999)
|
|
|
|
6.77
|
2:17:56
|
1,920 x 816
|
5,584 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,445 kbps
|
|
For Love or Money (1993)
|
|
|
|
8.11
|
1:35:11
|
1,920 x 1,040
|
9,029 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
3,161 kbps
|
|
For Richer or Poorer (1997)
|
|
|
|
|
6.03
|
1:55:28
|
1,920 x 800
|
3,840 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,632 kbps
|
|
For Your Eyes Only (1981)
|
|
|
|
11.64
|
2:07:57
|
3,840 x 1,632
|
11,849 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,175 kbps
|
|
Forbidden Planet (1958)
|
|
|
|
7.82
|
1:38:30
|
1,920 x 784
|
8,456 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,905 kbps
|
|
Forbidden Power (2018)
|
|
|
|
2.63
|
1:34:46
|
1,920 x 912
|
3,829 kbps
|
|
2.0
|
|
48 kHz
|
138 kbps
|
|
Forbidden World (1982)
|
|
|
|
8.54
|
1:22:03
|
1,920 x 1,036
|
14,645 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
258 kbps
|
|
Force 10 from Navarone (1978)
|
|
|
|
8.29
|
2:05:51
|
1,920 x 820
|
7,204 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,221 kbps
|
|
Force of Nature (2020)
|
|
|
|
16.95
|
1:39:32
|
3,840 x 1,608
|
21,072 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,311 kbps
|
|
Forces of Nature (1999)
|
|
|
|
1.43
|
1:45:54
|
720 x 480
|
1,298 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ford v Ferrari (2019)
|
|
|
|
|
|
10.45
|
2:32:35
|
3,840 x 1,608
|
6,813 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,983 kbps
|
|
Foreign Exchange (2019)
|
|
|
|
2.10
|
1:26:07
|
1,920 x 1,080
|
3,111 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Foreign Intrigue (1956)
|
|
|
|
7.78
|
1:38:46
|
1,920 x 1,040
|
11,029 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
243 kbps
|
|
Forest Warrior (1996)
|
|
|
|
1.34
|
1:37:03
|
720 x 480
|
1,324 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
644 kbps
|
|
Forever My Girl (2018)
|
|
|
|
4.04
|
1:47:52
|
1,920 x 800
|
2,570 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,794 kbps
|
|
Forever Young (1992)
|
|
|
|
|
4.28
|
1:41:34
|
1,904 x 1,080
|
5,813 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Forget Paris (1995)
|
|
|
|
4.57
|
1:41:08
|
1,904 x 1,080
|
6,248 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Forgetting Sarah Marshall (2008)
|
|
|
|
5.97
|
1:57:47
|
1,920 x 1,032
|
3,945 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,315 kbps
|
|
Forrest Gump (1994)
|
|
|
|
|
|
22.98
|
2:22:08
|
3,840 x 1,604
|
20,704 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,436 kbps
|
|
Fortress (1993)
|
|
|
|
9.01
|
1:35:31
|
1,916 x 1,080
|
10,190 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,314 kbps
|
|
Foster Boy (2020)
|
|
|
|
3.31
|
1:45:15
|
1,920 x 796
|
1,551 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,955 kbps
|
|
Foul Play (1978)
|
|
|
|
13.49
|
1:56:05
|
1,920 x 1,080
|
13,154 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,476 kbps
|
|
Four Brothers (2005)
|
|
|
|
6.08
|
1:48:47
|
1,920 x 816
|
4,848 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,150 kbps
|
|
Four Christmases (2008)
|
|
|
|
|
5.67
|
1:28:32
|
1,920 x 1,080
|
7,885 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,279 kbps
|
|
Four Good Days (2020)
|
|
|
|
3.02
|
1:40:32
|
1,920 x 796
|
1,714 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,585 kbps
|
|
Four Kids and It (2020)
|
|
|
|
5.04
|
1:50:06
|
1,920 x 804
|
3,447 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,106 kbps
|
|
Four Rooms (1995)
|
|
|
|
3.36
|
1:37:48
|
1,920 x 1,024
|
3,697 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,222 kbps
|
|
Foxcatcher (2014)
|
|
|
|
|
5.23
|
2:14:26
|
1,920 x 1,036
|
4,613 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
959 kbps
|
|
Foxes (1980)
|
|
|
|
6.98
|
1:45:28
|
1,920 x 1,040
|
9,175 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
302 kbps
|
|
Foxtrot Six (2019)
|
|
|
|
2.79
|
1:55:06
|
1,920 x 800
|
2,115 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,348 kbps
|
|
Foxy Brown (1974)
|
|
|
|
6.66
|
1:31:41
|
1,920 x 1,040
|
7,010 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,395 kbps
|
|
Fracture (2007)
|
|
|
|
3.39
|
1:53:28
|
1,920 x 816
|
3,080 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,199 kbps
|
|
Fractured (2019)
|
|
|
|
|
2.24
|
1:39:12
|
3,840 x 1,604
|
2,449 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Frailty (2002)
|
|
|
|
5.43
|
1:39:52
|
1,912 x 1,080
|
3,398 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,396 kbps
|
|
Framing John DeLorean (2019)
|
|
|
|
3.44
|
1:49:06
|
1,920 x 1,012
|
3,681 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
835 kbps
|
|
Frank & Lola (2016)
|
|
|
|
|
2.60
|
1:27:31
|
1,920 x 800
|
1,702 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,556 kbps
|
|
Frank and Penelope (2022)
|
|
|
|
2.90
|
1:53:07
|
1,920 x 800
|
2,351 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,316 kbps
|
|
Frankenhooker (1990)
|
|
|
|
8.26
|
1:24:11
|
1,918 x 1,080
|
13,460 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
593 kbps
|
|
Frankenstein (1931)
|
|
|
|
|
23.29
|
1:10:12
|
2,914 x 2,160
|
47,258 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
240 kbps
|
|
Frankenstein (1994)
|
|
|
|
|
42.51
|
2:03:13
|
3,840 x 2,072
|
46,066 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,317 kbps
|
|
Frankenstein Created Bikers (2016)
|
|
|
|
9.65
|
2:04:18
|
1,920 x 840
|
10,418 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
697 kbps
|
|
Frankie and Johnny (1991)
|
|
|
|
5.60
|
1:57:48
|
1,920 x 1,080
|
6,164 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Franklyn (2008)
|
|
|
|
3.02
|
1:37:58
|
1,920 x 812
|
3,331 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,076 kbps
|
|
Frantic (1988)
|
|
|
|
9.25
|
1:59:52
|
1,920 x 1,080
|
10,482 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
566 kbps
|
|
Freakdog (2008)
|
|
|
|
4.33
|
1:25:23
|
1,920 x 1,080
|
5,814 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,443 kbps
|
|
Freaks (2019)
|
|
|
|
2.57
|
1:44:56
|
1,920 x 816
|
2,203 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,297 kbps
|
|
Freaks of Nature (2015)
|
|
|
|
|
3.60
|
1:32:36
|
1,920 x 800
|
4,192 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,366 kbps
|
|
Freaky (2020)
|
|
|
|
|
12.24
|
1:42:03
|
3,840 x 1,608
|
13,900 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,262 kbps
|
|
Freaky Deaky (2012)
|
|
|
|
|
3.12
|
1:33:04
|
1,920 x 1,080
|
3,678 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,126 kbps
|
|
Freaky Friday (1976)
|
|
|
|
7.59
|
1:38:13
|
1,920 x 1,024
|
10,746 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Freaky Friday (2003)
|
|
|
|
7.31
|
1:36:56
|
1,920 x 1,032
|
7,742 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,060 kbps
|
|
Fred Claus (2007)
|
|
|
|
|
5.52
|
1:55:34
|
1,920 x 800
|
6,199 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Freddy Got Fingered (2001)
|
|
|
|
|
2.00
|
1:27:03
|
1,920 x 1,040
|
2,646 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Freddy vs. Jason (2003)
|
|
|
|
6.72
|
1:37:20
|
1,920 x 812
|
5,786 kbps
|
|
6.1
|
|
24 bits / 48 kHz
|
4,090 kbps
|
|
Freddy's Dead: The Final Nightmare (1991)
|
|
|
|
6.06
|
1:29:12
|
1,920 x 1,080
|
8,293 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,437 kbps
|
|
Free Fire (2016)
|
|
|
|
2.35
|
1:30:27
|
1,920 x 804
|
2,551 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,164 kbps
|
|
Free Guy (2021)
|
|
|
|
|
|
|
5.72
|
1:54:59
|
3,840 x 1,608
|
4,270 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,848 kbps
|
|
Free Money (1998)
|
|
|
|
2.99
|
1:34:08
|
1,912 x 1,080
|
3,913 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Free Ride (2013)
|
|
|
|
2.79
|
1:26:06
|
1,920 x 1,036
|
3,998 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Free Willy (1993)
|
|
|
|
8.70
|
1:51:43
|
1,920 x 800
|
7,943 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,198 kbps
|
|
Freebie and the Bean (1974)
|
|
|
|
5.48
|
1:53:09
|
1,920 x 800
|
6,230 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
705 kbps
|
|
Freedom Writers (2007)
|
|
|
|
4.11
|
2:02:57
|
1,916 x 1,080
|
4,145 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Freejack (1992)
|
|
|
|
3.24
|
1:49:21
|
1,920 x 804
|
2,624 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,618 kbps
|
|
Freelance (2023)
|
|
|
|
|
|
5.39
|
1:48:34
|
3,840 x 1,604
|
5,911 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,197 kbps
|
|
Freelancers Anonymous (2018)
|
|
|
|
1.72
|
1:21:44
|
1,920 x 796
|
2,752 kbps
|
|
2.0
|
|
48 kHz
|
256 kbps
|
|
Freeway (1996)
|
|
|
|
|
52.45
|
1:43:56
|
3,840 x 2,076
|
70,860 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,383 kbps
|
|
Freeway II: Confessions of a Trickbaby (1999)
|
|
|
|
|
61.75
|
1:37:54
|
3,840 x 2,076
|
89,013 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,288 kbps
|
|
French Girl (2024)
|
|
|
|
|
12.51
|
1:50:30
|
3,840 x 1,920
|
15,565 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
French Kiss (1995)
|
|
|
|
|
4.71
|
1:51:13
|
1,920 x 812
|
5,027 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,034 kbps
|
|
Frenzy (1972)
|
|
|
|
|
18.69
|
1:55:52
|
3,840 x 2,076
|
22,486 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
600 kbps
|
|
Frenzy (2018)
|
|
|
|
5.78
|
1:24:55
|
1,920 x 1,080
|
6,276 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,461 kbps
|
|
Frequency (2000)
|
|
|
|
|
7.23
|
1:58:39
|
1,920 x 818
|
4,741 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,984 kbps
|
|
Fresh (1994)
|
|
|
|
5.92
|
1:53:56
|
1,916 x 1,080
|
5,978 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,456 kbps
|
|
Friday (1995)
|
|
|
|
9.19
|
1:37:06
|
1,920 x 1,078
|
11,826 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,719 kbps
|
|
Friday After Next (2002)
|
|
|
|
4.86
|
1:24:20
|
1,920 x 1,076
|
7,862 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Friday Night Lights (2004)
|
|
|
|
8.52
|
1:57:39
|
1,920 x 816
|
6,993 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,377 kbps
|
|
Friday the 13th (1980)
|
|
|
|
|
20.96
|
1:35:27
|
3,840 x 2,076
|
28,679 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,758 kbps
|
|
Friday the 13th (2009)
|
|
|
|
3.36
|
1:45:30
|
1,920 x 800
|
3,169 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,385 kbps
|
|
Friday the 13th Part 2 (1981)
|
|
|
|
6.82
|
1:26:58
|
1,920 x 1,036
|
10,971 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
252 kbps
|
|
Friday the 13th Part III (1982)
|
|
|
|
6.43
|
1:35:14
|
1,920 x 816
|
9,033 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
639 kbps
|
|
Friday the 13th Part VI: Jason Lives (1986)
|
|
|
|
4.15
|
1:27:08
|
1,920 x 1,036
|
5,503 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,306 kbps
|
|
Friday the 13th Part VII: The New Blood (1988)
|
|
|
|
7.16
|
1:28:17
|
1,920 x 1,080
|
8,087 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,512 kbps
|
|
Friday the 13th Part VIII: Jason Takes Manhattan (1989)
|
|
|
|
6.31
|
1:40:25
|
1,920 x 1,036
|
7,615 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,377 kbps
|
|
Friday the 13th: A New Beginning (1985)
|
|
|
|
5.63
|
1:32:14
|
1,920 x 1,036
|
7,505 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,233 kbps
|
|
Friday the 13th: The Final Chapter (1984)
|
|
|
|
10.51
|
1:31:21
|
1,920 x 1,036
|
15,345 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,129 kbps
|
|
Fried Barry (2021)
|
|
|
|
4.45
|
1:42:50
|
1,920 x 800
|
4,766 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,428 kbps
|
|
Fried Green Tomatoes (1992)
|
|
|
|
|
13.72
|
2:16:32
|
1,920 x 1,040
|
11,240 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,147 kbps
|
|
Friends with Benefits (2011)
|
|
|
|
|
3.80
|
1:49:26
|
1,920 x 802
|
3,622 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,343 kbps
|
|
Friends with Money (2006)
|
|
|
|
2.94
|
1:27:46
|
1,916 x 1,080
|
4,151 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Friendsgiving (2020)
|
|
|
|
5.10
|
1:35:48
|
1,920 x 1,036
|
4,480 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,141 kbps
|
|
Friendship's Death (1987)
|
|
|
|
6.86
|
1:15:19
|
1,480 x 1,080
|
12,337 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
691 kbps
|
|
Fright Night (1985)
|
|
|
|
|
18.52
|
1:46:30
|
3,840 x 1,604
|
22,120 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,775 kbps
|
|
From Dusk till Dawn (1996)
|
|
|
|
9.23
|
1:47:50
|
1,900 x 1,080
|
8,505 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,742 kbps
|
|
From Hell (2001)
|
|
|
|
5.16
|
2:02:13
|
1,920 x 804
|
2,566 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,474 kbps
|
|
From Paris with Love (2010)
|
|
|
|
7.55
|
1:32:39
|
1,920 x 818
|
7,238 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,431 kbps
|
|
From Prada to Nada (2011)
|
|
|
|
7.20
|
1:46:32
|
1,920 x 1,080
|
6,602 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,069 kbps
|
|
From Russia with Love (1964)
|
|
|
|
|
18.09
|
1:55:24
|
3,600 x 2,160
|
19,622 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,825 kbps
|
|
Frosty the Snowman (1969)
|
|
|
|
|
3.76
|
25:45
|
2,912 x 2,160
|
17,611 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,276 kbps
|
|
Frozen (2013)
|
|
|
|
|
5.71
|
1:42:13
|
3,840 x 1,608
|
3,764 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,232 kbps
|
|
Frozen II (2019)
|
|
|
|
|
5.18
|
1:43:14
|
3,840 x 1,608
|
4,118 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,066 kbps
|
|
Frozen River (2008)
|
|
|
|
3.53
|
1:36:56
|
1,904 x 1,080
|
3,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,179 kbps
|
|
Full Count (2019)
|
|
|
|
2.57
|
1:50:20
|
1,920 x 816
|
2,950 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Fun Mom Dinner (2017)
|
|
|
|
1.72
|
1:21:32
|
1,920 x 800
|
1,883 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,133 kbps
|
|
Fun Size (2012)
|
|
|
|
|
4.83
|
1:26:24
|
1,920 x 816
|
5,140 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,867 kbps
|
|
Fun with Dick and Jane (1977)
|
|
|
|
3.86
|
1:35:33
|
1,916 x 1,080
|
5,561 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Fun with Dick and Jane (2005)
|
|
|
|
4.39
|
1:30:30
|
1,920 x 1,080
|
6,310 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Funny About Love (1990)
|
|
|
|
10.08
|
1:41:28
|
1,920 x 1,072
|
13,583 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Funny Bones (1995)
|
|
|
|
12.29
|
2:07:55
|
1,920 x 1,036
|
12,546 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,204 kbps
|
|
Funny Face (1957)
|
|
|
|
5.02
|
1:43:19
|
1,920 x 1,080
|
3,951 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,009 kbps
|
|
Funny Face (2020)
|
|
|
|
6.43
|
1:33:43
|
1,920 x 1,080
|
9,365 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Funny Farm (1988)
|
|
|
|
6.27
|
1:41:22
|
1,904 x 1,080
|
8,306 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
545 kbps
|
|
Funny Ha Ha (2002)
|
|
|
|
8.81
|
1:30:23
|
1,420 x 1,080
|
13,756 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Funny Money (2006)
|
|
|
|
2.92
|
1:36:45
|
1,920 x 1,080
|
3,674 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Funny People (2009)
|
|
|
|
9.62
|
2:32:35
|
1,920 x 1,036
|
6,430 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,590 kbps
|
|
Furious 7 (2015)
|
|
|
|
|
|
15.86
|
2:19:54
|
3,840 x 1,600
|
11,902 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,325 kbps
|
|
Fury (2014)
|
|
|
|
|
15.73
|
2:14:38
|
3,840 x 1,606
|
14,319 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,398 kbps
|
|
Futurama: Bender's Big Score (2007)
|
|
|
|
1.69
|
1:28:51
|
1,920 x 1,080
|
2,334 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Futurama: Bender's Game (2008)
|
|
|
|
3.26
|
1:27:27
|
1,920 x 1,080
|
2,404 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,923 kbps
|
|
Futurama: Into the Wild Green Yonder (2009)
|
|
|
|
2.97
|
1:29:16
|
1,920 x 1,080
|
1,893 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,871 kbps
|
|
Futurama: The Beast with a Billion Backs (2008)
|
|
|
|
3.89
|
1:28:49
|
3,840 x 2,160
|
6,001 kbps
|
|
5.1
|
|
48 kHz
|
265 kbps
|
|
Future World (2018)
|
|
|
|
|
3.84
|
1:28:08
|
1,920 x 804
|
3,122 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,113 kbps
|
|
Futureworld (1976)
|
|
|
|
3.34
|
1:47:29
|
1,920 x 1,042
|
4,178 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
268 kbps
|
|
Fuzz (1972)
|
|
|
|
5.67
|
1:32:53
|
1,920 x 1,036
|
8,471 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
272 kbps
|
|
G-Force (2009)
|
|
|
|
5.85
|
1:28:16
|
1,920 x 800
|
5,972 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,508 kbps
|
|
G.I. Jane (1997)
|
|
|
|
3.54
|
2:05:15
|
1,920 x 816
|
2,437 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,613 kbps
|
|
G.I. Joe: Retaliation (2013)
|
|
|
|
|
26.82
|
1:50:15
|
3,840 x 1,600
|
30,475 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,345 kbps
|
|
G.I. Joe: The Rise of Cobra (2009)
|
|
|
|
|
24.95
|
1:57:59
|
3,840 x 1,600
|
26,571 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,695 kbps
|
|
Gaia (2021)
|
|
|
|
|
3.23
|
1:36:44
|
1,672 x 1,080
|
3,303 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,473 kbps
|
|
Galaxy Quest (1999)
|
|
|
|
|
5.85
|
1:42:09
|
1,920 x 816
|
4,950 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,243 kbps
|
|
Galentine's Day Nightmare (2022)
|
|
|
|
2.08
|
1:25:31
|
1,920 x 1,080
|
3,257 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Galveston (2018)
|
|
|
|
|
5.53
|
1:33:16
|
3,840 x 1,604
|
5,297 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,183 kbps
|
|
Gambit (2012)
|
|
|
|
|
3.26
|
1:29:10
|
1,920 x 816
|
2,719 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,519 kbps
|
|
Game Night (2018)
|
|
|
|
|
5.19
|
1:40:06
|
1,920 x 800
|
4,428 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,986 kbps
|
|
Game of Death (2011)
|
|
|
|
3.40
|
1:25:57
|
1,920 x 816
|
2,799 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,863 kbps
|
|
Game Over, Man! (2018)
|
|
|
|
9.71
|
1:41:40
|
3,840 x 1,606
|
13,291 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Gamer (2009)
|
|
|
|
11.02
|
1:34:45
|
3,840 x 2,072
|
12,256 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,394 kbps
|
|
Gang Related (1997)
|
|
|
|
4.43
|
1:51:16
|
1,920 x 814
|
2,591 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,103 kbps
|
|
Gangs of New York (2002)
|
|
|
|
14.68
|
2:46:36
|
1,920 x 816
|
9,119 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,495 kbps
|
|
Gangster Squad (2013)
|
|
|
|
2.74
|
1:52:55
|
1,920 x 800
|
2,050 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,419 kbps
|
|
Garfield: A Tail of Two Kitties (2006)
|
|
|
|
6.43
|
1:25:48
|
1,920 x 1,040
|
9,590 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,135 kbps
|
|
Garfield: The Movie (2004)
|
|
|
|
4.61
|
1:20:12
|
1,920 x 1,040
|
4,508 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,721 kbps
|
|
Gasoline Alley (2022)
|
|
|
|
4.73
|
1:37:11
|
1,920 x 804
|
5,944 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,022 kbps
|
|
Gatecrash (2021)
|
|
|
|
0.99
|
1:26:05
|
1,920 x 800
|
1,256 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Gator (1976)
|
|
|
|
4.84
|
1:56:13
|
1,920 x 822
|
5,728 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
232 kbps
|
|
Gattaca (1997)
|
|
|
|
|
|
28.72
|
1:46:29
|
3,840 x 1,604
|
35,565 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,035 kbps
|
|
Geek Charming (2011)
|
|
|
|
6.52
|
1:37:48
|
1,912 x 1,080
|
8,898 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Gemini (2018)
|
|
|
|
3.97
|
1:33:05
|
1,920 x 792
|
3,211 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,897 kbps
|
|
Gemini Man (2019)
|
|
|
|
|
|
11.99
|
1:57:03
|
3,840 x 2,076
|
12,029 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,620 kbps
|
|
General Commander (2019)
|
|
|
|
|
4.03
|
1:25:43
|
1,920 x 796
|
3,366 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,357 kbps
|
|
Genesis Code (2020)
|
|
|
|
2.15
|
1:26:00
|
1,920 x 1,076
|
3,345 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Genie (2023)
|
|
|
|
|
13.34
|
1:32:35
|
3,840 x 2,076
|
19,860 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
George of the Jungle (1997)
|
|
|
|
6.78
|
1:31:44
|
1,920 x 1,028
|
6,851 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,723 kbps
|
|
George Washington (2001)
|
|
|
|
4.09
|
1:30:17
|
1,920 x 804
|
5,237 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,248 kbps
|
|
Georgia (1995)
|
|
|
|
9.63
|
1:57:40
|
1,904 x 1,080
|
11,494 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Geostorm (2017)
|
|
|
|
|
5.38
|
1:49:07
|
1,920 x 800
|
3,739 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,313 kbps
|
|
Gerald's Game (2017)
|
|
|
|
4.97
|
1:43:02
|
3,840 x 1,608
|
6,260 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Get a Job (2016)
|
|
|
|
|
3.75
|
1:22:44
|
1,920 x 1,080
|
5,339 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,141 kbps
|
|
Get Carter (1971)
|
|
|
|
|
32.74
|
1:51:38
|
3,840 x 2,076
|
41,363 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
618 kbps
|
|
Get Carter (2000)
|
|
|
|
4.85
|
1:42:35
|
1,920 x 800
|
3,653 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,119 kbps
|
|
Get Crazy (1983)
|
|
|
|
7.42
|
1:32:07
|
1,920 x 1,028
|
10,150 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,374 kbps
|
|
Get Hard (2015)
|
|
|
|
|
5.83
|
1:46:44
|
1,920 x 1,080
|
4,979 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,834 kbps
|
|
Get Him to the Greek (2010)
|
|
|
|
|
7.64
|
1:53:51
|
1,920 x 1,040
|
6,421 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,178 kbps
|
|
Get Out (2017)
|
|
|
|
|
7.67
|
1:44:05
|
3,840 x 1,588
|
6,696 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,853 kbps
|
|
Get Over It (2001)
|
|
|
|
1.99
|
1:26:14
|
1,920 x 800
|
2,925 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Get Shorty (1995)
|
|
|
|
5.75
|
1:44:56
|
1,920 x 1,040
|
4,121 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,716 kbps
|
|
Get Smart (2008)
|
|
|
|
4.82
|
1:49:58
|
1,916 x 1,080
|
5,633 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Get the Gringo (2012)
|
|
|
|
|
5.19
|
1:36:00
|
1,920 x 800
|
4,652 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,091 kbps
|
|
Getting Even with Dad (1994)
|
|
|
|
6.30
|
1:48:49
|
1,920 x 1,036
|
7,781 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
507 kbps
|
|
Ghidorah, the Three-Headed Monster (1964)
|
|
|
|
5.15
|
1:33:17
|
1,920 x 808
|
7,273 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
630 kbps
|
|
Ghost (1990)
|
|
|
|
9.30
|
2:06:40
|
1,920 x 1,080
|
7,546 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
Ghost Dog: The Way of the Samurai (1999)
|
|
|
|
|
|
15.26
|
1:56:04
|
3,840 x 2,072
|
15,841 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,981 kbps
|
|
Ghost in the Machine (1993)
|
|
|
|
6.31
|
1:35:19
|
1,920 x 1,040
|
8,795 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
682 kbps
|
|
Ghost in the Shell (2017)
|
|
|
|
|
|
7.67
|
1:46:56
|
3,840 x 2,160
|
7,660 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,612 kbps
|
|
Ghost Rider (2007)
|
|
|
|
4.69
|
2:03:25
|
1,920 x 800
|
3,822 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,613 kbps
|
|
Ghost Rider: Spirit of Vengeance (2012)
|
|
|
|
3.87
|
1:35:32
|
1,920 x 800
|
4,216 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,580 kbps
|
|
Ghost Ship (2002)
|
|
|
|
4.33
|
1:30:42
|
1,920 x 1,036
|
5,353 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,483 kbps
|
|
Ghost Town (2008)
|
|
|
|
|
7.17
|
1:42:17
|
1,920 x 1,080
|
7,020 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,016 kbps
|
|
Ghost Warrior (1984)
|
|
|
|
2.58
|
1:20:55
|
1,920 x 1,032
|
4,290 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
280 kbps
|
|
Ghost World (2001)
|
|
|
|
8.06
|
1:51:32
|
1,920 x 1,036
|
7,557 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,793 kbps
|
|
Ghostbusters (1984)
|
|
|
|
|
|
39.56
|
1:45:08
|
3,840 x 1,606
|
51,153 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,709 kbps
|
|
Ghostbusters (2016)
|
|
|
|
|
15.32
|
2:13:45
|
3,840 x 1,606
|
12,963 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,432 kbps
|
|
Ghostbusters II (1989)
|
|
|
|
|
24.70
|
1:48:19
|
3,840 x 1,606
|
29,742 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,891 kbps
|
|
Ghostbusters: Afterlife (2021)
|
|
|
|
|
6.81
|
2:03:56
|
3,840 x 1,600
|
5,137 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,724 kbps
|
|
Ghosted (2023)
|
|
|
|
|
5.33
|
1:56:54
|
3,840 x 2,076
|
5,746 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Ghosts Can't Do It (1990)
|
|
|
|
9.64
|
1:34:41
|
1,920 x 1,040
|
13,190 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,381 kbps
|
|
Ghosts of Girlfriends Past (2009)
|
|
|
|
5.05
|
1:40:38
|
1,920 x 792
|
5,869 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,306 kbps
|
|
Ghosts of Mars (2001)
|
|
|
|
4.91
|
1:38:08
|
1,920 x 800
|
3,582 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,584 kbps
|
|
Ghosts of Mississippi (1996)
|
|
|
|
4.38
|
2:10:28
|
1,904 x 1,080
|
4,584 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Ghoulies (1985)
|
|
|
|
|
41.92
|
1:20:58
|
3,840 x 2,076
|
73,440 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
676 kbps
|
|
Ghoulies II (1987)
|
|
|
|
4.53
|
1:29:43
|
1,920 x 1,032
|
5,692 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,534 kbps
|
|
Gia (1998)
|
|
|
|
17.57
|
2:05:07
|
1,920 x 1,080
|
18,814 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,288 kbps
|
|
Giant (1956)
|
|
|
|
|
26.12
|
3:21:11
|
3,584 x 2,160
|
18,046 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
536 kbps
|
|
Gifted (2017)
|
|
|
|
4.35
|
1:41:10
|
1,920 x 800
|
3,001 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,150 kbps
|
|
Ginger Snaps (2001)
|
|
|
|
9.75
|
1:48:10
|
1,916 x 1,080
|
9,696 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,202 kbps
|
|
Ginger Snaps 2: Unleashed (2004)
|
|
|
|
3.89
|
1:34:14
|
1,920 x 1,076
|
4,738 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,172 kbps
|
|
Ginger Snaps Back: The Beginning (2004)
|
|
|
|
2.67
|
1:34:48
|
1,920 x 1,076
|
3,044 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
994 kbps
|
|
Girl 6 (1996)
|
|
|
|
4.75
|
1:48:13
|
1,920 x 1,036
|
5,710 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
567 kbps
|
|
Girl at the Window (2022)
|
|
|
|
1.67
|
1:24:40
|
1,920 x 804
|
1,719 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,109 kbps
|
|
Girl in the Basement (2021)
|
|
|
|
1.43
|
1:27:53
|
1,920 x 1,080
|
2,096 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Girl on the Third Floor (2019)
|
|
|
|
3.80
|
1:32:01
|
1,920 x 1,080
|
4,769 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,149 kbps
|
|
Girl with a Pearl Earring (2004)
|
|
|
|
5.35
|
1:39:59
|
1,920 x 808
|
6,505 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,148 kbps
|
|
Girl, Interrupted (2000)
|
|
|
|
7.75
|
2:07:25
|
1,920 x 1,036
|
5,125 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,578 kbps
|
|
Girlfriend (2010)
|
|
|
|
1.37
|
1:34:04
|
1,920 x 808
|
1,853 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Girlfriend from Hell (1989)
|
|
|
|
5.32
|
1:32:34
|
1,920 x 1,036
|
6,743 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,487 kbps
|
|
Girls of the White Orchid (1983)
|
|
|
|
45.69
|
1:38:07
|
3,840 x 2,160
|
66,172 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
486 kbps
|
|
Girls School Screamers (1986)
|
|
|
|
6.70
|
1:25:40
|
1,920 x 1,036
|
10,540 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
654 kbps
|
|
Give 'em Hell, Malone (2009)
|
|
|
|
7.14
|
1:36:28
|
1,920 x 1,080
|
7,617 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,979 kbps
|
|
Gladiator (2000)
|
|
|
|
|
17.96
|
2:50:56
|
3,840 x 1,600
|
12,921 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,115 kbps
|
|
Glass (2019)
|
|
|
|
|
8.01
|
2:09:02
|
3,840 x 1,604
|
6,247 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,632 kbps
|
|
Glass Onion: A Knives Out Mystery (2022)
|
|
|
|
|
17.91
|
2:19:18
|
3,840 x 2,076
|
17,621 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Glengarry Glen Ross (1992)
|
|
|
|
|
5.50
|
1:40:26
|
1,920 x 816
|
6,732 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,112 kbps
|
|
Gloria (1980)
|
|
|
|
10.77
|
2:01:33
|
1,920 x 1,038
|
12,125 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
560 kbps
|
|
Glorious (2022)
|
|
|
|
1.32
|
1:19:06
|
1,920 x 796
|
1,468 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
911 kbps
|
|
Glory (1990)
|
|
|
|
|
38.67
|
2:02:14
|
3,840 x 2,076
|
43,222 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,060 kbps
|
|
Gnomeo & Juliet (2011)
|
|
|
|
4.27
|
1:23:51
|
1,920 x 1,028
|
2,926 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,370 kbps
|
|
Go (1999)
|
|
|
|
5.20
|
1:41:56
|
1,920 x 800
|
3,808 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,489 kbps
|
|
God Bless America (2012)
|
|
|
|
4.27
|
1:44:22
|
1,920 x 816
|
2,874 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,981 kbps
|
|
God Bless the Broken Road (2018)
|
|
|
|
4.24
|
1:51:32
|
1,920 x 800
|
2,556 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,883 kbps
|
|
God Is a Bullet (2023)
|
|
|
|
|
34.98
|
2:35:53
|
3,840 x 1,604
|
29,297 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,824 kbps
|
|
God Told Me To (1976)
|
|
|
|
|
35.30
|
1:29:41
|
3,840 x 2,076
|
54,059 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,282 kbps
|
|
God's Not Dead (2014)
|
|
|
|
|
3.51
|
1:52:45
|
1,920 x 1,080
|
4,013 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
God's Not Dead 2 (2016)
|
|
|
|
3.82
|
2:00:52
|
1,920 x 800
|
1,941 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,587 kbps
|
|
God's Not Dead: A Light in Darkness (2018)
|
|
|
|
5.06
|
1:46:24
|
1,920 x 800
|
3,985 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,819 kbps
|
|
God's Not Dead: We the People (2021)
|
|
|
|
4.08
|
1:31:38
|
1,920 x 1,032
|
3,742 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,637 kbps
|
|
Godmothered (2020)
|
|
|
|
|
12.26
|
1:49:34
|
3,840 x 1,920
|
15,378 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Gods of Egypt (2016)
|
|
|
|
|
9.42
|
2:07:03
|
3,840 x 1,600
|
7,866 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,747 kbps
|
|
Godzilla (1954)
|
|
|
|
9.01
|
1:36:35
|
1,480 x 1,080
|
12,891 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
461 kbps
|
|
Godzilla (1998)
|
|
|
|
|
|
33.56
|
2:18:43
|
3,840 x 1,600
|
32,235 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,394 kbps
|
|
Godzilla (2014)
|
|
|
|
|
7.28
|
2:03:06
|
3,840 x 1,608
|
6,760 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,699 kbps
|
|
Godzilla Raids Again (1955)
|
|
|
|
6.17
|
1:21:56
|
1,440 x 1,080
|
10,240 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
538 kbps
|
|
Godzilla vs. Gigan (1972)
|
|
|
|
5.99
|
1:29:26
|
1,920 x 808
|
8,983 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
602 kbps
|
|
Godzilla vs. Hedorah (1971)
|
|
|
|
5.08
|
1:25:36
|
1,920 x 808
|
7,863 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
633 kbps
|
|
Godzilla vs. Kong (2021)
|
|
|
|
|
9.07
|
1:53:09
|
3,840 x 1,608
|
9,456 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,015 kbps
|
|
Godzilla vs. Mechagodzilla (1974)
|
|
|
|
5.15
|
1:24:38
|
1,920 x 808
|
8,064 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
638 kbps
|
|
Godzilla vs. Megalon (1973)
|
|
|
|
5.56
|
1:21:53
|
1,920 x 808
|
9,023 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
690 kbps
|
|
Godzilla, King of the Monsters! (1956)
|
|
|
|
11.81
|
1:21:01
|
1,440 x 1,080
|
20,503 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
365 kbps
|
|
Godzilla: King of the Monsters (2019)
|
|
|
|
|
11.92
|
2:11:43
|
3,840 x 1,600
|
11,193 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,759 kbps
|
|
Goin' South (1978)
|
|
|
|
|
44.84
|
1:48:36
|
3,840 x 2,076
|
58,437 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
670 kbps
|
|
Going Ape! (1981)
|
|
|
|
10.70
|
1:27:27
|
1,920 x 1,036
|
16,835 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
677 kbps
|
|
Going Berserk (1983)
|
|
|
|
9.13
|
1:24:30
|
1,920 x 1,036
|
15,141 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
322 kbps
|
|
Going in Style (1979)
|
|
|
|
4.92
|
1:38:32
|
1,920 x 1,072
|
7,014 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
Going in Style (2017)
|
|
|
|
4.09
|
1:36:26
|
1,920 x 800
|
2,874 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,200 kbps
|
|
Going Overboard (1989)
|
|
|
|
|
3.30
|
1:37:28
|
1,920 x 1,072
|
4,464 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Going to America (2014)
|
|
|
|
2.50
|
1:30:07
|
1,918 x 1,080
|
3,743 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Gold (2016)
|
|
|
|
6.12
|
2:00:20
|
1,920 x 800
|
4,330 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Gold Diggers: The Secret of Bear Mountain (1995)
|
|
|
|
6.27
|
1:33:09
|
1,920 x 1,040
|
5,985 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,656 kbps
|
|
Golden Arm (2021)
|
|
|
|
2.09
|
1:31:01
|
1,920 x 812
|
2,650 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
GoldenEye (1995)
|
|
|
|
16.65
|
2:10:05
|
3,840 x 1,632
|
14,580 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,744 kbps
|
|
Goldfinger (1964)
|
|
|
|
|
14.97
|
1:50:08
|
3,600 x 2,160
|
16,532 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,923 kbps
|
|
Gone (2012)
|
|
|
|
3.57
|
1:34:53
|
1,920 x 800
|
2,503 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,878 kbps
|
|
Gone Girl (2014)
|
|
|
|
|
9.59
|
2:29:00
|
3,840 x 1,598
|
5,584 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,630 kbps
|
|
Gone in 60 Seconds (1974)
|
|
|
|
15.93
|
1:37:47
|
1,920 x 1,040
|
20,104 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
3,225 kbps
|
|
Gone in 60 Seconds (2000)
|
|
|
|
|
4.03
|
1:57:57
|
1,920 x 812
|
3,315 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,575 kbps
|
|
Gone Missing (2013)
|
|
|
|
2.40
|
1:26:21
|
1,920 x 1,072
|
2,958 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,018 kbps
|
|
Gone with the Wind (1940)
|
|
|
|
9.17
|
3:53:14
|
1,480 x 1,080
|
4,577 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,048 kbps
|
|
Good Boys (2019)
|
|
|
|
|
5.84
|
1:29:38
|
3,840 x 1,600
|
6,505 kbps
|
|
5.1
|
|
48 kHz
|
2,809 kbps
|
|
Good Burger (1997)
|
|
|
|
|
8.66
|
1:35:18
|
1,920 x 1,080
|
9,207 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,799 kbps
|
|
Good Burger 2 (2023)
|
|
|
|
9.83
|
1:30:25
|
3,840 x 1,920
|
14,929 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Good Kids (2016)
|
|
|
|
3.98
|
1:29:28
|
1,920 x 804
|
3,224 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,135 kbps
|
|
Good Luck Chuck (2007)
|
|
|
|
6.60
|
1:41:18
|
1,920 x 1,036
|
7,988 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,332 kbps
|
|
Good Neighbours (2011)
|
|
|
|
5.28
|
1:38:52
|
1,920 x 816
|
6,481 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,166 kbps
|
|
Good People (2014)
|
|
|
|
3.07
|
1:30:13
|
1,920 x 1,080
|
3,943 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
924 kbps
|
|
Good Time (2017)
|
|
|
|
13.16
|
1:41:05
|
1,920 x 800
|
15,916 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,721 kbps
|
|
Good Will Hunting (1998)
|
|
|
|
11.33
|
2:06:33
|
1,920 x 1,040
|
9,897 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,912 kbps
|
|
Goodbye Christopher Robin (2017)
|
|
|
|
6.38
|
1:47:01
|
1,920 x 1,036
|
5,573 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,955 kbps
|
|
Goodfellas (1990)
|
|
|
|
|
|
38.06
|
2:25:22
|
3,840 x 2,160
|
34,066 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,414 kbps
|
|
Goon (2011)
|
|
|
|
3.70
|
1:31:40
|
1,920 x 1,072
|
4,394 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,380 kbps
|
|
Goon: Last of the Enforcers (2017)
|
|
|
|
3.72
|
1:40:54
|
1,920 x 800
|
4,076 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,196 kbps
|
|
Goosebumps (2015)
|
|
|
|
|
7.01
|
1:43:21
|
3,840 x 1,600
|
7,033 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,677 kbps
|
|
Goosebumps 2: Haunted Halloween (2018)
|
|
|
|
|
9.38
|
1:29:48
|
3,840 x 1,604
|
12,240 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,707 kbps
|
|
Gordon Lightfoot: If You Could Read My Mind (2019)
|
|
|
|
2.64
|
1:30:11
|
1,920 x 1,080
|
3,962 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Gorillas in the Mist (1988)
|
|
|
|
10.83
|
2:09:18
|
1,920 x 1,038
|
8,478 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,507 kbps
|
|
Gorky Park (1983)
|
|
|
|
11.73
|
2:08:51
|
1,920 x 1,040
|
12,691 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
336 kbps
|
|
Gorp (1980)
|
|
|
|
4.84
|
1:29:47
|
1,920 x 1,024
|
7,493 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Gotcha! (1985)
|
|
|
|
4.92
|
1:40:49
|
1,920 x 1,040
|
6,688 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
298 kbps
|
|
Gotti (2018)
|
|
|
|
2.57
|
1:49:34
|
1,920 x 804
|
2,193 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,160 kbps
|
|
Grace Is Gone (2008)
|
|
|
|
4.42
|
1:25:00
|
1,920 x 1,032
|
6,231 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,217 kbps
|
|
Grace of My Heart (1996)
|
|
|
|
6.70
|
1:55:18
|
1,920 x 1,040
|
5,230 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
3,091 kbps
|
|
Grace Unplugged (2014)
|
|
|
|
4.53
|
1:42:20
|
1,920 x 1,038
|
3,657 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,680 kbps
|
|
Gran Torino (2009)
|
|
|
|
|
|
3.47
|
1:56:35
|
1,920 x 800
|
3,098 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,164 kbps
|
|
Gran Turismo (2023)
|
|
|
|
|
|
6.67
|
2:14:16
|
3,840 x 2,016
|
4,387 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,719 kbps
|
|
Grand Canyon (1958)
|
|
|
|
2.67
|
28:56
|
1,920 x 816
|
10,405 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,798 kbps
|
|
Grand Canyon Adventure: River at Risk (2008)
|
|
|
|
|
13.24
|
45:00
|
3,840 x 2,160
|
38,505 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,610 kbps
|
|
Grand Isle (2020)
|
|
|
|
2.89
|
1:37:17
|
1,920 x 872
|
3,255 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
998 kbps
|
|
Grand Prix (1966)
|
|
|
|
6.18
|
2:55:58
|
1,920 x 868
|
4,128 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
901 kbps
|
|
Grandma's Boy (2006)
|
|
|
|
|
4.25
|
1:35:02
|
1,920 x 814
|
4,891 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,508 kbps
|
|
Graphic Desires (2022)
|
|
|
|
1.32
|
1:30:24
|
1,920 x 800
|
1,257 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
830 kbps
|
|
Graveyard Shift (1990)
|
|
|
|
5.76
|
1:26:19
|
1,920 x 1,036
|
8,112 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,444 kbps
|
|
Gravity (2013)
|
|
|
|
|
3.62
|
1:30:58
|
1,920 x 800
|
4,099 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,596 kbps
|
|
Gray Lady Down (1978)
|
|
|
|
7.17
|
1:50:10
|
1,920 x 818
|
9,064 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
254 kbps
|
|
Gray Matters (2007)
|
|
|
|
2.39
|
1:36:52
|
1,912 x 1,080
|
3,311 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Grease (1978)
|
|
|
|
|
|
18.60
|
1:50:28
|
3,840 x 1,600
|
20,439 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,660 kbps
|
|
Great Balls of Fire! (1989)
|
|
|
|
4.43
|
1:47:55
|
1,920 x 1,040
|
4,858 kbps
|
|
2.0
|
|
20 bits / 48 kHz
|
1,024 kbps
|
|
Great Expectations (1998)
|
|
|
|
6.53
|
1:51:18
|
1,920 x 818
|
7,175 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,219 kbps
|
|
Great White Shark (2013)
|
|
|
|
18.83
|
40:35
|
3,840 x 2,160
|
62,958 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,422 kbps
|
|
Greedy (1994)
|
|
|
|
|
8.93
|
1:52:22
|
1,920 x 1,040
|
8,051 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,330 kbps
|
|
Green Book (2018)
|
|
|
|
|
|
14.95
|
2:10:04
|
3,840 x 1,916
|
13,986 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,460 kbps
|
|
Green Card (1991)
|
|
|
|
10.54
|
1:47:06
|
1,920 x 1,032
|
13,655 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
431 kbps
|
|
Green Lantern (2011)
|
|
|
|
|
5.47
|
2:03:39
|
1,920 x 800
|
2,913 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,415 kbps
|
|
Green Lantern: Beware My Power (2022)
|
|
|
|
|
3.27
|
1:27:31
|
3,840 x 2,156
|
4,133 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,209 kbps
|
|
Green Lantern: Emerald Knights (2011)
|
|
|
|
3.91
|
1:23:40
|
1,920 x 1,076
|
2,761 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,926 kbps
|
|
Green Lantern: First Flight (2009)
|
|
|
|
1.99
|
1:17:36
|
1,920 x 1,076
|
2,109 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,553 kbps
|
|
Green Room (2015)
|
|
|
|
|
9.09
|
1:35:05
|
3,840 x 1,604
|
10,683 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,995 kbps
|
|
Green Rush (2020)
|
|
|
|
2.57
|
1:27:20
|
1,920 x 814
|
3,578 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Green Street Hooligans (2005)
|
|
|
|
5.91
|
1:48:35
|
1,920 x 812
|
6,370 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,415 kbps
|
|
Green Zone (2010)
|
|
|
|
11.98
|
1:54:46
|
1,920 x 800
|
11,474 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,466 kbps
|
|
Greenland (2020)
|
|
|
|
|
|
10.55
|
1:59:30
|
3,840 x 1,604
|
9,707 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,930 kbps
|
|
Gregory's Girl (1980)
|
|
|
|
|
42.37
|
1:31:27
|
3,840 x 2,072
|
65,645 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
679 kbps
|
|
Gremlins (1984)
|
|
|
|
|
36.83
|
1:46:13
|
3,840 x 2,160
|
46,094 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,541 kbps
|
|
Gremlins 2: The New Batch (1990)
|
|
|
|
11.05
|
1:46:26
|
1,920 x 1,080
|
11,557 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,303 kbps
|
|
Greta (2019)
|
|
|
|
3.26
|
1:38:37
|
1,920 x 804
|
1,659 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,069 kbps
|
|
Gretel & Hansel (2020)
|
|
|
|
|
5.49
|
1:27:29
|
3,840 x 2,072
|
7,732 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,252 kbps
|
|
Greyhound (2020)
|
|
|
|
|
3.52
|
1:31:42
|
3,840 x 1,604
|
4,718 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Gridiron Gang (2006)
|
|
|
|
8.23
|
2:05:18
|
1,920 x 800
|
7,914 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,487 kbps
|
|
Gridlocked (2016)
|
|
|
|
2.08
|
1:53:25
|
1,920 x 796
|
1,443 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,179 kbps
|
|
Grievous Bodily Harm (1988)
|
|
|
|
2.92
|
1:36:47
|
1,920 x 1,024
|
4,191 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
Grimy (2021)
|
|
|
|
2.80
|
2:02:19
|
1,920 x 796
|
3,049 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Gringa (2023)
|
|
|
|
2.97
|
1:42:57
|
1,920 x 792
|
3,494 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Gringo (2018)
|
|
|
|
3.38
|
1:50:38
|
1,920 x 804
|
1,549 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,821 kbps
|
|
Grosse Pointe Blank (1997)
|
|
|
|
|
6.42
|
1:47:24
|
1,920 x 1,036
|
4,848 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,704 kbps
|
|
Ground Control (1998)
|
|
|
|
7.05
|
1:37:55
|
1,916 x 1,080
|
10,083 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Groundhog Day (1993)
|
|
|
|
|
|
29.09
|
1:41:04
|
3,840 x 2,076
|
38,442 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,759 kbps
|
|
Growing Up and Other Lies (2014)
|
|
|
|
2.53
|
1:30:03
|
1,920 x 800
|
3,375 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Grown Ups (2010)
|
|
|
|
|
4.49
|
1:42:20
|
1,920 x 1,040
|
4,130 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,153 kbps
|
|
Grown Ups 2 (2013)
|
|
|
|
|
9.45
|
1:41:01
|
3,840 x 2,076
|
12,026 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,360 kbps
|
|
Grumpier Old Men (1995)
|
|
|
|
|
9.70
|
1:41:02
|
1,904 x 1,080
|
10,209 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,527 kbps
|
|
Grumpy Old Men (1993)
|
|
|
|
|
6.17
|
1:43:28
|
1,920 x 1,080
|
7,992 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
539 kbps
|
|
Guardians of the Galaxy (2014)
|
|
|
|
|
|
5.21
|
2:00:51
|
3,840 x 1,600
|
4,595 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,566 kbps
|
|
Guardians of the Galaxy Vol. 2 (2017)
|
|
|
|
|
|
10.02
|
2:15:46
|
3,840 x 1,604
|
7,752 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,811 kbps
|
|
Guardians of the Galaxy Vol. 3 (2023)
|
|
|
|
|
10.29
|
2:30:02
|
3,840 x 2,024
|
8,222 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,592 kbps
|
|
Guardians of the Tomb (2018)
|
|
|
|
3.57
|
1:37:24
|
1,920 x 804
|
1,766 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,480 kbps
|
|
Guarding Tess (1994)
|
|
|
|
|
4.26
|
1:35:34
|
1,920 x 1,072
|
5,925 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Guess Who (2005)
|
|
|
|
3.95
|
1:45:04
|
1,920 x 1,080
|
4,742 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Guess Who's Coming to Dinner (1967)
|
|
|
|
|
35.92
|
1:48:08
|
3,840 x 2,076
|
45,331 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,211 kbps
|
|
Guest House (2020)
|
|
|
|
4.52
|
1:24:21
|
1,920 x 1,080
|
4,693 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,971 kbps
|
|
Guiding Emily (2023)
|
|
|
|
2.15
|
1:24:04
|
1,920 x 1,080
|
3,460 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Guillermo del Toro's Pinocchio (2022)
|
|
|
|
|
7.91
|
1:57:46
|
3,840 x 2,072
|
7,079 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,531 kbps
|
|
Guilt by Association (2002)
|
|
|
|
4.01
|
1:30:08
|
1,920 x 1,072
|
6,139 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Guinevere (1999)
|
|
|
|
3.74
|
1:44:56
|
1,920 x 1,016
|
4,882 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Gulliver's Travels (2010)
|
|
|
|
|
4.49
|
1:24:42
|
1,920 x 816
|
4,423 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,167 kbps
|
|
Gun Shy (2000)
|
|
|
|
3.73
|
1:41:33
|
1,920 x 1,040
|
4,622 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Gun Shy (2017)
|
|
|
|
5.10
|
1:31:45
|
1,920 x 804
|
4,914 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,051 kbps
|
|
Gun Woman (2014)
|
|
|
|
|
9.05
|
1:25:55
|
1,920 x 1,080
|
13,720 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,360 kbps
|
|
Gunfight at the O.K. Corral (1957)
|
|
|
|
|
35.15
|
2:02:39
|
3,840 x 2,076
|
39,932 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,095 kbps
|
|
Gunmen (1994)
|
|
|
|
3.12
|
1:30:59
|
1,920 x 814
|
4,683 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Gunpowder Milkshake (2021)
|
|
|
|
|
11.14
|
1:54:37
|
3,840 x 1,604
|
12,286 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,618 kbps
|
|
Guns Akimbo (2020)
|
|
|
|
4.65
|
1:37:49
|
1,920 x 804
|
3,315 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,486 kbps
|
|
Guns, Girls and Gambling (2013)
|
|
|
|
4.58
|
1:29:41
|
1,920 x 1,040
|
4,219 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,089 kbps
|
|
Gwen (2018)
|
|
|
|
1.65
|
1:24:11
|
1,920 x 800
|
1,700 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,102 kbps
|
|
Habit (2021)
|
|
|
|
2.94
|
1:20:42
|
1,920 x 1,080
|
2,334 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,885 kbps
|
|
Hachi: A Dog's Tale (2010)
|
|
|
|
4.19
|
1:33:15
|
1,920 x 1,036
|
5,372 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,065 kbps
|
|
Hacker (2017)
|
|
|
|
2.82
|
1:30:06
|
1,920 x 1,078
|
4,261 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Hackers (1995)
|
|
|
|
6.09
|
1:45:16
|
1,920 x 820
|
4,430 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,845 kbps
|
|
Hacksaw Ridge (2016)
|
|
|
|
|
11.14
|
2:19:19
|
3,840 x 1,610
|
9,219 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,221 kbps
|
|
Hail, Caesar! (2016)
|
|
|
|
5.90
|
1:46:06
|
1,920 x 1,036
|
4,991 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,963 kbps
|
|
Hailey Dean Mystery: Dating Is Murder (2017)
|
|
|
|
2.27
|
1:23:55
|
1,920 x 1,080
|
3,653 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Hailey Dean Mystery: Deadly Estate (2017)
|
|
|
|
1.85
|
1:23:32
|
1,920 x 1,080
|
2,951 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Hailey Dean Mystery: Murder, with Love (2016)
|
|
|
|
2.16
|
1:25:07
|
1,920 x 1,080
|
2,987 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hair-Trigger (2022)
|
|
|
|
1.71
|
1:22:35
|
1,920 x 800
|
2,742 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Half Baked (1998)
|
|
|
|
|
6.18
|
1:22:01
|
1,920 x 1,040
|
7,200 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,594 kbps
|
|
Hall (2020)
|
|
|
|
0.97
|
1:19:25
|
1,920 x 802
|
1,357 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Hall Pass (2011)
|
|
|
|
|
6.21
|
1:51:35
|
1,920 x 798
|
5,240 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,729 kbps
|
|
Halloween (1978)
|
|
|
|
|
28.55
|
1:31:12
|
3,840 x 1,604
|
41,795 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,019 kbps
|
|
Halloween (2007)
|
|
|
|
4.99
|
2:01:30
|
1,920 x 800
|
3,028 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,849 kbps
|
|
Halloween (2018)
|
|
|
|
|
9.07
|
1:45:47
|
3,840 x 1,604
|
8,717 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,544 kbps
|
|
Halloween 4: The Return of Michael Myers (1988)
|
|
|
|
|
30.30
|
1:28:20
|
3,840 x 2,076
|
46,542 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,557 kbps
|
|
Halloween 5: The Revenge of Michael Myers (1989)
|
|
|
|
|
49.06
|
1:36:58
|
3,840 x 2,076
|
69,498 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,938 kbps
|
|
Halloween at Aunt Ethel's (2019)
|
|
|
|
2.10
|
1:18:50
|
1,920 x 796
|
2,824 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
983 kbps
|
|
Halloween Ends (2022)
|
|
|
|
|
8.71
|
1:50:51
|
3,840 x 1,608
|
9,677 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,565 kbps
|
|
Halloween H20: 20 Years Later (1998)
|
|
|
|
|
13.71
|
1:26:05
|
3,840 x 1,616
|
19,373 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,422 kbps
|
|
Halloween II (1981)
|
|
|
|
|
17.29
|
1:32:19
|
3,840 x 1,604
|
24,184 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,632 kbps
|
|
Halloween II (2009)
|
|
|
|
13.54
|
1:59:05
|
1,920 x 1,036
|
13,155 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,124 kbps
|
|
Halloween III: Season of the Witch (1982)
|
|
|
|
|
26.19
|
1:38:16
|
3,840 x 1,604
|
35,381 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,763 kbps
|
|
Halloween Kills (2021)
|
|
|
|
|
10.51
|
1:49:07
|
3,840 x 1,604
|
12,309 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,473 kbps
|
|
Halloween: Resurrection (2002)
|
|
|
|
|
17.63
|
1:29:35
|
3,840 x 1,616
|
26,588 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,579 kbps
|
|
Halloween: The Curse of Michael Myers (1995)
|
|
|
|
|
12.08
|
1:36:01
|
3,840 x 2,064
|
15,128 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,875 kbps
|
|
Hamlet (2000)
|
|
|
|
10.11
|
1:51:44
|
1,920 x 1,036
|
9,483 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,468 kbps
|
|
Hancock (2008)
|
|
|
|
|
|
4.66
|
1:42:14
|
1,920 x 800
|
5,147 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,383 kbps
|
|
Hands of Steel (1986)
|
|
|
|
|
2.96
|
1:33:04
|
1,800 x 1,080
|
3,816 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
732 kbps
|
|
Hanna (2011)
|
|
|
|
|
4.70
|
1:51:02
|
1,920 x 800
|
2,773 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,290 kbps
|
|
Hannibal (2001)
|
|
|
|
|
45.73
|
2:11:26
|
3,840 x 2,076
|
46,737 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,070 kbps
|
|
Hannibal Rising (2007)
|
|
|
|
6.85
|
2:10:58
|
1,920 x 820
|
4,260 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,227 kbps
|
|
Hansel & Gretel: Witch Hunters (2013)
|
|
|
|
4.38
|
1:37:56
|
1,920 x 800
|
3,010 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,393 kbps
|
|
Hansel and Gretel (1988)
|
|
|
|
8.76
|
1:25:44
|
1,920 x 1,036
|
13,236 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,391 kbps
|
|
Happily (2021)
|
|
|
|
4.81
|
1:35:54
|
1,920 x 800
|
6,186 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
989 kbps
|
|
Happily Never After (2022)
|
|
|
|
1.74
|
1:23:31
|
1,920 x 1,080
|
2,757 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Happy Christmas (2014)
|
|
|
|
8.89
|
1:22:13
|
1,920 x 1,080
|
14,844 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Happy Death Day (2017)
|
|
|
|
|
8.08
|
1:36:12
|
3,840 x 1,604
|
8,764 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,253 kbps
|
|
Happy Death Day 2U (2019)
|
|
|
|
|
8.02
|
1:39:57
|
3,840 x 1,604
|
8,308 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,171 kbps
|
|
Happy Feet (2006)
|
|
|
|
4.51
|
1:48:32
|
1,920 x 796
|
4,246 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,707 kbps
|
|
Happy Feet Two (2011)
|
|
|
|
5.78
|
1:39:30
|
1,920 x 816
|
6,722 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,589 kbps
|
|
Happy Gilmore (1996)
|
|
|
|
|
6.08
|
1:31:56
|
1,920 x 1,040
|
6,019 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,448 kbps
|
|
Happy New Year, Charlie Brown! (1986)
|
|
|
|
|
0.75
|
24:15
|
2,880 x 2,160
|
4,012 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
happythankyoumoreplease (2011)
|
|
|
|
2.21
|
1:38:35
|
1,920 x 804
|
2,073 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,140 kbps
|
|
Harbinger Down (2015)
|
|
|
|
2.88
|
1:22:01
|
1,920 x 796
|
3,581 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,440 kbps
|
|
Hard Breakers (2011)
|
|
|
|
5.39
|
1:38:10
|
1,912 x 1,080
|
6,188 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,669 kbps
|
|
Hard Candy (2005)
|
|
|
|
5.46
|
1:44:08
|
1,920 x 816
|
4,861 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,640 kbps
|
|
Hard Kill (2020)
|
|
|
|
2.31
|
1:38:23
|
1,920 x 798
|
2,320 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,042 kbps
|
|
Hard Rain (1998)
|
|
|
|
9.10
|
1:36:51
|
1,920 x 808
|
9,254 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,201 kbps
|
|
Hard Target (1993)
|
|
|
|
|
34.82
|
1:39:39
|
3,840 x 2,076
|
46,587 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,435 kbps
|
|
Hard to Hold (1984)
|
|
|
|
7.18
|
1:33:00
|
1,920 x 1,032
|
10,461 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
596 kbps
|
|
Hard to Kill (1990)
|
|
|
|
|
12.99
|
1:35:39
|
1,904 x 1,080
|
15,710 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,732 kbps
|
|
Hardball (2001)
|
|
|
|
8.60
|
1:46:03
|
1,920 x 1,080
|
8,055 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,547 kbps
|
|
Hardbodies (1984)
|
|
|
|
22.37
|
1:26:47
|
1,920 x 1,080
|
36,243 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
654 kbps
|
|
Hardcore (1979)
|
|
|
|
15.00
|
1:47:41
|
1,920 x 1,032
|
19,375 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
561 kbps
|
|
Hardcore Henry (2016)
|
|
|
|
5.96
|
1:36:51
|
1,920 x 1,036
|
5,106 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,698 kbps
|
|
Hardware (1990)
|
|
|
|
9.11
|
1:34:01
|
1,920 x 1,036
|
12,053 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,814 kbps
|
|
Harlem Nights (1989)
|
|
|
|
8.57
|
1:55:41
|
1,920 x 1,080
|
9,958 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Harley Davidson and the Marlboro Man (1991)
|
|
|
|
5.81
|
1:38:27
|
1,920 x 1,040
|
7,115 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,328 kbps
|
|
Harmony (2018)
|
|
|
|
1.82
|
1:30:09
|
1,920 x 804
|
1,752 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,134 kbps
|
|
Harold & Kumar Escape from Guantanamo Bay (2008)
|
|
|
|
|
9.04
|
1:47:42
|
1,920 x 1,036
|
7,946 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,074 kbps
|
|
Harold & Kumar Go to White Castle (2004)
|
|
|
|
|
4.77
|
1:28:23
|
1,920 x 1,036
|
3,641 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,090 kbps
|
|
Harold and Maude (1971)
|
|
|
|
7.98
|
1:31:44
|
1,920 x 1,036
|
11,188 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,257 kbps
|
|
Harriet (2019)
|
|
|
|
|
12.19
|
2:05:07
|
3,840 x 1,604
|
12,210 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,733 kbps
|
|
Harriet the Spy (1996)
|
|
|
|
7.97
|
1:41:30
|
1,920 x 1,064
|
10,603 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Harry and the Hendersons (1987)
|
|
|
|
|
6.40
|
1:50:53
|
1,920 x 1,036
|
5,111 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,151 kbps
|
|
Harry Brown (2009)
|
|
|
|
4.53
|
1:43:15
|
1,920 x 812
|
3,257 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,022 kbps
|
|
Harry in Your Pocket (1973)
|
|
|
|
7.49
|
1:42:36
|
1,920 x 1,032
|
10,143 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
313 kbps
|
|
Harry Pattern and the Magic Pen (2023)
|
|
|
|
0.77
|
41:22
|
1,920 x 1,080
|
2,427 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Harry Potter and the Chamber of Secrets (2002)
|
|
|
|
|
10.03
|
2:40:59
|
3,840 x 1,596
|
6,483 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,431 kbps
|
|
Harry Potter and the Deathly Hallows – Part 1 (2010)
|
|
|
|
|
10.99
|
2:26:05
|
3,840 x 1,596
|
8,603 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,161 kbps
|
|
Harry Potter and the Deathly Hallows– Part 2 (2011)
|
|
|
|
|
14.58
|
2:10:26
|
3,840 x 1,596
|
13,768 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,225 kbps
|
|
Harry Potter and the Goblet of Fire (2005)
|
|
|
|
|
10.80
|
2:37:06
|
3,840 x 1,596
|
7,289 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,546 kbps
|
|
Harry Potter and the Half-Blood Prince (2009)
|
|
|
|
|
10.36
|
2:33:31
|
3,840 x 1,596
|
7,427 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,227 kbps
|
|
Harry Potter and the Order of the Phoenix (2007)
|
|
|
|
|
9.43
|
2:18:13
|
3,840 x 1,596
|
7,347 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,411 kbps
|
|
Harry Potter and the Prisoner of Azkaban (2004)
|
|
|
|
|
14.50
|
2:21:43
|
3,840 x 1,596
|
12,070 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,572 kbps
|
|
Harry Potter and the Sorcerer's Stone (2001)
|
|
|
|
|
11.84
|
2:32:21
|
3,840 x 1,596
|
8,523 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,592 kbps
|
|
Harsh Times (2006)
|
|
|
|
7.66
|
1:55:57
|
1,920 x 1,036
|
6,214 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,242 kbps
|
|
Hart's War (2002)
|
|
|
|
6.35
|
2:04:50
|
1,920 x 812
|
3,980 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,300 kbps
|
|
Harvey (2021)
|
|
|
|
1.60
|
1:40:47
|
1,920 x 820
|
2,120 kbps
|
|
2.0
|
|
48 kHz
|
151 kbps
|
|
Hats Off to Christmas! (2013)
|
|
|
|
3.47
|
1:28:06
|
1,912 x 1,080
|
4,989 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Haunted (1996)
|
|
|
|
12.54
|
1:47:45
|
1,754 x 1,080
|
15,848 kbps
|
|
2.0
|
|
20 bits / 48 kHz
|
810 kbps
|
|
Haunted Honeymoon (1986)
|
|
|
|
5.83
|
1:23:24
|
1,920 x 1,036
|
9,025 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
989 kbps
|
|
Haunted Mansion (2023)
|
|
|
|
|
4.41
|
2:02:58
|
3,840 x 1,608
|
2,396 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,727 kbps
|
|
Havana (1990)
|
|
|
|
8.40
|
2:24:30
|
1,920 x 1,032
|
7,755 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
569 kbps
|
|
Havoc (2005)
|
|
|
|
4.87
|
1:32:16
|
1,920 x 1,038
|
6,199 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,352 kbps
|
|
Hawaii (1966)
|
|
|
|
7.75
|
2:41:31
|
1,920 x 816
|
6,184 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
682 kbps
|
|
Hawk and Rev: Vampire Slayers (2021)
|
|
|
|
2.53
|
1:25:18
|
1,920 x 808
|
3,861 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Hawk the Slayer (1980)
|
|
|
|
7.91
|
1:33:28
|
1,882 x 1,080
|
11,470 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
641 kbps
|
|
Haywire (2012)
|
|
|
|
1.77
|
1:33:04
|
1,920 x 798
|
1,860 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
869 kbps
|
|
He Said, She Said (1991)
|
|
|
|
4.22
|
1:55:45
|
1,920 x 792
|
4,965 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
He Walked by Night (1948)
|
|
|
|
3.43
|
1:18:53
|
1,472 x 1,080
|
6,005 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
214 kbps
|
|
He's Just Not That Into You (2009)
|
|
|
|
4.07
|
2:09:22
|
1,920 x 800
|
3,357 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,151 kbps
|
|
Head Above Water (1997)
|
|
|
|
4.92
|
1:32:10
|
1,912 x 1,080
|
7,410 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Head Full of Honey (2019)
|
|
|
|
4.24
|
2:11:52
|
1,920 x 804
|
3,441 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,164 kbps
|
|
Head of State (2003)
|
|
|
|
5.25
|
1:35:13
|
1,920 x 1,080
|
7,255 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Head Over Heels (2001)
|
|
|
|
2.95
|
1:26:15
|
1,904 x 1,080
|
4,519 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Hear No Evil (1993)
|
|
|
|
6.03
|
1:36:43
|
1,904 x 1,080
|
8,707 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Heart and Souls (1993)
|
|
|
|
8.09
|
1:43:19
|
1,920 x 818
|
7,762 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,446 kbps
|
|
Heart Condition (1990)
|
|
|
|
4.33
|
1:40:07
|
1,920 x 1,076
|
5,544 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Heart of Champions (2021)
|
|
|
|
4.84
|
1:59:12
|
1,920 x 800
|
3,218 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,590 kbps
|
|
Heart of Stone (2023)
|
|
|
|
|
|
23.77
|
2:02:51
|
3,840 x 1,744
|
26,927 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Heartbeat (2020)
|
|
|
|
1.79
|
1:13:04
|
1,920 x 800
|
2,875 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Heartbeeps (1981)
|
|
|
|
5.23
|
1:17:36
|
1,920 x 800
|
9,415 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Heartbreak Hotel (1988)
|
|
|
|
8.66
|
1:40:55
|
1,920 x 1,032
|
11,826 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
458 kbps
|
|
Heartbreak Ridge (1986)
|
|
|
|
14.40
|
2:09:57
|
1,920 x 1,080
|
12,205 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,656 kbps
|
|
Heartbreakers (1984)
|
|
|
|
13.05
|
1:38:51
|
1,920 x 1,028
|
18,167 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
728 kbps
|
|
Heartbreakers (2001)
|
|
|
|
6.33
|
2:03:29
|
1,920 x 822
|
4,097 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,234 kbps
|
|
Heartburn (1986)
|
|
|
|
7.52
|
1:49:23
|
1,912 x 1,080
|
9,203 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Heartless (2005)
|
|
|
|
4.69
|
1:26:52
|
1,914 x 1,080
|
7,538 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Hearts and Bones (2019)
|
|
|
|
1.82
|
1:50:16
|
1,920 x 804
|
1,727 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hearts of Christmas (2016)
|
|
|
|
2.96
|
1:26:06
|
1,920 x 1,080
|
4,281 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Heat (1986)
|
|
|
|
4.10
|
1:42:51
|
1,916 x 1,080
|
5,487 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Heat (1995)
|
|
|
|
|
33.37
|
2:50:23
|
3,840 x 1,600
|
24,405 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,630 kbps
|
|
Heathers (1988)
|
|
|
|
9.06
|
1:43:36
|
1,920 x 1,036
|
9,025 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,491 kbps
|
|
Heatstroke (2014)
|
|
|
|
2.40
|
1:31:38
|
1,920 x 856
|
3,296 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Heaven & Earth (1994)
|
|
|
|
8.33
|
2:21:27
|
1,920 x 780
|
4,606 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,821 kbps
|
|
Heaven (2002)
|
|
|
|
|
4.47
|
1:37:06
|
1,912 x 1,080
|
6,349 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
238 kbps
|
|
Heaven Can Wait (1978)
|
|
|
|
4.57
|
1:41:11
|
1,920 x 1,076
|
5,889 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
574 kbps
|
|
Heaven is for Real (2014)
|
|
|
|
|
3.95
|
1:39:30
|
1,920 x 802
|
4,367 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,313 kbps
|
|
Heaven's Prisoners (1996)
|
|
|
|
4.47
|
2:12:24
|
1,920 x 1,078
|
4,612 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Heavenly Creatures (1994)
|
|
|
|
3.87
|
1:48:53
|
1,920 x 816
|
3,802 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,287 kbps
|
|
Heavens to Betsy (2017)
|
|
|
|
4.55
|
1:41:51
|
1,920 x 1,080
|
5,758 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Heavy (2021)
|
|
|
|
1.46
|
1:35:07
|
1,920 x 792
|
1,557 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Heavy Metal (1981)
|
|
|
|
|
34.01
|
1:30:21
|
3,840 x 2,076
|
50,763 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,117 kbps
|
|
Heavyweights (1995)
|
|
|
|
6.01
|
1:37:28
|
1,920 x 1,036
|
5,556 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,270 kbps
|
|
Heir (2021)
|
|
|
|
2.28
|
1:15:19
|
1,920 x 1,080
|
4,104 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Heist (2001)
|
|
|
|
1.36
|
1:49:00
|
720 x 462
|
910 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
874 kbps
|
|
Heist (2015)
|
|
|
|
4.37
|
1:32:36
|
1,920 x 800
|
3,702 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,046 kbps
|
|
Held (2020)
|
|
|
|
2.80
|
1:33:34
|
1,920 x 770
|
3,288 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
997 kbps
|
|
Held Hostage (2009)
|
|
|
|
4.54
|
1:29:14
|
1,920 x 1,080
|
6,650 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hell Comes to Frogtown (1988)
|
|
|
|
10.52
|
1:26:38
|
1,916 x 1,080
|
16,862 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
528 kbps
|
|
Hell Hath No Fury (2021)
|
|
|
|
4.29
|
1:34:03
|
1,920 x 800
|
4,837 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,698 kbps
|
|
Hell Hunters (1987)
|
|
|
|
7.50
|
1:39:32
|
1,920 x 1,080
|
10,561 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hell of the Living Dead (1980)
|
|
|
|
|
34.53
|
1:40:36
|
3,840 x 2,072
|
48,445 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
692 kbps
|
|
Hell or High Water (2016)
|
|
|
|
|
10.41
|
1:42:17
|
3,840 x 1,600
|
11,624 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,947 kbps
|
|
Hellbound: Hellraiser II (1988)
|
|
|
|
|
52.69
|
1:39:03
|
3,840 x 2,076
|
73,347 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,801 kbps
|
|
Hello Again (1987)
|
|
|
|
8.63
|
1:36:10
|
1,920 x 1,028
|
12,218 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
629 kbps
|
|
Hello, Goodbye, and Everything in Between (2022)
|
|
|
|
|
4.48
|
1:22:56
|
3,840 x 1,600
|
6,950 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Hello, My Name Is Doris (2016)
|
|
|
|
2.96
|
1:30:11
|
1,920 x 1,036
|
3,428 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,272 kbps
|
|
Hellraiser (1987)
|
|
|
|
|
45.95
|
1:33:21
|
3,840 x 2,076
|
68,555 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,852 kbps
|
|
Hellraiser III: Hell on Earth (1992)
|
|
|
|
|
37.61
|
1:36:21
|
3,840 x 2,076
|
54,294 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,577 kbps
|
|
Hellraiser: Judgment (2018)
|
|
|
|
2.95
|
1:21:10
|
1,920 x 1,080
|
4,065 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,138 kbps
|
|
Hells Angels on Wheels (1967)
|
|
|
|
5.76
|
1:35:32
|
1,920 x 1,038
|
8,321 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
305 kbps
|
|
Help (2021) [imdbid-tt12870980]
|
|
|
|
2.37
|
1:34:40
|
3,840 x 1,624
|
3,420 kbps
|
|
2.0
|
|
48 kHz
|
165 kbps
|
|
Help (2021) [imdbid-tt13649036]
|
|
|
|
1.42
|
1:41:30
|
1,920 x 956
|
1,806 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Help for the Holidays (2012)
|
|
|
|
|
1.14
|
1:23:52
|
1,280 x 720
|
1,555 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Help! (1965)
|
|
|
|
7.05
|
1:32:14
|
1,798 x 1,080
|
7,418 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,530 kbps
|
|
Helpmates (1932)
|
|
|
|
0.45
|
21:23
|
1,418 x 1,080
|
2,691 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
334 kbps
|
|
HENRi (2012)
|
|
|
|
1.24
|
20:54
|
1,920 x 816
|
5,188 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,330 kbps
|
|
Henry Fool (1998)
|
|
|
|
7.07
|
2:17:25
|
1,920 x 1,080
|
7,162 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
199 kbps
|
|
Her (2013)
|
|
|
|
3.79
|
2:05:46
|
1,920 x 1,036
|
1,743 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,567 kbps
|
|
Her Fiancé's Double Life (2023)
|
|
|
|
1.14
|
1:27:51
|
1,920 x 1,080
|
1,628 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Her Name Was Jo (2022)
|
|
|
|
1.57
|
1:43:44
|
1,920 x 804
|
1,527 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Her Smell (2018)
|
|
|
|
5.83
|
2:15:34
|
1,920 x 800
|
3,294 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,864 kbps
|
|
Herbie Goes Bananas (1980)
|
|
|
|
11.21
|
1:33:27
|
1,920 x 1,032
|
14,824 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,353 kbps
|
|
Herbie Goes to Monte Carlo (1977)
|
|
|
|
9.61
|
1:44:45
|
1,788 x 1,080
|
10,401 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,732 kbps
|
|
Herbie: Fully Loaded (2005)
|
|
|
|
8.08
|
1:41:03
|
1,920 x 1,080
|
10,802 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hercules (1983)
|
|
|
|
10.57
|
1:39:39
|
1,920 x 1,040
|
11,773 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,410 kbps
|
|
Hercules (2014)
|
|
|
|
7.12
|
1:41:36
|
1,920 x 800
|
5,316 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,718 kbps
|
|
Hercules in New York (1970)
|
|
|
|
7.10
|
1:32:01
|
1,920 x 1,080
|
10,339 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
710 kbps
|
|
Here Before (2022)
|
|
|
|
1.23
|
1:22:51
|
1,920 x 800
|
1,732 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Here Today (2021)
|
|
|
|
4.81
|
1:57:01
|
1,920 x 1,032
|
3,028 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,855 kbps
|
|
Hereafter (2010)
|
|
|
|
|
|
6.24
|
2:09:03
|
1,920 x 800
|
4,218 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,707 kbps
|
|
Hereditary (2018)
|
|
|
|
|
8.95
|
2:07:26
|
3,840 x 1,920
|
7,283 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,762 kbps
|
|
Hero (1992)
|
|
|
|
5.62
|
1:58:25
|
1,920 x 1,080
|
6,567 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Hero Dog: The Journey Home (2021)
|
|
|
|
6.54
|
1:30:07
|
3,840 x 2,160
|
9,745 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hero Mode (2021)
|
|
|
|
1.72
|
1:28:38
|
1,920 x 800
|
2,385 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Herself (2020)
|
|
|
|
2.86
|
1:37:32
|
1,920 x 800
|
1,961 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,232 kbps
|
|
Hey Arnold! The Movie (2002)
|
|
|
|
2.58
|
1:15:47
|
720 x 480
|
1,133 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,743 kbps
|
|
Hi-Fear (2022)
|
|
|
|
4.70
|
1:55:27
|
1,920 x 1,080
|
5,599 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hick (2011)
|
|
|
|
5.52
|
1:39:02
|
1,920 x 796
|
6,901 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,078 kbps
|
|
Hidden Agenda (1990)
|
|
|
|
7.07
|
1:48:21
|
1,920 x 1,034
|
8,829 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
514 kbps
|
|
Hidden Assassin (1995)
|
|
|
|
2.68
|
1:44:24
|
720 x 480
|
2,978 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
692 kbps
|
|
Hidden Figures (2017)
|
|
|
|
|
12.83
|
2:06:43
|
3,840 x 1,608
|
11,043 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,452 kbps
|
|
Hidden Universe (2013)
|
|
|
|
|
4.82
|
36:02
|
3,840 x 2,160
|
15,622 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,535 kbps
|
|
Hide and Seek (2021)
|
|
|
|
1.25
|
1:23:42
|
1,920 x 796
|
1,744 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Hideaway (1995)
|
|
|
|
5.30
|
1:45:57
|
1,920 x 808
|
6,715 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Hideout (2021)
|
|
|
|
3.81
|
1:54:21
|
1,920 x 1,040
|
4,134 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
High Crimes (2002)
|
|
|
|
7.22
|
1:55:14
|
1,920 x 820
|
5,761 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,201 kbps
|
|
High Fidelity (2000)
|
|
|
|
|
13.66
|
1:53:37
|
3,840 x 2,076
|
13,658 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,553 kbps
|
|
High Heat (2022)
|
|
|
|
2.89
|
1:23:59
|
1,920 x 800
|
4,286 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
High Life (2009)
|
|
|
|
5.73
|
1:18:47
|
1,912 x 1,080
|
8,650 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,758 kbps
|
|
High Life (2018)
|
|
|
|
|
6.01
|
1:53:04
|
3,840 x 2,080
|
5,278 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,331 kbps
|
|
High Road to China (1983)
|
|
|
|
6.92
|
1:45:30
|
1,904 x 1,080
|
9,130 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
258 kbps
|
|
High School High (1996)
|
|
|
|
5.26
|
1:25:19
|
1,920 x 1,036
|
8,443 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
High Spirits (1988)
|
|
|
|
6.12
|
1:37:48
|
1,920 x 1,040
|
8,359 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
598 kbps
|
|
High-Rise (2015)
|
|
|
|
3.17
|
1:58:36
|
1,920 x 804
|
2,436 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,388 kbps
|
|
Higher Learning (1995)
|
|
|
|
13.96
|
2:07:54
|
1,920 x 1,032
|
14,446 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,185 kbps
|
|
Higher Power (2018)
|
|
|
|
|
|
6.15
|
1:32:56
|
3,840 x 1,606
|
7,907 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,552 kbps
|
|
Highlander (1986)
|
|
|
|
|
50.91
|
1:56:45
|
3,840 x 2,076
|
58,849 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,579 kbps
|
|
Highlander II: The Quickening (1991)
|
|
|
|
6.17
|
1:50:11
|
1,920 x 788
|
7,420 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
590 kbps
|
|
Highway to Hell (1992)
|
|
|
|
4.02
|
1:33:40
|
1,920 x 1,040
|
5,536 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
605 kbps
|
|
Highwaymen (2004)
|
|
|
|
2.73
|
1:20:53
|
1,920 x 800
|
3,345 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,480 kbps
|
|
Hillbilly Elegy (2020)
|
|
|
|
|
12.22
|
1:55:41
|
3,840 x 1,604
|
14,347 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
His Deadly Affair (2019)
|
|
|
|
2.47
|
1:28:48
|
1,920 x 1,080
|
3,759 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
His Girl Friday (1940)
|
|
|
|
|
34.95
|
1:31:58
|
2,960 x 2,160
|
53,810 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
590 kbps
|
|
History of the Eagles (2013)
|
|
|
|
|
13.01
|
3:08:07
|
1,920 x 1,080
|
7,551 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,352 kbps
|
|
History of the World, Part I (1981)
|
|
|
|
|
6.42
|
1:32:17
|
1,920 x 808
|
7,414 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,540 kbps
|
|
Hit and Run (2012)
|
|
|
|
|
3.49
|
1:40:07
|
1,920 x 804
|
3,689 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,302 kbps
|
|
Hit by Lightning (2014)
|
|
|
|
3.23
|
1:28:53
|
1,920 x 1,080
|
2,709 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,488 kbps
|
|
Hit! (1973)
|
|
|
|
|
18.36
|
2:14:45
|
1,920 x 816
|
19,183 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
321 kbps
|
|
Hitch (2005)
|
|
|
|
|
7.94
|
1:58:16
|
1,920 x 800
|
8,220 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,389 kbps
|
|
Hitcher in the Dark (1989)
|
|
|
|
9.84
|
1:36:14
|
1,920 x 1,036
|
13,878 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
756 kbps
|
|
Hitman (2007)
|
|
|
|
|
5.46
|
1:34:15
|
1,920 x 822
|
4,493 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,804 kbps
|
|
Hitman's Wife's Bodyguard (2021)
|
|
|
|
|
12.90
|
1:57:01
|
3,840 x 1,604
|
14,380 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,401 kbps
|
|
Hitman: Agent 47 (2015)
|
|
|
|
|
10.16
|
1:36:17
|
3,840 x 1,608
|
10,492 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,615 kbps
|
|
Hocus Pocus (1993)
|
|
|
|
|
19.18
|
1:36:08
|
3,840 x 2,076
|
24,954 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,611 kbps
|
|
Hocus Pocus 2 (2022)
|
|
|
|
|
3.97
|
1:43:45
|
3,840 x 1,744
|
4,706 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Hoffman (1970)
|
|
|
|
18.74
|
1:52:11
|
1,788 x 1,080
|
23,229 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
683 kbps
|
|
Hog Wild (1930)
|
|
|
|
1.38
|
20:15
|
1,418 x 1,080
|
9,500 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
264 kbps
|
|
Holes (2003)
|
|
|
|
10.12
|
1:57:21
|
1,920 x 1,028
|
8,700 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,635 kbps
|
|
Holidate (2020)
|
|
|
|
|
4.89
|
1:43:12
|
3,840 x 1,920
|
5,999 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Holiday High School Reunion (2012)
|
|
|
|
2.68
|
1:27:22
|
1,920 x 1,080
|
3,750 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Holler (2021)
|
|
|
|
5.42
|
1:30:53
|
1,792 x 1,080
|
8,307 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Hollow (2013)
|
|
|
|
5.15
|
1:31:28
|
1,920 x 1,072
|
7,230 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
829 kbps
|
|
Hollow Man (2000)
|
|
|
|
|
6.38
|
1:59:15
|
1,920 x 1,040
|
6,200 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,462 kbps
|
|
Hollow Man 2 (2006)
|
|
|
|
3.61
|
1:31:17
|
1,920 x 808
|
4,576 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,087 kbps
|
|
Holly Slept Over (2020)
|
|
|
|
1.13
|
1:27:44
|
1,920 x 796
|
1,458 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Hollywood Boulevard (1976)
|
|
|
|
7.10
|
1:22:31
|
1,904 x 1,080
|
11,754 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
568 kbps
|
|
Hollywood Chainsaw Hookers (1988)
|
|
|
|
10.20
|
1:14:36
|
1,920 x 1,080
|
17,981 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,586 kbps
|
|
Hollywood Homicide (2003)
|
|
|
|
6.40
|
1:55:57
|
1,920 x 788
|
4,455 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,441 kbps
|
|
Hollywood Shuffle (1987)
|
|
|
|
5.85
|
1:21:20
|
1,920 x 1,036
|
9,572 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
730 kbps
|
|
Hollywood.Con (2021)
|
|
|
|
4.00
|
1:41:56
|
1,920 x 1,080
|
5,392 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hollywoodland (2006)
|
|
|
|
6.42
|
2:06:15
|
1,920 x 1,040
|
4,298 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,980 kbps
|
|
Holy Man (1998)
|
|
|
|
|
5.81
|
1:53:44
|
1,920 x 816
|
3,881 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,425 kbps
|
|
Home Again (2017)
|
|
|
|
4.82
|
1:37:15
|
1,920 x 1,036
|
4,568 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,523 kbps
|
|
Home Alone (1990)
|
|
|
|
|
|
22.92
|
1:42:51
|
3,840 x 2,076
|
28,477 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,425 kbps
|
|
Home Alone 2: Lost in New York (1992)
|
|
|
|
|
|
26.32
|
2:00:00
|
3,840 x 2,076
|
28,265 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,470 kbps
|
|
Home Alone 3 (1997)
|
|
|
|
|
2.73
|
1:42:25
|
1,906 x 1,080
|
3,430 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Home Alone 4: Taking Back the House (2002)
|
|
|
|
|
4.55
|
1:23:58
|
1,920 x 1,080
|
7,370 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Home Alone: The Holiday Heist (2012)
|
|
|
|
|
2.52
|
1:30:19
|
1,920 x 1,080
|
3,354 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Home for Christmas Day (2017)
|
|
|
|
2.07
|
1:24:57
|
1,920 x 1,080
|
2,852 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Home for the Holidays (1995)
|
|
|
|
|
6.60
|
1:43:01
|
1,920 x 1,048
|
7,842 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,323 kbps
|
|
Home Fries (1998)
|
|
|
|
5.38
|
1:33:33
|
1,920 x 1,072
|
8,000 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Home Invasion (2016)
|
|
|
|
1.54
|
1:28:31
|
1,920 x 1,080
|
2,106 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Home Sweet Hell (2015)
|
|
|
|
|
3.36
|
1:37:51
|
1,920 x 812
|
3,661 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,250 kbps
|
|
Home Sweet Home Alone (2021)
|
|
|
|
|
|
10.99
|
1:33:14
|
3,840 x 2,160
|
16,095 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Home Team (2022)
|
|
|
|
11.12
|
1:34:58
|
3,840 x 1,604
|
15,994 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Homebody (2021)
|
|
|
|
0.98
|
1:16:06
|
1,920 x 792
|
1,614 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Homeboy (1988)
|
|
|
|
5.04
|
1:56:27
|
1,920 x 1,036
|
5,770 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
427 kbps
|
|
Homefront (2013)
|
|
|
|
5.90
|
1:40:35
|
1,920 x 796
|
4,974 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,416 kbps
|
|
Homeless to Harvard: The Liz Murray Story (2003)
|
|
|
|
8.97
|
1:31:02
|
1,904 x 1,080
|
13,875 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Homemade Christmas (2020)
|
|
|
|
3.79
|
1:28:34
|
1,920 x 1,080
|
5,899 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Homeward Bound II: Lost in San Francisco (1996)
|
|
|
|
3.56
|
1:28:43
|
1,920 x 1,080
|
5,110 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Homeward Bound: The Incredible Journey (1993)
|
|
|
|
5.72
|
1:24:25
|
1,920 x 1,036
|
9,055 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Honest Thief (2020)
|
|
|
|
|
2.87
|
1:38:32
|
1,920 x 804
|
1,598 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,575 kbps
|
|
Honey, I Blew Up the Kid (1992)
|
|
|
|
|
6.85
|
1:29:21
|
1,920 x 1,036
|
7,364 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,602 kbps
|
|
Honey, I Shrunk the Kids (1989)
|
|
|
|
|
11.82
|
1:33:31
|
1,920 x 1,036
|
15,011 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,069 kbps
|
|
Honey, We Shrunk Ourselves (1997)
|
|
|
|
|
4.00
|
1:15:30
|
1,418 x 1,080
|
6,938 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Honeymoon Academy (1990)
|
|
|
|
3.05
|
1:33:38
|
1,920 x 1,028
|
4,465 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Honeymoon in Vegas (1992)
|
|
|
|
9.71
|
1:35:46
|
1,920 x 1,040
|
13,873 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
638 kbps
|
|
Honkytonk Man (1982)
|
|
|
|
4.36
|
2:02:58
|
1,920 x 1,072
|
4,849 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Hoods (1998)
|
|
|
|
3.18
|
1:30:08
|
1,916 x 1,080
|
4,411 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Hook (1991)
|
|
|
|
|
32.07
|
2:21:45
|
3,840 x 1,604
|
29,439 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,940 kbps
|
|
Hoosiers (1987)
|
|
|
|
13.01
|
1:55:03
|
1,920 x 1,028
|
13,106 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,081 kbps
|
|
Hoot (2006)
|
|
|
|
4.08
|
1:30:44
|
1,920 x 1,036
|
6,048 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Hop (2011)
|
|
|
|
8.32
|
1:35:01
|
1,920 x 1,040
|
9,256 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,273 kbps
|
|
Hope Floats (1998)
|
|
|
|
6.87
|
1:54:30
|
1,920 x 1,040
|
5,113 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,480 kbps
|
|
Hope Springs (2012)
|
|
|
|
3.58
|
1:39:53
|
1,920 x 800
|
3,167 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,958 kbps
|
|
Hopscotch (1980)
|
|
|
|
10.95
|
1:45:18
|
1,920 x 792
|
14,244 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
639 kbps
|
|
Horizon Line (2021)
|
|
|
|
7.64
|
1:31:33
|
3,840 x 1,600
|
8,460 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,489 kbps
|
|
Horrible Bosses (2011)
|
|
|
|
|
6.31
|
1:45:36
|
1,920 x 800
|
5,500 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,058 kbps
|
|
Horrible Bosses 2 (2014)
|
|
|
|
|
4.11
|
1:55:50
|
1,920 x 800
|
2,108 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
Horse Camp: A Love Tail (2020)
|
|
|
|
5.25
|
1:21:27
|
1,920 x 1,080
|
5,518 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,705 kbps
|
|
Horse Girl (2020)
|
|
|
|
|
12.21
|
1:43:28
|
3,840 x 2,024
|
16,110 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Horsemen (2009)
|
|
|
|
5.13
|
1:30:28
|
1,920 x 1,036
|
5,149 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
Horton Hears a Who! (1970)
|
|
|
|
1.55
|
25:36
|
1,428 x 1,080
|
8,459 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Horton Hears a Who! (2008)
|
|
|
|
4.03
|
1:26:10
|
1,920 x 1,040
|
3,358 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,335 kbps
|
|
Hostage (2005)
|
|
|
|
7.73
|
1:53:12
|
1,920 x 816
|
8,467 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,311 kbps
|
|
Hostel (2005)
|
|
|
|
6.32
|
1:33:34
|
1,920 x 808
|
6,596 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,980 kbps
|
|
Hostel: Part II (2007)
|
|
|
|
6.87
|
1:34:59
|
1,920 x 808
|
9,161 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,186 kbps
|
|
Hostel: Part III (2011)
|
|
|
|
4.64
|
1:27:45
|
1,916 x 1,080
|
6,059 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,513 kbps
|
|
Hot Dog...The Movie (1984)
|
|
|
|
22.39
|
1:38:25
|
1,920 x 1,080
|
29,211 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,355 kbps
|
|
Hot Fuzz (2007)
|
|
|
|
|
13.76
|
2:00:49
|
3,840 x 1,632
|
12,022 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,278 kbps
|
|
Hot Pursuit (2015)
|
|
|
|
|
4.60
|
1:27:28
|
3,840 x 1,600
|
6,072 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,455 kbps
|
|
Hot Rod (2007)
|
|
|
|
|
4.89
|
1:27:56
|
1,920 x 818
|
4,666 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,289 kbps
|
|
Hot Shots! (1991)
|
|
|
|
6.30
|
1:24:47
|
1,920 x 1,040
|
7,774 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,859 kbps
|
|
Hot Shots! Part Deux (1993)
|
|
|
|
8.38
|
1:28:33
|
1,920 x 1,040
|
11,030 kbps
|
|
3/1
|
|
24 bits / 48 kHz
|
2,523 kbps
|
|
Hot Summer Nights (2018)
|
|
|
|
3.89
|
1:47:49
|
1,920 x 800
|
3,765 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,394 kbps
|
|
Hot Tub Time Machine (2010)
|
|
|
|
7.88
|
1:40:37
|
1,920 x 1,036
|
7,771 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,432 kbps
|
|
Hot Tub Time Machine 2 (2015)
|
|
|
|
5.69
|
1:39:15
|
1,920 x 1,080
|
4,792 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,419 kbps
|
|
Hot Water (2021)
|
|
|
|
3.16
|
1:40:13
|
1,920 x 812
|
4,326 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Hotel Artemis (2018)
|
|
|
|
|
12.06
|
1:33:46
|
3,840 x 1,600
|
15,430 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,983 kbps
|
|
Hotel Chevalier (2007)
|
|
|
|
0.50
|
13:13
|
1,920 x 800
|
3,776 kbps
|
|
3.0
|
|
24 bits / 48 kHz
|
1,676 kbps
|
|
Hotel for Dogs (2009)
|
|
|
|
8.49
|
1:39:59
|
1,920 x 1,080
|
9,071 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,080 kbps
|
|
Hotel Noir (2012)
|
|
|
|
2.46
|
1:36:32
|
1,920 x 798
|
2,823 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
823 kbps
|
|
Hotel Rwanda (2005)
|
|
|
|
7.23
|
2:01:51
|
1,920 x 816
|
4,899 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,597 kbps
|
|
Hours (2013)
|
|
|
|
|
2.23
|
1:36:53
|
1,920 x 804
|
2,082 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,210 kbps
|
|
House (1985)
|
|
|
|
|
4.61
|
1:32:09
|
3,840 x 2,064
|
5,945 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,206 kbps
|
|
House Arrest (1996)
|
|
|
|
6.89
|
1:48:55
|
1,920 x 1,074
|
8,417 kbps
|
|
2.0
|
|
48 kHz
|
640 kbps
|
|
House at the End of the Street (2012)
|
|
|
|
5.05
|
1:40:45
|
1,920 x 800
|
4,430 kbps
|
|
5.1
|
|
18 bits / 96 kHz
|
2,742 kbps
|
|
House II: The Second Story (1987)
|
|
|
|
|
9.59
|
1:27:51
|
3,840 x 2,064
|
14,276 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,355 kbps
|
|
House III: The Horror Show (1989)
|
|
|
|
|
5.46
|
1:35:17
|
3,840 x 2,064
|
6,765 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,428 kbps
|
|
House IV: The Repossession (1992)
|
|
|
|
|
5.67
|
1:33:44
|
3,840 x 2,064
|
7,413 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,247 kbps
|
|
House of Gucci (2021)
|
|
|
|
|
12.73
|
2:37:48
|
3,840 x 1,608
|
8,805 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,729 kbps
|
|
House of Quarantine (2021)
|
|
|
|
3.55
|
1:20:58
|
1,920 x 792
|
6,121 kbps
|
|
2.0
|
|
48 kHz
|
152 kbps
|
|
House of Wax (2005)
|
|
|
|
4.30
|
1:52:54
|
1,920 x 1,036
|
4,181 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,270 kbps
|
|
House on Haunted Hill (1999)
|
|
|
|
4.42
|
1:32:56
|
1,920 x 1,036
|
5,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,424 kbps
|
|
Houseguest (1995)
|
|
|
|
|
3.76
|
1:48:48
|
1,920 x 1,036
|
4,726 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Housekeeping (1988)
|
|
|
|
11.50
|
1:56:10
|
1,920 x 1,040
|
12,883 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,288 kbps
|
|
Housesitter (1992)
|
|
|
|
|
5.28
|
1:41:20
|
1,920 x 1,040
|
6,959 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
496 kbps
|
|
Housewife (2017)
|
|
|
|
2.91
|
1:22:21
|
1,920 x 852
|
2,137 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,918 kbps
|
|
How Do You Know (2010)
|
|
|
|
6.60
|
2:00:45
|
1,920 x 1,036
|
6,099 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,145 kbps
|
|
How High (2001)
|
|
|
|
4.04
|
1:33:23
|
1,920 x 1,040
|
5,744 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
How I Live Now (2013)
|
|
|
|
5.51
|
1:41:00
|
1,920 x 1,036
|
4,809 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,005 kbps
|
|
How It Ends (2021)
|
|
|
|
21.06
|
1:23:06
|
3,840 x 2,152
|
33,276 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
How Stella Got Her Groove Back (1998)
|
|
|
|
3.96
|
2:04:30
|
1,920 x 1,014
|
4,330 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
How the Grinch Stole Christmas (2000)
|
|
|
|
|
|
24.15
|
1:44:56
|
3,840 x 2,076
|
28,489 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,450 kbps
|
|
How the Grinch Stole Christmas! (1966)
|
|
|
|
1.16
|
25:45
|
1,476 x 1,080
|
6,233 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
How the West Was Won (1962)
|
|
|
|
8.20
|
2:44:41
|
1,920 x 660
|
5,806 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,323 kbps
|
|
How to Be Single (2016)
|
|
|
|
5.82
|
1:49:49
|
1,920 x 796
|
4,487 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,097 kbps
|
|
How to Beat the High Cost of Living (1980)
|
|
|
|
7.28
|
1:45:03
|
1,920 x 1,042
|
9,262 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
654 kbps
|
|
How to Blow Up a Pipeline (2022)
|
|
|
|
12.63
|
1:43:46
|
1,920 x 1,080
|
14,541 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,886 kbps
|
|
How to Deter a Robber (2021)
|
|
|
|
0.98
|
1:24:35
|
1,920 x 792
|
1,281 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
How to Frame a Figg (1971)
|
|
|
|
11.22
|
1:42:29
|
1,920 x 1,040
|
14,948 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
722 kbps
|
|
How to Get Ahead in Advertising (1989)
|
|
|
|
13.10
|
1:33:59
|
1,920 x 1,036
|
18,584 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,363 kbps
|
|
How to Lose a Guy in 10 Days (2003)
|
|
|
|
8.18
|
1:55:30
|
1,920 x 1,080
|
7,183 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,954 kbps
|
|
How to Lose Friends & Alienate People (2008)
|
|
|
|
6.23
|
1:49:46
|
1,920 x 1,036
|
5,010 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,114 kbps
|
|
How to Make an American Quilt (1995)
|
|
|
|
3.70
|
1:56:20
|
1,920 x 1,040
|
3,230 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,326 kbps
|
|
How to Plan an Orgy in a Small Town (2016)
|
|
|
|
4.17
|
1:41:15
|
1,920 x 1,080
|
2,946 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,941 kbps
|
|
How to Steal a Million (1966)
|
|
|
|
4.77
|
2:03:24
|
1,920 x 816
|
5,097 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
438 kbps
|
|
How to Stop a Recurring Dream (2021)
|
|
|
|
1.56
|
1:22:52
|
1,920 x 1,072
|
2,303 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
How to Talk to Girls at Parties (2017)
|
|
|
|
5.47
|
1:42:23
|
1,920 x 1,036
|
6,731 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
915 kbps
|
|
How to Train Your Dragon (2010)
|
|
|
|
|
|
7.72
|
1:38:11
|
3,840 x 1,632
|
6,950 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,302 kbps
|
|
How to Train Your Dragon 2 (2014)
|
|
|
|
|
7.43
|
1:41:55
|
3,840 x 1,620
|
5,948 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,476 kbps
|
|
How to Train Your Dragon: The Hidden World (2019)
|
|
|
|
|
5.76
|
1:44:06
|
3,840 x 1,632
|
6,166 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,754 kbps
|
|
Howard the Duck (1986)
|
|
|
|
|
25.74
|
1:50:27
|
3,840 x 2,076
|
28,597 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,758 kbps
|
|
Howl (2015)
|
|
|
|
2.78
|
1:32:22
|
1,920 x 800
|
1,213 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,098 kbps
|
|
Howling II: Your Sister Is a Werewolf (1985)
|
|
|
|
7.89
|
1:30:55
|
1,920 x 1,040
|
12,058 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
364 kbps
|
|
Howling III: The Marsupials (1987)
|
|
|
|
11.65
|
1:38:11
|
1,920 x 1,036
|
16,362 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
620 kbps
|
|
Hubie Halloween (2020)
|
|
|
|
|
4.84
|
1:42:00
|
3,840 x 1,920
|
5,997 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Hugo (2011)
|
|
|
|
|
|
12.76
|
2:06:22
|
3,840 x 2,160
|
10,294 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,592 kbps
|
|
Hulk (2003)
|
|
|
|
|
24.58
|
2:18:06
|
3,840 x 2,076
|
21,332 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,139 kbps
|
|
Human Nature (2001)
|
|
|
|
5.05
|
1:36:10
|
1,920 x 1,040
|
6,279 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,243 kbps
|
|
Hunter Hunter (2020)
|
|
|
|
|
8.27
|
1:32:56
|
3,840 x 1,604
|
9,866 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,863 kbps
|
|
Hunter Killer (2018)
|
|
|
|
|
7.66
|
2:01:42
|
3,840 x 1,604
|
7,268 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,740 kbps
|
|
Hunters (2021)
|
|
|
|
4.04
|
1:35:07
|
1,920 x 812
|
4,789 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,296 kbps
|
|
Hush (1998)
|
|
|
|
6.62
|
1:35:54
|
1,920 x 1,040
|
6,743 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,142 kbps
|
|
Hush (2008)
|
|
|
|
7.41
|
1:31:18
|
1,920 x 1,080
|
10,271 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
Hussy (1980)
|
|
|
|
15.06
|
1:35:17
|
1,920 x 1,036
|
21,971 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
652 kbps
|
|
Hustle & Flow (2005)
|
|
|
|
|
16.83
|
1:56:19
|
3,840 x 2,076
|
17,657 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,056 kbps
|
|
Hustle Down (2021)
|
|
|
|
3.73
|
1:37:55
|
1,920 x 800
|
2,323 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,127 kbps
|
|
Hustlers (2019)
|
|
|
|
|
9.13
|
1:50:07
|
3,840 x 1,608
|
9,319 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,552 kbps
|
|
Hypnotic (2021)
|
|
|
|
|
2.37
|
1:28:39
|
3,840 x 1,600
|
3,049 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Hypnotic (2023)
|
|
|
|
|
10.10
|
1:33:25
|
3,840 x 1,608
|
13,922 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,546 kbps
|
|
Hysteria (1997)
|
|
|
|
9.34
|
1:41:59
|
1,880 x 1,080
|
9,280 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,823 kbps
|
|
I Am Chris Farley (2015)
|
|
|
|
3.03
|
1:35:10
|
1,920 x 1,080
|
3,918 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
I Am Legend (2007)
|
|
|
|
|
9.07
|
1:40:27
|
3,840 x 1,600
|
9,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,008 kbps
|
|
I Am Lisa (2020)
|
|
|
|
1.16
|
1:31:37
|
1,920 x 800
|
1,626 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
I Am Mortal (2022)
|
|
|
|
1.33
|
1:23:05
|
1,920 x 796
|
1,910 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
I Am Mother (2019)
|
|
|
|
3.16
|
1:53:35
|
1,920 x 802
|
1,395 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,587 kbps
|
|
I Am Not a Serial Killer (2016)
|
|
|
|
8.56
|
1:43:26
|
1,920 x 1,080
|
8,707 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,143 kbps
|
|
I Am Number Four (2011)
|
|
|
|
|
7.65
|
1:49:35
|
1,920 x 1,036
|
6,553 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,438 kbps
|
|
I Am Sam (2002)
|
|
|
|
7.77
|
2:12:19
|
1,920 x 1,038
|
7,551 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
857 kbps
|
|
I Am Santa Claus (2014)
|
|
|
|
6.11
|
1:28:59
|
1,920 x 1,080
|
7,977 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,845 kbps
|
|
I Am Wrath (2016)
|
|
|
|
|
2.05
|
1:30:35
|
1,920 x 800
|
1,824 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,419 kbps
|
|
I Blame Society (2020)
|
|
|
|
3.11
|
1:25:09
|
1,920 x 1,076
|
4,835 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
I Care a Lot (2020)
|
|
|
|
|
8.59
|
1:58:18
|
3,840 x 1,600
|
9,482 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
904 kbps
|
|
I Give It a Year (2013)
|
|
|
|
4.50
|
1:37:02
|
1,920 x 1,080
|
5,652 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
979 kbps
|
|
I Kill Giants (2017)
|
|
|
|
3.76
|
1:46:23
|
1,920 x 796
|
1,843 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,210 kbps
|
|
I Know What You Did Last Summer (1997)
|
|
|
|
|
23.77
|
1:40:52
|
3,840 x 1,604
|
30,518 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,220 kbps
|
|
I Like Movies (2022)
|
|
|
|
2.95
|
1:39:21
|
1,440 x 1,080
|
3,602 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
I Love Trouble (1994)
|
|
|
|
4.20
|
2:02:43
|
1,920 x 1,064
|
4,255 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
I Love Us (2021)
|
|
|
|
2.78
|
1:36:20
|
1,920 x 1,080
|
3,902 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
I Love You to Death (1990)
|
|
|
|
6.72
|
1:37:15
|
1,920 x 1,040
|
8,631 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,255 kbps
|
|
I Love You, Beth Cooper (2009)
|
|
|
|
6.94
|
1:41:49
|
1,920 x 1,036
|
6,828 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,928 kbps
|
|
I Love You, Man (2009)
|
|
|
|
|
6.92
|
1:44:46
|
1,920 x 1,080
|
6,704 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,748 kbps
|
|
I Now Pronounce You Chuck & Larry (2007)
|
|
|
|
9.35
|
1:55:22
|
1,920 x 1,042
|
8,462 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,139 kbps
|
|
I Origins (2014)
|
|
|
|
5.99
|
1:47:35
|
1,920 x 800
|
4,184 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,791 kbps
|
|
I Remember You (2015)
|
|
|
|
1.07
|
1:27:01
|
1,920 x 800
|
1,537 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
I Spit on Your Grave (1978)
|
|
|
|
|
25.43
|
1:41:07
|
3,840 x 2,072
|
33,516 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,489 kbps
|
|
I Spit on Your Grave (2010)
|
|
|
|
5.12
|
1:47:56
|
1,920 x 1,080
|
3,657 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,128 kbps
|
|
I Spit on Your Grave 2 (2013)
|
|
|
|
3.78
|
1:46:11
|
1,920 x 800
|
2,062 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,031 kbps
|
|
I Spit on Your Grave III: Vengeance Is Mine (2015)
|
|
|
|
1.77
|
1:31:32
|
1,920 x 796
|
1,421 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,332 kbps
|
|
I Spit on Your Grave: Deja Vu (2019)
|
|
|
|
7.94
|
2:28:01
|
1,920 x 800
|
4,218 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,457 kbps
|
|
I Spy (2002)
|
|
|
|
6.55
|
1:36:33
|
1,920 x 1,036
|
8,328 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,377 kbps
|
|
I Still Believe (2020)
|
|
|
|
2.84
|
1:56:29
|
1,920 x 800
|
2,037 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,454 kbps
|
|
I Still Know What You Did Last Summer (1998)
|
|
|
|
3.20
|
1:40:34
|
1,920 x 800
|
2,906 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,650 kbps
|
|
I Still See You (2018)
|
|
|
|
3.20
|
1:38:12
|
1,920 x 800
|
1,754 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,906 kbps
|
|
I Think We're Alone Now (2018)
|
|
|
|
3.73
|
1:39:09
|
1,920 x 804
|
2,983 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,397 kbps
|
|
I Used to Go Here (2020)
|
|
|
|
3.54
|
1:27:48
|
1,920 x 1,036
|
2,902 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,869 kbps
|
|
I Walk the Line (1970)
|
|
|
|
8.64
|
1:36:43
|
1,920 x 800
|
12,163 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
627 kbps
|
|
I Want You Back (2022)
|
|
|
|
|
6.65
|
1:56:53
|
3,840 x 1,920
|
7,494 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
I Will Not Take Care of You (2023)
|
|
|
|
3.26
|
1:29:11
|
1,800 x 1,080
|
5,011 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
I'll Always Know What You Did Last Summer (2006)
|
|
|
|
13.28
|
1:32:23
|
1,920 x 1,032
|
19,260 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,322 kbps
|
|
I'll Be Home for Christmas (1998)
|
|
|
|
5.25
|
1:26:07
|
1,920 x 1,028
|
7,413 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,312 kbps
|
|
I'll Be Watching (2023)
|
|
|
|
1.39
|
1:36:57
|
1,920 x 812
|
1,416 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
I'm Dangerous Tonight (1990)
|
|
|
|
3.67
|
1:32:05
|
1,424 x 1,080
|
4,941 kbps
|
|
2.0
|
|
18 bits / 48 kHz
|
757 kbps
|
|
I'm Fine (Thanks for Asking) (2021)
|
|
|
|
4.69
|
1:29:27
|
1,920 x 1,024
|
7,277 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
I'm Not Him (2021)
|
|
|
|
1.85
|
1:27:46
|
1,920 x 956
|
2,368 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
I'm Not Ready for Christmas (2015)
|
|
|
|
2.37
|
1:25:42
|
1,920 x 1,080
|
3,311 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
I'm Not There (2007)
|
|
|
|
10.47
|
2:15:21
|
1,920 x 812
|
9,728 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,344 kbps
|
|
I'm Still Here (2010)
|
|
|
|
5.45
|
1:47:03
|
1,920 x 1,064
|
6,700 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
585 kbps
|
|
I'm Thinking of Ending Things (2020)
|
|
|
|
4.02
|
2:14:46
|
1,440 x 1,080
|
3,495 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
I'm Totally Fine (2022)
|
|
|
|
3.80
|
1:23:12
|
3,840 x 1,604
|
6,159 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
I, Frankenstein (2014)
|
|
|
|
3.83
|
1:32:24
|
1,920 x 800
|
2,844 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,082 kbps
|
|
I, Portrait (2021)
|
|
|
|
1.62
|
1:22:22
|
1,920 x 812
|
2,620 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
I, Robot (2004)
|
|
|
|
9.34
|
1:54:45
|
1,920 x 1,080
|
8,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,616 kbps
|
|
I, the Jury (1982)
|
|
|
|
7.73
|
1:51:06
|
1,920 x 1,040
|
9,736 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
229 kbps
|
|
I, Tonya (2018)
|
|
|
|
|
6.91
|
1:59:59
|
1,920 x 800
|
5,220 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,019 kbps
|
|
I-See-You.com (2006)
|
|
|
|
8.00
|
1:33:26
|
1,920 x 1,080
|
12,027 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
I.Q. (1994)
|
|
|
|
5.08
|
1:35:46
|
1,920 x 806
|
6,957 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
I.S.S. (2023)
|
|
|
|
|
3.54
|
1:35:29
|
1,920 x 788
|
2,438 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,871 kbps
|
|
I.T. (2016)
|
|
|
|
3.40
|
1:35:36
|
1,920 x 788
|
2,104 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,990 kbps
|
|
iBoy (2017)
|
|
|
|
2.69
|
1:30:05
|
1,920 x 800
|
3,763 kbps
|
|
5.1
|
|
48 kHz
|
512 kbps
|
|
Icarus (2010)
|
|
|
|
6.23
|
1:28:05
|
1,920 x 1,080
|
9,580 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
551 kbps
|
|
Ice Age (2002)
|
|
|
|
|
4.89
|
1:21:08
|
3,840 x 2,064
|
5,127 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,488 kbps
|
|
Ice Age: Collision Course (2016)
|
|
|
|
|
7.11
|
1:34:33
|
3,840 x 1,608
|
8,148 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,612 kbps
|
|
Ice Age: Continental Drift (2012)
|
|
|
|
|
7.37
|
1:27:45
|
3,840 x 1,600
|
7,966 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,054 kbps
|
|
Ice Age: The Meltdown (2006)
|
|
|
|
|
6.93
|
1:30:35
|
3,840 x 2,064
|
7,481 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,468 kbps
|
|
Ice Castles (1978)
|
|
|
|
8.27
|
1:49:54
|
1,920 x 1,040
|
10,080 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
689 kbps
|
|
Ice Cream Man (2021)
|
|
|
|
5.16
|
1:26:34
|
1,920 x 1,036
|
6,347 kbps
|
|
2.0
|
|
24 bits / 96 kHz
|
2,185 kbps
|
|
Ice Princess (2005)
|
|
|
|
4.46
|
1:38:42
|
1,912 x 1,080
|
5,824 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ice Storm (2023)
|
|
|
|
2.34
|
1:25:48
|
1,920 x 800
|
2,673 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,237 kbps
|
|
Iceman (1984)
|
|
|
|
|
7.17
|
1:40:53
|
1,920 x 808
|
9,646 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
520 kbps
|
|
Ida Red (2021)
|
|
|
|
3.70
|
1:51:07
|
1,920 x 800
|
4,131 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Identity (2003)
|
|
|
|
3.33
|
1:30:02
|
1,920 x 796
|
3,766 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,524 kbps
|
|
Identity Theft: The Michelle Brown Story (2004)
|
|
|
|
3.40
|
1:27:59
|
1,912 x 1,080
|
5,337 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Identity Thief (2013)
|
|
|
|
|
5.43
|
2:00:31
|
1,920 x 816
|
3,411 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,040 kbps
|
|
Idiocracy (2007)
|
|
|
|
|
3.34
|
1:24:11
|
1,920 x 1,036
|
5,042 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Idle Hands (1999)
|
|
|
|
7.00
|
1:32:05
|
1,920 x 1,040
|
7,035 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,847 kbps
|
|
Idlewild (2006)
|
|
|
|
7.08
|
2:00:55
|
1,920 x 816
|
4,751 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,633 kbps
|
|
If I Stay (2014)
|
|
|
|
|
4.75
|
1:46:41
|
3,840 x 1,600
|
3,720 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,645 kbps
|
|
If It's Tuesday, This Must Be Belgium (1969)
|
|
|
|
4.51
|
1:38:30
|
1,920 x 1,040
|
5,826 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
721 kbps
|
|
If Only (2004)
|
|
|
|
9.79
|
1:35:42
|
1,920 x 1,076
|
11,157 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,493 kbps
|
|
Imitation Girl (2017)
|
|
|
|
1.26
|
1:23:42
|
1,920 x 1,036
|
1,689 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
469 kbps
|
|
Immaculate Conception (1992)
|
|
|
|
|
10.54
|
2:02:58
|
1,920 x 1,036
|
10,973 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,294 kbps
|
|
Immanence (2022)
|
|
|
|
0.91
|
1:32:40
|
1,920 x 800
|
1,019 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Immortal (2004)
|
|
|
|
3.22
|
1:42:49
|
720 x 464
|
973 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,502 kbps
|
|
Impact Point (2008)
|
|
|
|
6.84
|
1:24:55
|
1,916 x 1,080
|
11,301 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Imperial Blue (2021)
|
|
|
|
2.51
|
1:33:46
|
1,920 x 816
|
3,183 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Imperium (2016)
|
|
|
|
3.28
|
1:48:37
|
1,920 x 804
|
1,430 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,890 kbps
|
|
Implanted (2021)
|
|
|
|
3.07
|
1:36:45
|
1,920 x 796
|
4,154 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Impostor (2002)
|
|
|
|
3.30
|
1:35:35
|
1,920 x 1,078
|
3,231 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,713 kbps
|
|
Impractical Jokers: The Movie (2020)
|
|
|
|
|
8.22
|
1:32:28
|
1,920 x 1,036
|
9,524 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,194 kbps
|
|
Imprisoned (2018)
|
|
|
|
2.40
|
1:44:13
|
1,920 x 784
|
2,655 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Impulse (1984)
|
|
|
|
11.98
|
1:31:22
|
1,920 x 1,080
|
18,470 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
304 kbps
|
|
In a World... (2013)
|
|
|
|
1.95
|
1:32:58
|
1,920 x 800
|
1,782 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,216 kbps
|
|
In Bruges (2008)
|
|
|
|
|
20.53
|
1:46:53
|
3,840 x 1,604
|
24,221 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,266 kbps
|
|
In Darkness (2018)
|
|
|
|
|
3.34
|
1:42:37
|
1,920 x 800
|
1,773 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,886 kbps
|
|
In Dreams (1999)
|
|
|
|
4.08
|
1:39:35
|
1,904 x 1,080
|
5,217 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
In Fear (2013)
|
|
|
|
1.80
|
1:25:05
|
1,920 x 816
|
1,693 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,336 kbps
|
|
In Good Company (2005)
|
|
|
|
7.66
|
1:49:36
|
1,920 x 1,040
|
6,703 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,300 kbps
|
|
In Hell (2003)
|
|
|
|
|
8.42
|
1:37:11
|
1,920 x 1,036
|
9,085 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,309 kbps
|
|
In Her Shoes (2005)
|
|
|
|
6.53
|
2:10:24
|
1,920 x 816
|
6,263 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
905 kbps
|
|
In Like Flint (1967)
|
|
|
|
9.87
|
1:54:43
|
1,920 x 812
|
10,028 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,292 kbps
|
|
In My Dreams (2014)
|
|
|
|
2.30
|
1:33:58
|
1,920 x 1,080
|
3,349 kbps
|
|
2.0
|
|
48 kHz
|
152 kbps
|
|
In My Father's Den (2004)
|
|
|
|
5.49
|
2:07:16
|
1,920 x 816
|
4,773 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,406 kbps
|
|
In the Aftermath (1988)
|
|
|
|
9.82
|
1:12:02
|
1,920 x 1,034
|
19,126 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
381 kbps
|
|
In the Army Now (1994)
|
|
|
|
|
5.11
|
1:32:26
|
1,920 x 1,080
|
7,696 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
In The Blood (2014)
|
|
|
|
4.49
|
1:47:40
|
1,920 x 1,036
|
4,326 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,645 kbps
|
|
In the Cloud (2018)
|
|
|
|
2.09
|
1:28:00
|
1,920 x 1,080
|
3,277 kbps
|
|
2.0
|
|
48 kHz
|
127 kbps
|
|
In the Cold of the Night (1990)
|
|
|
|
10.26
|
1:52:46
|
1,920 x 1,036
|
11,490 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,530 kbps
|
|
In the Cut (2003)
|
|
|
|
4.75
|
1:59:02
|
1,920 x 1,032
|
4,506 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,207 kbps
|
|
In the Deep Woods (1992)
|
|
|
|
9.60
|
1:34:53
|
1,920 x 1,080
|
14,262 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
In the Electric Mist (2009)
|
|
|
|
5.61
|
1:57:05
|
1,920 x 820
|
5,659 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,204 kbps
|
|
In the Forest (2022)
|
|
|
|
3.44
|
1:23:12
|
1,920 x 1,072
|
5,527 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
In the Heart of the Sea (2015)
|
|
|
|
|
12.70
|
2:01:41
|
3,840 x 2,160
|
12,056 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,876 kbps
|
|
In the Heat of the Night (1967)
|
|
|
|
75.14
|
1:50:04
|
3,840 x 2,076
|
95,097 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,630 kbps
|
|
In the Land of Women (2007)
|
|
|
|
2.41
|
1:38:05
|
1,920 x 794
|
2,464 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,054 kbps
|
|
In the Line of Fire (1993)
|
|
|
|
|
|
30.05
|
2:08:38
|
3,840 x 1,604
|
30,588 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,850 kbps
|
|
In the Mouth of Madness (1995)
|
|
|
|
5.33
|
1:35:22
|
1,920 x 816
|
4,437 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,556 kbps
|
|
In the Name of the King: A Dungeon Siege Tale (2008)
|
|
|
|
17.38
|
2:42:20
|
1,920 x 816
|
11,325 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,998 kbps
|
|
In the Time of the Butterflies (2004)
|
|
|
|
5.05
|
1:32:09
|
1,920 x 1,080
|
7,618 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
In Time (2011)
|
|
|
|
|
4.17
|
1:49:17
|
1,920 x 816
|
2,221 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,235 kbps
|
|
In Tranzit (2009)
|
|
|
|
4.89
|
1:53:20
|
1,920 x 816
|
4,942 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
In Vino (2017)
|
|
|
|
1.52
|
1:33:15
|
1,920 x 796
|
1,953 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Incendiary (2008)
|
|
|
|
2.85
|
1:40:05
|
1,920 x 790
|
3,234 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
838 kbps
|
|
Inception (2010)
|
|
|
|
|
|
15.95
|
2:28:08
|
3,840 x 1,598
|
12,171 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,233 kbps
|
|
Incidental Characters (2021)
|
|
|
|
2.65
|
1:47:01
|
1,920 x 1,032
|
3,153 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Inconceivable (2017)
|
|
|
|
3.75
|
1:46:09
|
1,920 x 804
|
2,354 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,706 kbps
|
|
Incredibles 2 (2018)
|
|
|
|
|
|
9.01
|
1:57:50
|
3,840 x 1,608
|
7,105 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,836 kbps
|
|
Incubus (1966)
|
|
|
|
|
|
12.29
|
1:14:03
|
3,840 x 2,072
|
23,079 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
683 kbps
|
|
Indecent Proposal (1993)
|
|
|
|
|
31.80
|
1:56:56
|
3,840 x 2,160
|
35,795 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,134 kbps
|
|
Independence Day (1996)
|
|
|
|
|
|
26.46
|
2:33:33
|
3,840 x 1,608
|
21,217 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,455 kbps
|
|
Independence Day: Resurgence (2016)
|
|
|
|
|
|
|
14.30
|
1:59:44
|
3,840 x 1,604
|
14,142 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,953 kbps
|
|
Indiana Jones and the Dial of Destiny (2023)
|
|
|
|
|
|
|
5.72
|
2:34:34
|
3,840 x 1,608
|
4,527 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Indiana Jones and the Kingdom of the Crystal Skull (2008)
|
|
|
|
|
|
21.04
|
2:02:30
|
3,840 x 1,604
|
21,501 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,080 kbps
|
|
Indiana Jones and the Last Crusade (1989)
|
|
|
|
|
|
36.98
|
2:06:52
|
3,840 x 1,632
|
38,544 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,181 kbps
|
|
Indiana Jones and the Raiders of the Lost Ark (1981)
|
|
|
|
|
|
29.23
|
1:55:18
|
3,840 x 1,632
|
33,438 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,853 kbps
|
|
Indiana Jones and the Temple of Doom (1984)
|
|
|
|
|
|
36.33
|
1:58:27
|
3,840 x 1,632
|
40,586 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,320 kbps
|
|
Indictment: The McMartin Trial (1995)
|
|
|
|
|
4.86
|
2:11:53
|
1,916 x 1,080
|
5,054 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Inescapable (2014)
|
|
|
|
4.78
|
1:32:56
|
1,920 x 1,080
|
4,406 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,954 kbps
|
|
Infamous (2020)
|
|
|
|
3.73
|
1:40:35
|
1,920 x 804
|
2,323 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,990 kbps
|
|
Inferno (2016)
|
|
|
|
|
|
|
17.11
|
2:01:35
|
3,840 x 2,076
|
17,159 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,981 kbps
|
|
Infinite (2021)
|
|
|
|
|
6.69
|
1:46:21
|
3,840 x 1,608
|
6,327 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,679 kbps
|
|
Infinite Storm (2022)
|
|
|
|
5.62
|
1:37:34
|
3,840 x 1,604
|
5,238 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,005 kbps
|
|
Infinitely Polar Bear (2015)
|
|
|
|
4.75
|
1:28:00
|
1,920 x 1,080
|
6,554 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,171 kbps
|
|
Infinitum: Subject Unknown (2021)
|
|
|
|
3.54
|
1:26:09
|
1,920 x 800
|
4,982 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
901 kbps
|
|
Infinity Pool (2023)
|
|
|
|
|
10.04
|
1:57:34
|
3,840 x 2,160
|
9,045 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,180 kbps
|
|
Inglourious Basterds (2009)
|
|
|
|
|
23.50
|
2:32:53
|
3,840 x 1,600
|
19,126 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,873 kbps
|
|
Ingrid Goes West (2017)
|
|
|
|
3.07
|
1:37:53
|
1,920 x 784
|
1,620 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,873 kbps
|
|
Inhale (2010)
|
|
|
|
7.06
|
1:23:00
|
1,920 x 1,080
|
11,060 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,118 kbps
|
|
Inherent Vice (2015)
|
|
|
|
9.93
|
2:28:43
|
1,920 x 1,036
|
6,873 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,680 kbps
|
|
Inheritance (2020)
|
|
|
|
3.15
|
1:51:26
|
1,920 x 800
|
1,182 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,867 kbps
|
|
Initiation (2020)
|
|
|
|
2.93
|
1:37:36
|
1,920 x 800
|
1,405 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,893 kbps
|
|
Injustice (2021)
|
|
|
|
|
2.31
|
1:18:35
|
3,840 x 2,156
|
2,788 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,410 kbps
|
|
Inland Empire (2007)
|
|
|
|
|
1.96
|
2:59:44
|
720 x 460
|
551 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,008 kbps
|
|
Inn Love by Christmas (2020)
|
|
|
|
1.99
|
1:27:15
|
1,920 x 1,080
|
3,047 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Innerspace (1987)
|
|
|
|
|
11.96
|
1:59:49
|
1,920 x 1,080
|
11,093 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,193 kbps
|
|
Innocent Blood (1992)
|
|
|
|
5.58
|
1:55:00
|
1,920 x 1,080
|
5,585 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,360 kbps
|
|
Inseminoid (1981)
|
|
|
|
10.62
|
1:31:56
|
1,920 x 792
|
15,812 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
724 kbps
|
|
Inside (2023)
|
|
|
|
|
3.79
|
1:45:47
|
3,840 x 1,600
|
4,488 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Inside Man (2006)
|
|
|
|
8.21
|
2:08:43
|
1,920 x 816
|
5,613 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,521 kbps
|
|
Inside the Circle (2021)
|
|
|
|
1.09
|
1:33:42
|
1,920 x 806
|
1,434 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Insidious (2010)
|
|
|
|
|
4.44
|
1:42:53
|
3,840 x 1,600
|
3,653 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,151 kbps
|
|
Insidious: Chapter 2 (2013)
|
|
|
|
2.21
|
1:45:52
|
1,920 x 800
|
1,771 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,214 kbps
|
|
Insidious: Chapter 3 (2015)
|
|
|
|
1.74
|
1:37:22
|
1,920 x 800
|
1,482 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,079 kbps
|
|
Insidious: The Last Key (2018)
|
|
|
|
1.66
|
1:43:24
|
1,920 x 800
|
1,090 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,204 kbps
|
|
Insidious: The Red Door (2023)
|
|
|
|
2.03
|
1:47:08
|
1,920 x 796
|
1,384 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,327 kbps
|
|
Insight (2021)
|
|
|
|
1.61
|
1:20:20
|
1,920 x 792
|
2,492 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Insomnia (2002)
|
|
|
|
5.45
|
1:58:14
|
1,920 x 800
|
3,329 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,271 kbps
|
|
Inspector Clouseau (1968)
|
|
|
|
5.40
|
1:35:42
|
1,920 x 816
|
7,748 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
324 kbps
|
|
Inspector Gadget (1999)
|
|
|
|
2.96
|
1:18:20
|
1,920 x 1,036
|
4,770 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Inspector Gadget 2 (2003)
|
|
|
|
5.52
|
1:28:41
|
1,912 x 1,080
|
8,273 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Instant Family (2018)
|
|
|
|
|
4.96
|
1:58:06
|
1,920 x 800
|
2,746 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,262 kbps
|
|
Instinct (1999)
|
|
|
|
2.83
|
2:03:35
|
1,920 x 816
|
2,826 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Insurgent (2015)
|
|
|
|
|
|
8.11
|
1:58:59
|
3,840 x 1,600
|
7,569 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,185 kbps
|
|
Interceptor (2022)
|
|
|
|
|
|
9.41
|
1:36:55
|
3,840 x 1,600
|
13,113 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Interiors (1978)
|
|
|
|
9.43
|
1:33:52
|
1,920 x 1,040
|
13,730 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
647 kbps
|
|
Intern (2000)
|
|
|
|
4.88
|
1:33:16
|
1,920 x 1,078
|
7,257 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Interpreters (2019)
|
|
|
|
2.18
|
1:59:49
|
1,920 x 790
|
2,215 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Intersect (2020)
|
|
|
|
2.52
|
1:58:51
|
1,920 x 960
|
2,394 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Intersection (1994)
|
|
|
|
7.09
|
1:38:31
|
1,920 x 1,080
|
7,225 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,080 kbps
|
|
Interstellar (2014)
|
|
|
|
|
|
64.60
|
2:49:04
|
3,840 x 2,160
|
51,670 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,034 kbps
|
|
Intimate Affairs (2001)
|
|
|
|
9.22
|
1:46:36
|
1,920 x 860
|
12,183 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Intimate Stranger (2006)
|
|
|
|
3.14
|
1:29:09
|
1,904 x 1,080
|
4,840 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Into the Blue (2005)
|
|
|
|
|
8.59
|
1:50:12
|
1,920 x 804
|
7,905 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,251 kbps
|
|
Into the Deep (2022)
|
|
|
|
3.79
|
1:31:04
|
1,920 x 796
|
2,919 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,036 kbps
|
|
Into the Forest (2015)
|
|
|
|
5.55
|
1:41:37
|
1,920 x 1,036
|
4,460 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,359 kbps
|
|
Into the Night (1985)
|
|
|
|
3.87
|
1:54:56
|
1,920 x 1,040
|
4,526 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
292 kbps
|
|
Into the Storm (2014)
|
|
|
|
|
6.03
|
1:29:17
|
1,920 x 1,080
|
6,112 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,554 kbps
|
|
Into the Sun (2005)
|
|
|
|
7.88
|
1:36:46
|
1,920 x 1,064
|
7,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,734 kbps
|
|
Into the Woods (2014)
|
|
|
|
6.29
|
2:04:46
|
1,920 x 804
|
2,817 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,403 kbps
|
|
Intolerable Cruelty (2003)
|
|
|
|
7.25
|
1:39:34
|
1,920 x 1,040
|
7,024 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,394 kbps
|
|
Intruders (2011)
|
|
|
|
|
4.56
|
1:39:59
|
1,920 x 812
|
3,382 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,145 kbps
|
|
Intruders (2015)
|
|
|
|
1.76
|
1:30:19
|
1,920 x 800
|
1,767 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,019 kbps
|
|
Intrusion (2021)
|
|
|
|
|
2.41
|
1:32:45
|
3,840 x 1,608
|
2,943 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Invasion (1965)
|
|
|
|
3.86
|
1:21:05
|
1,800 x 1,080
|
6,619 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
193 kbps
|
|
Invasion of Astro-Monster (1965)
|
|
|
|
4.65
|
1:34:39
|
1,920 x 808
|
6,370 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
667 kbps
|
|
Invasion of the Bee Girls (1973)
|
|
|
|
7.93
|
1:26:08
|
1,920 x 1,036
|
12,887 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
295 kbps
|
|
Invasion of the Body Snatchers (1978)
|
|
|
|
|
59.58
|
1:55:23
|
3,840 x 2,076
|
71,149 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,772 kbps
|
|
Invasion of the Pod People (2007)
|
|
|
|
3.88
|
1:24:21
|
1,920 x 1,080
|
3,268 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,315 kbps
|
|
Invasion Planet Earth (2019)
|
|
|
|
4.52
|
1:36:58
|
1,920 x 796
|
3,008 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,665 kbps
|
|
Invasion U.S.A. (1985)
|
|
|
|
|
13.96
|
1:47:40
|
1,920 x 1,040
|
15,113 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,448 kbps
|
|
Invictus (2009)
|
|
|
|
12.52
|
2:13:38
|
1,920 x 800
|
10,354 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,054 kbps
|
|
Invincible (2006)
|
|
|
|
6.10
|
1:44:00
|
1,920 x 816
|
6,988 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,404 kbps
|
|
Invisible Sister (2015)
|
|
|
|
2.55
|
1:17:41
|
1,920 x 1,080
|
4,315 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Invitation to a Murder (2023)
|
|
|
|
2.55
|
1:32:30
|
1,920 x 800
|
3,304 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Iron Eagle (1986)
|
|
|
|
7.22
|
1:56:33
|
1,920 x 1,080
|
7,431 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,430 kbps
|
|
Iron Eagle II (1988)
|
|
|
|
10.83
|
1:40:04
|
1,920 x 1,076
|
14,941 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
552 kbps
|
|
Iron Eagle on the Attack (1995)
|
|
|
|
4.76
|
1:35:28
|
1,920 x 1,080
|
6,907 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Iron Jawed Angels (2004)
|
|
|
|
8.48
|
2:03:29
|
1,920 x 1,064
|
9,191 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Iron Man (2008)
|
|
|
|
|
|
|
7.28
|
2:06:00
|
3,840 x 1,600
|
6,847 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
Iron Man 2 (2010)
|
|
|
|
|
|
7.17
|
2:04:35
|
3,840 x 1,632
|
6,854 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,383 kbps
|
|
Iron Man 3 (2013)
|
|
|
|
|
|
5.36
|
2:10:32
|
3,840 x 1,600
|
4,194 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,675 kbps
|
|
Iron Sky (2012)
|
|
|
|
|
3.47
|
1:50:20
|
1,920 x 792
|
2,918 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,579 kbps
|
|
Iron Sky: The Coming Race (2019)
|
|
|
|
3.79
|
1:32:45
|
1,920 x 804
|
4,483 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,362 kbps
|
|
Iron Will (1994)
|
|
|
|
5.78
|
1:49:06
|
1,920 x 1,032
|
7,134 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Irrational Man (2015)
|
|
|
|
3.48
|
1:34:50
|
1,920 x 800
|
4,038 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,210 kbps
|
|
Irresistible (2020)
|
|
|
|
|
4.28
|
1:41:38
|
1,800 x 1,080
|
3,058 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,966 kbps
|
|
Is That a Gun in Your Pocket? (2016)
|
|
|
|
2.21
|
1:37:18
|
1,920 x 1,032
|
2,867 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Is This Goodbye, Charlie Brown? (1983)
|
|
|
|
3.55
|
24:21
|
2,880 x 2,160
|
20,502 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Island of Grace (2009)
|
|
|
|
4.74
|
1:33:26
|
1,920 x 1,080
|
7,156 kbps
|
|
2.0
|
|
48 kHz
|
70 kbps
|
|
Isolation (2015)
|
|
|
|
4.05
|
1:33:55
|
1,920 x 816
|
5,058 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,107 kbps
|
|
ISRA 88 (2017)
|
|
|
|
2.18
|
1:59:32
|
1,920 x 816
|
1,592 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,020 kbps
|
|
It (2017)
|
|
|
|
|
10.20
|
2:14:42
|
3,840 x 1,600
|
8,619 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,212 kbps
|
|
It Came from Outer Space (1953)
|
|
|
|
|
15.48
|
1:20:05
|
2,916 x 2,160
|
26,013 kbps
|
|
3.0
|
|
24 bits / 48 kHz
|
1,658 kbps
|
|
It Chapter Two (2019)
|
|
|
|
|
18.28
|
2:49:25
|
3,840 x 1,608
|
13,978 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,459 kbps
|
|
It Comes at Night (2017)
|
|
|
|
4.35
|
1:31:37
|
1,920 x 796
|
4,005 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,786 kbps
|
|
It Could Happen to You (1994)
|
|
|
|
4.82
|
1:41:31
|
1,920 x 1,040
|
5,483 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,306 kbps
|
|
It Follows (2014)
|
|
|
|
|
9.49
|
1:40:18
|
3,840 x 1,608
|
10,861 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
It Lives Again (1978)
|
|
|
|
3.17
|
1:30:43
|
1,920 x 1,036
|
4,256 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
739 kbps
|
|
It Should Happen to You (1954)
|
|
|
|
9.55
|
1:27:04
|
1,920 x 1,076
|
15,482 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
It Takes Two (1988)
|
|
|
|
5.24
|
1:18:45
|
1,920 x 1,024
|
9,309 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
It Takes Two (1995)
|
|
|
|
7.51
|
1:40:54
|
1,920 x 1,080
|
10,012 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
It's a Disaster (2013)
|
|
|
|
6.06
|
1:30:01
|
1,920 x 816
|
7,236 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,408 kbps
|
|
It's a Mad, Mad, Mad, Mad World (1963)
|
|
|
|
16.90
|
3:15:07
|
1,920 x 696
|
9,348 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,051 kbps
|
|
It's a Very Merry Muppet Christmas Movie (2002)
|
|
|
|
4.85
|
1:28:14
|
1,904 x 1,080
|
6,659 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,212 kbps
|
|
It's a Wonderful Life (1947)
|
|
|
|
|
|
42.21
|
2:10:32
|
2,960 x 2,160
|
45,683 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
610 kbps
|
|
It's Christmastime Again, Charlie Brown (1992)
|
|
|
|
|
2.16
|
23:00
|
2,880 x 2,160
|
10,658 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,778 kbps
|
|
It's Flashbeagle, Charlie Brown (1984)
|
|
|
|
|
1.20
|
24:13
|
2,880 x 2,160
|
6,674 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
It's Gawd! (2017)
|
|
|
|
2.11
|
1:38:47
|
1,920 x 1,076
|
2,419 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
It's Magic, Charlie Brown (1981)
|
|
|
|
3.03
|
24:23
|
2,880 x 2,160
|
17,381 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
It's Only Money (1962)
|
|
|
|
12.86
|
1:23:59
|
1,920 x 1,080
|
21,575 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
347 kbps
|
|
It's the Easter Beagle, Charlie Brown (1974)
|
|
|
|
|
1.12
|
25:02
|
2,880 x 2,160
|
6,026 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
It's the Great Pumpkin, Charlie Brown (1966)
|
|
|
|
|
0.85
|
25:10
|
2,880 x 2,160
|
4,452 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
It's What's on the Inside (2021)
|
|
|
|
1.92
|
1:30:32
|
1,920 x 812
|
2,811 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Itsy Bitsy (2019)
|
|
|
|
2.48
|
1:34:56
|
1,920 x 800
|
2,743 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,002 kbps
|
|
J.T. LeRoy (2019)
|
|
|
|
2.40
|
1:48:39
|
1,920 x 804
|
2,301 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
859 kbps
|
|
Jabberwocky (1977)
|
|
|
|
14.04
|
1:46:02
|
1,920 x 1,036
|
15,178 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,779 kbps
|
|
Jack (1996)
|
|
|
|
|
3.58
|
1:53:13
|
1,920 x 1,032
|
3,889 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Jack and Jill (2011)
|
|
|
|
|
3.17
|
1:30:49
|
1,920 x 1,040
|
3,800 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,191 kbps
|
|
Jack Frost (1998)
|
|
|
|
|
4.84
|
1:41:28
|
1,904 x 1,080
|
6,190 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Jack Hunter and the Lost Treasure of Ugarit (2010)
|
|
|
|
7.43
|
1:38:09
|
1,916 x 1,080
|
7,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,765 kbps
|
|
Jack Irish: Dead Point (2014)
|
|
|
|
1.66
|
1:26:51
|
1,920 x 1,080
|
2,534 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Jack Reacher (2012)
|
|
|
|
|
16.84
|
2:10:24
|
3,840 x 1,632
|
14,999 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,479 kbps
|
|
Jack Reacher: Never Go Back (2016)
|
|
|
|
|
17.32
|
1:58:09
|
3,840 x 1,604
|
18,554 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,431 kbps
|
|
Jack Ryan: Shadow Recruit (2014)
|
|
|
|
|
|
16.51
|
1:45:32
|
3,840 x 1,608
|
17,936 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,456 kbps
|
|
Jack the Giant Slayer (2013)
|
|
|
|
5.75
|
1:54:21
|
1,920 x 800
|
3,424 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,777 kbps
|
|
Jackass 3 (2010)
|
|
|
|
9.14
|
1:39:45
|
1,920 x 1,076
|
9,783 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,342 kbps
|
|
Jackass Forever (2022)
|
|
|
|
|
|
8.04
|
1:36:06
|
3,840 x 2,160
|
11,589 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Jackass Number Two (2006)
|
|
|
|
5.48
|
1:31:54
|
1,920 x 1,080
|
7,897 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Jackass Presents: Bad Grandpa (2013)
|
|
|
|
|
7.91
|
1:42:13
|
1,920 x 1,080
|
8,523 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,550 kbps
|
|
Jackass: The Movie (2002)
|
|
|
|
4.55
|
1:24:59
|
1,920 x 1,034
|
7,283 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Jackie (2016)
|
|
|
|
|
8.16
|
1:40:07
|
1,792 x 1,080
|
8,883 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,779 kbps
|
|
Jackie Brown (1997)
|
|
|
|
6.81
|
2:34:26
|
1,920 x 1,040
|
5,148 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,163 kbps
|
|
Jagged Edge (1985)
|
|
|
|
20.43
|
1:48:43
|
1,920 x 1,040
|
24,270 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,632 kbps
|
|
James and the Giant Peach (1996)
|
|
|
|
7.76
|
1:19:25
|
1,800 x 1,080
|
10,070 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,918 kbps
|
|
James vs. His Future Self (2020)
|
|
|
|
2.76
|
1:34:32
|
1,920 x 800
|
1,539 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,639 kbps
|
|
Jane Austen's Mafia! (1998)
|
|
|
|
5.20
|
1:26:49
|
1,920 x 1,036
|
7,171 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,407 kbps
|
|
Janis: Little Girl Blue (2015)
|
|
|
|
6.77
|
1:45:02
|
1,920 x 1,080
|
8,776 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Japanese Story (2003)
|
|
|
|
3.58
|
1:39:13
|
1,920 x 1,080
|
4,939 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Jason and the Argonauts (1963)
|
|
|
|
14.65
|
1:43:54
|
1,800 x 1,080
|
17,543 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,642 kbps
|
|
Jason Bourne (2016)
|
|
|
|
|
|
18.07
|
2:03:10
|
3,840 x 1,600
|
16,032 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,971 kbps
|
|
Jason Goes to Hell: The Final Friday (1993)
|
|
|
|
5.33
|
1:30:39
|
1,920 x 1,036
|
5,334 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,083 kbps
|
|
Jason X (2002)
|
|
|
|
6.22
|
1:31:43
|
1,920 x 1,036
|
5,981 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,731 kbps
|
|
Jawbreaker (1999)
|
|
|
|
3.64
|
1:26:46
|
1,920 x 1,040
|
4,379 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,630 kbps
|
|
Jaws (1975)
|
|
|
|
|
24.43
|
2:03:56
|
3,840 x 1,632
|
25,917 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,295 kbps
|
|
Jaws 2 (1978)
|
|
|
|
|
15.77
|
1:56:10
|
3,840 x 1,632
|
18,744 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
Jaws 3-D (1983)
|
|
|
|
14.50
|
1:38:21
|
1,920 x 800
|
19,781 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,323 kbps
|
|
Jaws: The Revenge (1987)
|
|
|
|
7.06
|
1:30:11
|
1,920 x 816
|
7,952 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,251 kbps
|
|
Jay and Silent Bob Reboot (2019)
|
|
|
|
5.51
|
1:45:19
|
1,920 x 804
|
4,202 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,285 kbps
|
|
Jay and Silent Bob Strike Back (2001)
|
|
|
|
|
5.47
|
1:44:27
|
1,920 x 804
|
5,916 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,576 kbps
|
|
JCVD (2019)
|
|
|
|
|
3.59
|
1:36:33
|
1,920 x 818
|
4,873 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Jeepers Creepers (2001)
|
|
|
|
6.71
|
1:30:41
|
1,920 x 1,040
|
7,330 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,254 kbps
|
|
Jeepers Creepers 2 (2003)
|
|
|
|
6.12
|
1:44:04
|
1,920 x 808
|
4,664 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,752 kbps
|
|
Jeepers Creepers 3 (2017)
|
|
|
|
3.01
|
1:41:24
|
1,920 x 804
|
3,318 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
928 kbps
|
|
Jeepers Creepers: Reborn (2022)
|
|
|
|
|
3.73
|
1:27:51
|
3,840 x 1,596
|
5,681 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Jeff, Who Lives at Home (2012)
|
|
|
|
4.28
|
1:23:02
|
1,920 x 1,076
|
4,293 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,091 kbps
|
|
Jellyfish (2018)
|
|
|
|
4.71
|
1:41:15
|
1,920 x 1,036
|
6,013 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Jenifer (2001)
|
|
|
|
5.37
|
1:32:32
|
1,904 x 1,080
|
8,077 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Jennifer 8 (1992)
|
|
|
|
9.69
|
2:05:20
|
1,920 x 1,068
|
9,953 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,111 kbps
|
|
Jennifer's Body (2009)
|
|
|
|
7.83
|
1:47:30
|
1,920 x 1,036
|
7,202 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,224 kbps
|
|
Jericho Ridge (2023)
|
|
|
|
1.26
|
1:27:13
|
1,920 x 804
|
1,846 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Jerry and Marge Go Large (2022)
|
|
|
|
|
3.98
|
1:36:08
|
1,920 x 796
|
2,965 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,953 kbps
|
|
Jerry Maguire (1996)
|
|
|
|
|
46.59
|
2:18:34
|
3,840 x 2,076
|
46,735 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,396 kbps
|
|
JeruZalem (2016)
|
|
|
|
4.01
|
1:34:10
|
1,920 x 792
|
4,567 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,531 kbps
|
|
Jesus Henry Christ (2011)
|
|
|
|
4.57
|
1:34:47
|
1,920 x 800
|
3,750 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,149 kbps
|
|
Jesus Shows You the Way to the Highway (2019)
|
|
|
|
11.11
|
1:22:00
|
1,920 x 1,036
|
16,051 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,348 kbps
|
|
Jet Boy (2001)
|
|
|
|
2.25
|
1:39:03
|
1,920 x 1,036
|
2,865 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Jetsons: The Movie (1990)
|
|
|
|
6.85
|
1:22:00
|
1,920 x 1,040
|
11,261 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
690 kbps
|
|
Jexi (2019)
|
|
|
|
|
3.15
|
1:24:24
|
1,920 x 804
|
2,594 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,750 kbps
|
|
JFK (1991)
|
|
|
|
|
24.84
|
3:25:30
|
3,840 x 1,604
|
13,762 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
710 kbps
|
|
Jigsaw (2017)
|
|
|
|
|
8.59
|
1:31:55
|
3,840 x 1,604
|
11,068 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,299 kbps
|
|
Jimbo (2018)
|
|
|
|
3.26
|
1:45:05
|
1,920 x 812
|
4,215 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Jiminy Glick in Lalawood (2005)
|
|
|
|
|
3.10
|
1:30:37
|
1,920 x 1,036
|
4,677 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Jingle All the Way (1996)
|
|
|
|
|
6.30
|
1:33:45
|
1,920 x 1,040
|
5,749 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,868 kbps
|
|
Jingle All the Way 2 (2014)
|
|
|
|
|
7.52
|
1:33:30
|
1,920 x 1,080
|
8,535 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,980 kbps
|
|
Jiu Jitsu (2020)
|
|
|
|
6.38
|
1:42:07
|
1,920 x 800
|
5,321 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,620 kbps
|
|
Jobs (2013)
|
|
|
|
|
5.62
|
2:08:14
|
1,920 x 816
|
3,374 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,900 kbps
|
|
Joe (1970)
|
|
|
|
4.16
|
1:47:05
|
1,920 x 1,036
|
4,945 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
616 kbps
|
|
Joe Dirt (2001)
|
|
|
|
|
6.00
|
1:31:12
|
1,920 x 1,040
|
6,071 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,342 kbps
|
|
Joe Dirt 2: Beautiful Loser (2015)
|
|
|
|
|
3.58
|
1:49:33
|
1,920 x 1,080
|
3,409 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,274 kbps
|
|
Joe Somebody (2001)
|
|
|
|
5.43
|
1:38:21
|
1,920 x 1,038
|
4,609 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,297 kbps
|
|
Joe Versus the Volcano (1990)
|
|
|
|
6.04
|
1:42:07
|
1,920 x 800
|
4,650 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,817 kbps
|
|
John Carter (2012)
|
|
|
|
|
9.03
|
2:12:02
|
1,920 x 800
|
5,716 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,068 kbps
|
|
John Dies at the End (2012)
|
|
|
|
4.46
|
1:39:33
|
1,920 x 1,080
|
3,118 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,295 kbps
|
|
John Tucker Must Die (2006)
|
|
|
|
6.53
|
1:29:51
|
1,920 x 1,036
|
6,815 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,588 kbps
|
|
John Wick (2014)
|
|
|
|
|
|
7.54
|
1:41:12
|
3,840 x 1,600
|
8,271 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,395 kbps
|
|
John Wick: Chapter 2 (2017)
|
|
|
|
|
|
10.02
|
2:02:23
|
3,840 x 1,600
|
9,438 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,276 kbps
|
|
John Wick: Chapter 3 – Parabellum (2019)
|
|
|
|
|
|
11.63
|
2:10:46
|
3,840 x 1,600
|
10,983 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,739 kbps
|
|
John Wick: Chapter 4 (2023)
|
|
|
|
|
10.97
|
2:49:18
|
3,840 x 1,608
|
6,257 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,016 kbps
|
|
Johnny & Clyde (2023)
|
|
|
|
2.39
|
1:40:22
|
1,920 x 796
|
2,762 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Johnny Be Good (1988)
|
|
|
|
5.85
|
1:25:42
|
1,920 x 1,040
|
9,074 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
704 kbps
|
|
Johnny Dangerously (1984)
|
|
|
|
6.87
|
1:30:14
|
1,920 x 1,080
|
10,679 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Johnny English (2003)
|
|
|
|
7.13
|
1:27:26
|
1,920 x 1,040
|
8,118 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,552 kbps
|
|
Johnny English Reborn (2011)
|
|
|
|
4.48
|
1:41:22
|
1,920 x 800
|
3,017 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,303 kbps
|
|
Johnny English Strikes Again (2018)
|
|
|
|
|
6.51
|
1:28:32
|
3,840 x 1,604
|
6,153 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,366 kbps
|
|
Johnny Mnemonic (1995)
|
|
|
|
|
7.58
|
1:36:46
|
1,920 x 1,040
|
6,512 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,695 kbps
|
|
Johnny Skidmarks (1998)
|
|
|
|
2.80
|
1:39:13
|
1,920 x 1,080
|
3,814 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Johnny Suede (1992)
|
|
|
|
5.06
|
1:36:57
|
1,920 x 1,040
|
7,250 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Joker (2019)
|
|
|
|
|
9.22
|
2:01:49
|
3,840 x 2,076
|
9,239 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,589 kbps
|
|
Jolene (2008)
|
|
|
|
5.81
|
2:00:54
|
1,920 x 816
|
5,571 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,304 kbps
|
|
Jolt (2021)
|
|
|
|
|
|
7.46
|
1:31:32
|
3,840 x 1,608
|
7,403 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,257 kbps
|
|
Jonathan (2018)
|
|
|
|
1.60
|
1:40:48
|
1,920 x 800
|
1,072 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,196 kbps
|
|
Joshy (2016)
|
|
|
|
2.20
|
1:33:14
|
1,920 x 800
|
2,304 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,069 kbps
|
|
Josie & Jack (2019)
|
|
|
|
0.96
|
1:43:22
|
1,920 x 802
|
938 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Josie (2018)
|
|
|
|
2.11
|
1:27:23
|
1,920 x 816
|
2,372 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,087 kbps
|
|
Josie and the Pussycats (2001)
|
|
|
|
7.13
|
1:38:43
|
1,920 x 1,016
|
9,690 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Journey (1995)
|
|
|
|
3.84
|
1:38:59
|
1,920 x 1,080
|
5,322 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Journey 2: The Mysterious Island (2012)
|
|
|
|
7.98
|
1:34:11
|
1,920 x 1,080
|
8,595 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,527 kbps
|
|
Journey into Fear (1975)
|
|
|
|
8.43
|
1:39:21
|
1,920 x 1,036
|
11,376 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
775 kbps
|
|
Journey to the Center of the Earth (1959)
|
|
|
|
11.82
|
2:09:49
|
1,920 x 816
|
10,665 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,368 kbps
|
|
Journey to the Center of the Earth (1988)
|
|
|
|
4.86
|
1:20:29
|
1,920 x 1,040
|
8,418 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Journey to the Center of the Earth (2008)
|
|
|
|
8.06
|
1:32:35
|
1,920 x 1,080
|
8,889 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,571 kbps
|
|
Journey to the Far Side of the Sun (1969)
|
|
|
|
8.71
|
1:41:39
|
1,920 x 1,040
|
11,701 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
571 kbps
|
|
Journey to the South Pacific (2013)
|
|
|
|
|
17.30
|
39:47
|
3,840 x 2,160
|
57,709 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,536 kbps
|
|
Joy (2015)
|
|
|
|
|
12.57
|
2:04:01
|
3,840 x 2,076
|
11,886 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,616 kbps
|
|
Joy Ride (2001)
|
|
|
|
5.02
|
1:37:05
|
1,920 x 808
|
3,717 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,680 kbps
|
|
Joy Ride (2023)
|
|
|
|
3.81
|
1:34:49
|
1,920 x 800
|
3,252 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,500 kbps
|
|
Joyful Noise (2012)
|
|
|
|
6.29
|
1:57:51
|
1,920 x 800
|
4,367 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,267 kbps
|
|
Joysticks (1983)
|
|
|
|
7.14
|
1:27:00
|
1,904 x 1,080
|
11,033 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
711 kbps
|
|
Jubilee (1978)
|
|
|
|
12.99
|
1:46:15
|
1,776 x 1,080
|
16,836 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
Judge Dredd (1995)
|
|
|
|
|
7.96
|
1:36:03
|
1,920 x 822
|
8,079 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,781 kbps
|
|
Judgment in Berlin (1988)
|
|
|
|
1.18
|
1:35:35
|
720 x 456
|
1,391 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
372 kbps
|
|
Juggernaut (1974)
|
|
|
|
5.93
|
1:50:30
|
1,920 x 1,024
|
7,269 kbps
|
|
1.0
|
|
19 bits / 48 kHz
|
412 kbps
|
|
Juice (1992)
|
|
|
|
|
53.78
|
1:34:42
|
3,840 x 2,160
|
80,067 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,227 kbps
|
|
Jules (2023)
|
|
|
|
|
2.75
|
1:27:21
|
3,840 x 1,920
|
3,858 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Julia X (2013)
|
|
|
|
5.44
|
1:32:03
|
1,920 x 1,032
|
7,480 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
983 kbps
|
|
Julian Po (1997)
|
|
|
|
1.91
|
1:23:46
|
1,920 x 1,010
|
3,044 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Julie Darling (1982)
|
|
|
|
|
15.97
|
1:29:47
|
3,600 x 2,160
|
24,701 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
758 kbps
|
|
Juliet, Naked (2018)
|
|
|
|
3.65
|
1:37:35
|
1,920 x 804
|
2,626 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,727 kbps
|
|
Jumanji (1995)
|
|
|
|
|
|
|
35.62
|
1:44:06
|
3,840 x 2,076
|
47,360 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,616 kbps
|
|
Jumanji: The Next Level (2019)
|
|
|
|
|
|
7.42
|
2:03:10
|
3,840 x 1,608
|
4,939 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,682 kbps
|
|
Jumanji: Welcome to the Jungle (2017)
|
|
|
|
|
|
10.06
|
1:59:03
|
3,840 x 1,604
|
9,289 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,804 kbps
|
|
Jumpin' Jack Flash (1986)
|
|
|
|
7.95
|
1:45:17
|
1,920 x 1,032
|
9,343 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,470 kbps
|
|
Jungle (2017)
|
|
|
|
5.06
|
1:55:18
|
1,920 x 802
|
4,881 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,401 kbps
|
|
Jungle 2 Jungle (1997)
|
|
|
|
|
9.86
|
1:44:50
|
1,920 x 1,030
|
9,817 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,645 kbps
|
|
Jungle Cruise (2021)
|
|
|
|
|
|
9.27
|
2:07:20
|
3,840 x 1,608
|
8,715 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,704 kbps
|
|
Jungle Fever (1991)
|
|
|
|
6.66
|
2:12:03
|
1,920 x 1,024
|
6,686 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
536 kbps
|
|
Jungle Run (2021)
|
|
|
|
|
4.88
|
1:25:38
|
1,920 x 804
|
4,723 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,435 kbps
|
|
Junior (1994)
|
|
|
|
|
8.76
|
1:49:59
|
1,920 x 1,040
|
8,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,368 kbps
|
|
Juno (2007)
|
|
|
|
9.29
|
1:36:05
|
1,920 x 1,038
|
10,562 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,276 kbps
|
|
Jupiter Ascending (2015)
|
|
|
|
|
|
9.31
|
2:07:34
|
3,840 x 1,602
|
7,147 kbps
|
|
7.1
|
|
21 bits / 48 kHz
|
3,299 kbps
|
|
Jurassic Park (1993)
|
|
|
|
|
|
28.08
|
2:06:28
|
3,840 x 2,076
|
27,347 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,436 kbps
|
|
Jurassic Park III (2001)
|
|
|
|
|
|
14.16
|
1:32:11
|
3,840 x 2,076
|
17,467 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,508 kbps
|
|
Jurassic World (2015)
|
|
|
|
|
|
27.05
|
2:04:24
|
3,840 x 1,920
|
29,042 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,085 kbps
|
|
Jurassic World Dominion (2022)
|
|
|
|
|
|
18.58
|
2:40:41
|
3,840 x 1,920
|
14,403 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,148 kbps
|
|
Jurassic World: Fallen Kingdom (2018)
|
|
|
|
|
|
7.27
|
2:08:18
|
3,840 x 1,604
|
5,484 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,622 kbps
|
|
Jury Duty (1995)
|
|
|
|
|
2.94
|
1:27:51
|
1,920 x 1,036
|
4,252 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
533 kbps
|
|
Just Another Dream (2021)
|
|
|
|
2.82
|
1:31:57
|
1,920 x 920
|
4,009 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Just Before I Go (2015)
|
|
|
|
3.87
|
1:30:43
|
1,920 x 800
|
3,260 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,844 kbps
|
|
Just Cause (1995)
|
|
|
|
5.65
|
1:42:20
|
1,920 x 800
|
4,423 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,477 kbps
|
|
Just Friends (2005)
|
|
|
|
4.26
|
1:34:16
|
1,904 x 1,080
|
4,631 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,836 kbps
|
|
Just Go with It (2011)
|
|
|
|
|
4.72
|
1:56:30
|
1,920 x 1,036
|
3,772 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,028 kbps
|
|
Just Like Heaven (2005)
|
|
|
|
|
5.05
|
1:34:40
|
3,840 x 2,076
|
7,179 kbps
|
|
5.1
|
|
48 kHz
|
446 kbps
|
|
Just Married (2003)
|
|
|
|
4.63
|
1:34:46
|
1,920 x 1,040
|
5,941 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,053 kbps
|
|
Just One of the Guys (1985)
|
|
|
|
|
7.32
|
1:40:37
|
1,920 x 1,038
|
9,757 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
658 kbps
|
|
Just Visiting (2001)
|
|
|
|
4.75
|
1:28:26
|
1,920 x 808
|
6,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,307 kbps
|
|
Justice League (2017)
|
|
|
|
|
|
17.88
|
2:00:03
|
3,840 x 2,160
|
19,029 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,290 kbps
|
|
Justice League Dark (2017)
|
|
|
|
|
2.23
|
1:15:51
|
3,840 x 2,156
|
2,659 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,552 kbps
|
|
Justice League Dark: Apokolips War (2020)
|
|
|
|
|
2.65
|
1:30:11
|
3,840 x 2,156
|
2,664 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,530 kbps
|
|
Justice League vs. Teen Titans (2016)
|
|
|
|
1.55
|
1:19:11
|
1,920 x 1,076
|
1,319 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,483 kbps
|
|
Justice League vs. the Fatal Five (2019)
|
|
|
|
|
2.11
|
1:17:30
|
3,840 x 2,156
|
2,427 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,462 kbps
|
|
Justice League: Crisis on Infinite Earths – Part One (2024)
|
|
|
|
|
3.00
|
1:32:48
|
3,840 x 2,156
|
3,589 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,028 kbps
|
|
Justice League: Crisis on Two Earths (2010)
|
|
|
|
1.62
|
1:15:21
|
1,920 x 1,076
|
2,430 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Justice League: Doom (2012)
|
|
|
|
2.60
|
1:16:51
|
1,920 x 1,076
|
1,443 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,398 kbps
|
|
Justice League: Gods and Monsters (2015)
|
|
|
|
2.56
|
1:15:42
|
1,920 x 1,076
|
1,648 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,198 kbps
|
|
Justice League: The Flashpoint Paradox (2013)
|
|
|
|
3.20
|
1:21:14
|
1,920 x 1,076
|
1,828 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,810 kbps
|
|
Justice League: The New Frontier (2008)
|
|
|
|
2.19
|
1:14:55
|
1,920 x 1,076
|
2,716 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,471 kbps
|
|
Justice League: Throne of Atlantis (2015)
|
|
|
|
|
3.31
|
1:12:05
|
3,840 x 2,156
|
3,053 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,512 kbps
|
|
Justice League: War (2014)
|
|
|
|
2.19
|
1:19:27
|
1,920 x 1,076
|
2,150 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,793 kbps
|
|
Justice League: Warworld (2023)
|
|
|
|
|
12.77
|
1:29:30
|
3,840 x 2,156
|
19,199 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,228 kbps
|
|
Justice Society: World War II (2021)
|
|
|
|
|
4.20
|
1:24:19
|
3,840 x 2,156
|
5,950 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,175 kbps
|
|
K-19: The Widowmaker (2002)
|
|
|
|
|
31.66
|
2:18:00
|
3,840 x 1,604
|
29,145 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,694 kbps
|
|
K-9 (1989)
|
|
|
|
8.50
|
1:41:23
|
1,920 x 1,040
|
11,334 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
664 kbps
|
|
K-911 (1999)
|
|
|
|
6.79
|
1:31:03
|
1,920 x 1,036
|
9,398 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,282 kbps
|
|
K-9: P.I. (2002)
|
|
|
|
3.48
|
1:34:58
|
1,920 x 1,040
|
4,593 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
650 kbps
|
|
K-PAX (2001)
|
|
|
|
3.27
|
2:00:21
|
1,920 x 812
|
3,245 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Kalifornia (1993)
|
|
|
|
5.77
|
1:58:15
|
1,920 x 816
|
5,862 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,118 kbps
|
|
Kangaroo Jack (2003)
|
|
|
|
3.65
|
1:29:04
|
1,920 x 792
|
5,482 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Karla (2006)
|
|
|
|
9.23
|
1:41:59
|
1,904 x 1,080
|
12,765 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Kate & Leopold (2001)
|
|
|
|
11.85
|
2:03:00
|
1,916 x 1,080
|
10,736 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,056 kbps
|
|
Kate (2021)
|
|
|
|
|
4.24
|
1:46:20
|
3,840 x 1,604
|
4,928 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Katt Williams: Great America (2018)
|
|
|
|
9.57
|
1:00:25
|
3,840 x 2,160
|
22,046 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Kazaam (1996)
|
|
|
|
5.15
|
1:33:37
|
1,920 x 1,028
|
6,274 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,603 kbps
|
|
Keane (2004)
|
|
|
|
11.85
|
1:33:48
|
1,920 x 1,080
|
15,484 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,602 kbps
|
|
Keanu (2016)
|
|
|
|
|
6.50
|
1:39:45
|
3,840 x 1,600
|
6,105 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,216 kbps
|
|
Keep Watching (2017)
|
|
|
|
4.20
|
1:29:18
|
1,920 x 1,080
|
5,480 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,259 kbps
|
|
Keeping Up with the Joneses (2016)
|
|
|
|
|
|
|
10.37
|
1:45:20
|
3,840 x 1,600
|
10,428 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,658 kbps
|
|
Kelly's Heroes (1970)
|
|
|
|
11.00
|
2:23:32
|
1,920 x 800
|
7,679 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,292 kbps
|
|
Kevin Hart: Let Me Explain (2013)
|
|
|
|
|
5.29
|
1:14:55
|
1,920 x 1,076
|
8,785 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,313 kbps
|
|
Kevin Hart: What Now? (2016)
|
|
|
|
|
4.45
|
1:36:30
|
1,920 x 804
|
3,336 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,259 kbps
|
|
Kevin James: Irregardless (2023)
|
|
|
|
5.43
|
1:01:56
|
3,840 x 2,160
|
11,903 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Kick-Ass (2010)
|
|
|
|
|
|
18.65
|
1:57:48
|
3,840 x 1,600
|
19,944 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,725 kbps
|
|
Kick-Ass 2 (2013)
|
|
|
|
|
8.71
|
1:43:01
|
3,840 x 1,600
|
7,917 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Kickboxer (1989)
|
|
|
|
5.84
|
1:37:27
|
1,920 x 1,036
|
5,105 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,480 kbps
|
|
Kicking & Screaming (2005)
|
|
|
|
|
7.00
|
1:34:46
|
1,920 x 816
|
6,688 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,876 kbps
|
|
Kicking and Screaming (1995)
|
|
|
|
3.29
|
1:36:39
|
1,920 x 1,072
|
4,647 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Kid Cannabis (2014)
|
|
|
|
4.76
|
1:49:37
|
1,920 x 1,036
|
4,606 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,612 kbps
|
|
Kid Galahad (1962)
|
|
|
|
7.59
|
1:36:18
|
1,920 x 1,040
|
10,667 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
617 kbps
|
|
Kidnap (2017)
|
|
|
|
|
3.18
|
1:34:57
|
1,920 x 800
|
3,609 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,190 kbps
|
|
Kidnapping Mr. Heineken (2015)
|
|
|
|
|
6.36
|
1:34:37
|
1,920 x 804
|
6,844 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,774 kbps
|
|
Kids in the Hall: Brain Candy (1996)
|
|
|
|
5.40
|
1:28:25
|
1,920 x 1,080
|
5,182 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,558 kbps
|
|
Kill 'em All (2017)
|
|
|
|
|
3.05
|
1:35:51
|
1,920 x 800
|
3,208 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,344 kbps
|
|
Kill Bill: Volume 1 (2003)
|
|
|
|
|
4.95
|
1:50:44
|
1,920 x 802
|
5,045 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
Kill Bill: Volume 2 (2004)
|
|
|
|
|
7.69
|
2:16:58
|
1,920 x 802
|
5,081 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
2,952 kbps
|
|
Kill Chain (2019)
|
|
|
|
|
2.91
|
1:31:39
|
1,920 x 1,036
|
1,691 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,853 kbps
|
|
Kill Command (2016)
|
|
|
|
3.37
|
1:39:32
|
1,920 x 800
|
3,442 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,406 kbps
|
|
Kill Her Goats (2023)
|
|
|
|
15.04
|
1:39:13
|
3,840 x 1,600
|
21,057 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Kill Me Three Times (2015)
|
|
|
|
3.23
|
1:30:39
|
1,920 x 796
|
3,985 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,107 kbps
|
|
Kill Mode (2020)
|
|
|
|
8.64
|
1:37:41
|
1,920 x 800
|
11,521 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,146 kbps
|
|
Kill Switch (2017)
|
|
|
|
4.36
|
1:31:52
|
1,920 x 800
|
4,310 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,482 kbps
|
|
Kill the Messenger (2014)
|
|
|
|
4.94
|
1:51:55
|
1,920 x 800
|
5,346 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
973 kbps
|
|
Killbird (2019)
|
|
|
|
3.33
|
1:24:46
|
1,920 x 1,036
|
2,307 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,317 kbps
|
|
Killer Ambition (2022)
|
|
|
|
2.60
|
1:25:36
|
1,920 x 1,080
|
4,114 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Killer Among Us (2021)
|
|
|
|
1.32
|
1:20:36
|
1,920 x 788
|
1,958 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Killer Camera Monsters (2020)
|
|
|
|
2.78
|
1:26:33
|
1,920 x 1,076
|
3,961 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Killer Cove (2019)
|
|
|
|
1.90
|
1:27:07
|
1,920 x 1,080
|
2,486 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Killer Grades (2021)
|
|
|
|
2.74
|
1:27:57
|
1,920 x 1,080
|
4,242 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Killer Joe (2012)
|
|
|
|
3.38
|
1:42:20
|
1,920 x 1,036
|
3,666 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,062 kbps
|
|
Killerman (2019)
|
|
|
|
7.64
|
1:52:29
|
1,920 x 804
|
6,608 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,114 kbps
|
|
Killers of the Flower Moon (2023)
|
|
|
|
|
|
23.60
|
3:25:47
|
3,840 x 1,608
|
14,147 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,269 kbps
|
|
Killing Hasselhoff (2017)
|
|
|
|
|
3.11
|
1:20:36
|
1,920 x 1,036
|
4,241 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,279 kbps
|
|
Killing Me Softly (2002)
|
|
|
|
5.50
|
1:40:24
|
1,920 x 1,036
|
6,835 kbps
|
|
2.0
|
|
21 bits / 48 kHz
|
1,003 kbps
|
|
Killing Season (2013)
|
|
|
|
2.68
|
1:30:44
|
1,920 x 1,080
|
2,896 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,333 kbps
|
|
Killing Them Softly (2012)
|
|
|
|
3.29
|
1:37:07
|
1,920 x 800
|
2,245 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,598 kbps
|
|
Killshot (2008)
|
|
|
|
4.13
|
1:35:18
|
1,920 x 814
|
5,178 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,021 kbps
|
|
Kimi (2022)
|
|
|
|
|
2.43
|
1:29:07
|
3,840 x 1,876
|
3,507 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Kin (2018)
|
|
|
|
|
14.91
|
1:42:34
|
3,840 x 1,608
|
17,177 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,631 kbps
|
|
Kin Dread (2021)
|
|
|
|
1.49
|
1:34:13
|
1,920 x 816
|
2,032 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Kindergarten Cop (1990)
|
|
|
|
|
|
44.71
|
1:51:25
|
3,840 x 2,076
|
56,033 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,407 kbps
|
|
Kindergarten Cop 2 (2016)
|
|
|
|
|
5.71
|
1:40:07
|
1,920 x 1,080
|
4,822 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,334 kbps
|
|
Kindred (2020)
|
|
|
|
2.17
|
1:40:43
|
1,920 x 804
|
2,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
698 kbps
|
|
Kindred Spirits (2019)
|
|
|
|
2.14
|
1:31:34
|
1,920 x 1,072
|
2,961 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
King Kong (1976)
|
|
|
|
|
60.73
|
2:14:49
|
3,840 x 1,632
|
61,160 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,333 kbps
|
|
King Kong (2005)
|
|
|
|
|
31.51
|
3:20:09
|
3,840 x 1,632
|
17,837 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,694 kbps
|
|
King Kong Lives (1986)
|
|
|
|
3.69
|
1:44:53
|
1,920 x 808
|
4,839 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
King Kong vs. Godzilla (1962)
|
|
|
|
9.66
|
1:37:01
|
1,920 x 808
|
11,828 kbps
|
|
3/1
|
|
24 bits / 48 kHz
|
2,422 kbps
|
|
King Kong vs. Godzilla (1963)
|
|
|
|
9.98
|
1:30:59
|
1,920 x 816
|
15,058 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
640 kbps
|
|
King of New York (1991)
|
|
|
|
|
22.69
|
1:43:10
|
3,840 x 2,076
|
27,894 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,589 kbps
|
|
King of the Ants (2003)
|
|
|
|
3.34
|
1:42:25
|
1,904 x 1,080
|
4,117 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
553 kbps
|
|
King of the Hill (1993)
|
|
|
|
7.47
|
1:43:23
|
1,920 x 816
|
7,430 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,917 kbps
|
|
King of the Mountain (1981)
|
|
|
|
7.44
|
1:30:41
|
1,920 x 1,036
|
11,010 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
741 kbps
|
|
King Richard (2021)
|
|
|
|
|
7.62
|
2:24:41
|
3,840 x 1,608
|
6,267 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,271 kbps
|
|
King Solomon's Mines (1985)
|
|
|
|
14.65
|
1:39:59
|
1,920 x 816
|
20,419 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
563 kbps
|
|
Kingdom of Heaven (2005)
|
|
|
|
9.92
|
3:13:54
|
1,920 x 806
|
4,306 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,019 kbps
|
|
Kingdom of the Spiders (1977)
|
|
|
|
5.93
|
1:35:07
|
1,920 x 1,080
|
8,339 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
577 kbps
|
|
Kingpin (1996)
|
|
|
|
7.52
|
1:57:14
|
1,920 x 820
|
8,047 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,134 kbps
|
|
Kingsglaive: Final Fantasy XV (2016)
|
|
|
|
|
5.59
|
1:55:22
|
3,840 x 1,608
|
5,375 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,559 kbps
|
|
Kingsman: The Golden Circle (2017)
|
|
|
|
|
|
10.31
|
2:21:02
|
3,840 x 1,604
|
7,458 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,005 kbps
|
|
Kingsman: The Secret Service (2015)
|
|
|
|
|
|
11.82
|
2:08:44
|
3,840 x 1,600
|
8,844 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,291 kbps
|
|
Kiss Kiss Bang Bang (2005)
|
|
|
|
2.61
|
1:42:42
|
1,920 x 794
|
2,996 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Kiss of the Dragon (2001)
|
|
|
|
3.23
|
1:38:14
|
1,920 x 812
|
2,821 kbps
|
|
6.1
|
|
16 bits / 48 kHz
|
1,891 kbps
|
|
Kiss the Girls (1997)
|
|
|
|
|
10.93
|
1:55:36
|
3,840 x 1,596
|
10,103 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,427 kbps
|
|
Kissing a Fool (1998)
|
|
|
|
4.59
|
1:33:14
|
1,920 x 1,040
|
3,528 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,519 kbps
|
|
Kite (2014)
|
|
|
|
2.50
|
1:29:40
|
1,920 x 800
|
2,366 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,618 kbps
|
|
Kitty Mammas (2020)
|
|
|
|
2.22
|
1:32:54
|
1,920 x 1,080
|
2,778 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Klute (1971)
|
|
|
|
10.35
|
1:54:10
|
1,920 x 800
|
12,349 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
628 kbps
|
|
Knight and Day (2010)
|
|
|
|
|
8.45
|
1:57:07
|
1,920 x 798
|
6,938 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,385 kbps
|
|
Knight of Cups (2015)
|
|
|
|
7.66
|
1:58:06
|
1,920 x 810
|
6,699 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,581 kbps
|
|
Knights of Badassdom (2014)
|
|
|
|
2.70
|
1:25:27
|
1,920 x 800
|
3,002 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,513 kbps
|
|
Knives Out (2019)
|
|
|
|
|
|
20.75
|
2:10:13
|
3,840 x 2,072
|
21,569 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,235 kbps
|
|
Knock at the Cabin (2023)
|
|
|
|
|
|
4.08
|
1:40:08
|
3,840 x 1,608
|
4,399 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,425 kbps
|
|
Knock Knock (2015)
|
|
|
|
4.33
|
1:39:20
|
1,920 x 804
|
3,269 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,963 kbps
|
|
Knock Off (1998)
|
|
|
|
9.42
|
1:30:33
|
1,920 x 808
|
11,570 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,320 kbps
|
|
Knockaround Guys (2002)
|
|
|
|
3.38
|
1:31:36
|
1,920 x 800
|
2,218 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,056 kbps
|
|
Knocked Up (2007)
|
|
|
|
|
8.81
|
2:12:57
|
1,920 x 1,040
|
6,291 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,197 kbps
|
|
Knowing (2009)
|
|
|
|
|
|
10.41
|
2:01:29
|
3,840 x 1,632
|
9,554 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,703 kbps
|
|
Knucklehead (2010)
|
|
|
|
6.12
|
1:40:09
|
1,920 x 1,040
|
7,311 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,431 kbps
|
|
Knucks (2021)
|
|
|
|
1.05
|
1:06:27
|
1,920 x 806
|
2,103 kbps
|
|
2.0
|
|
48 kHz
|
148 kbps
|
|
Kodachrome (2017)
|
|
|
|
4.37
|
1:44:38
|
1,920 x 1,080
|
2,932 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,045 kbps
|
|
Kong: Skull Island (2017)
|
|
|
|
|
|
11.08
|
1:58:26
|
3,840 x 1,600
|
10,904 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,489 kbps
|
|
Kramer vs. Kramer (1979)
|
|
|
|
|
33.13
|
1:44:49
|
3,840 x 2,076
|
42,971 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,277 kbps
|
|
Krampus (2015)
|
|
|
|
|
|
17.48
|
1:42:21
|
3,840 x 1,604
|
22,094 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,358 kbps
|
|
Krull (1983)
|
|
|
|
8.67
|
2:00:45
|
1,920 x 802
|
7,296 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,984 kbps
|
|
Krystal (2018)
|
|
|
|
2.37
|
1:33:06
|
1,920 x 1,040
|
3,004 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Kuffs (1992)
|
|
|
|
6.38
|
1:41:27
|
1,920 x 1,040
|
8,337 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
666 kbps
|
|
Kung Fu Panda (2008)
|
|
|
|
|
4.10
|
1:32:20
|
3,840 x 1,624
|
5,104 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,245 kbps
|
|
Kung Fu Panda 2 (2011)
|
|
|
|
4.21
|
1:30:24
|
1,920 x 800
|
3,235 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,438 kbps
|
|
Kung Fu Panda 3 (2016)
|
|
|
|
5.87
|
1:34:55
|
1,920 x 800
|
4,792 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,064 kbps
|
|
L.A. Bounty (1989)
|
|
|
|
7.58
|
1:24:58
|
1,920 x 1,040
|
11,402 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,362 kbps
|
|
L.A. Confidential (1997)
|
|
|
|
4.90
|
2:17:53
|
1,920 x 800
|
3,835 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,255 kbps
|
|
L.A. Story (1991)
|
|
|
|
5.04
|
1:35:16
|
1,920 x 1,032
|
7,380 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
L.A. Wars (1994)
|
|
|
|
14.76
|
1:31:53
|
1,440 x 1,080
|
22,340 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
658 kbps
|
|
La Bamba (1987)
|
|
|
|
16.17
|
1:48:34
|
1,920 x 1,036
|
20,301 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,026 kbps
|
|
La La Land (2016)
|
|
|
|
|
21.17
|
2:08:04
|
3,840 x 1,504
|
21,740 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
1,918 kbps
|
|
Labor Day (2014)
|
|
|
|
3.81
|
1:51:14
|
1,920 x 800
|
2,222 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,674 kbps
|
|
Labor Pains (2009)
|
|
|
|
4.77
|
1:28:54
|
1,920 x 1,080
|
7,046 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Labyrinth (1986)
|
|
|
|
|
|
44.81
|
1:41:03
|
3,840 x 1,606
|
60,703 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,773 kbps
|
|
Ladies and Gentlemen, the Fabulous Stains (1982)
|
|
|
|
4.13
|
1:27:33
|
1,896 x 1,080
|
5,626 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,132 kbps
|
|
Lady and the Tramp (1955)
|
|
|
|
2.23
|
1:16:24
|
1,920 x 746
|
2,375 kbps
|
|
3.0
|
|
24 bits / 48 kHz
|
1,792 kbps
|
|
Lady and the Tramp (2019)
|
|
|
|
6.64
|
1:42:47
|
3,840 x 1,920
|
8,479 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Lady Ballers (2023)
|
|
|
|
2.67
|
1:50:53
|
1,920 x 960
|
3,247 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Lady Bird (2017)
|
|
|
|
4.20
|
1:34:05
|
1,920 x 1,036
|
3,759 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,638 kbps
|
|
Lady Driver (2020)
|
|
|
|
2.94
|
1:45:09
|
1,920 x 796
|
2,740 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,268 kbps
|
|
Lady in the Water (2006)
|
|
|
|
1.87
|
1:49:39
|
1,916 x 1,080
|
1,799 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lady in White (1988)
|
|
|
|
8.09
|
1:57:50
|
1,920 x 1,040
|
6,806 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,020 kbps
|
|
Lady Street Fighter (1980)
|
|
|
|
6.19
|
1:12:49
|
1,920 x 1,080
|
11,751 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
412 kbps
|
|
Ladybugs (1992)
|
|
|
|
7.98
|
1:29:42
|
1,916 x 1,080
|
9,613 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,128 kbps
|
|
Ladyhawke (1985)
|
|
|
|
10.58
|
2:01:01
|
1,920 x 808
|
9,730 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,781 kbps
|
|
Ladyworld (2018)
|
|
|
|
1.23
|
1:33:38
|
1,920 x 816
|
1,243 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lair (2021)
|
|
|
|
1.37
|
1:35:58
|
1,920 x 796
|
1,656 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lake Artifact (2019)
|
|
|
|
1.29
|
1:21:05
|
1,920 x 800
|
2,085 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lake Placid (1999)
|
|
|
|
4.42
|
1:22:08
|
1,904 x 812
|
3,968 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,738 kbps
|
|
Lake Placid 2 (2007)
|
|
|
|
5.99
|
1:27:35
|
1,920 x 1,040
|
6,296 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,501 kbps
|
|
Lake Placid 3 (2010)
|
|
|
|
5.70
|
1:35:41
|
1,920 x 1,064
|
7,885 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Lake Placid vs. Anaconda (2015)
|
|
|
|
3.32
|
1:32:10
|
1,920 x 1,080
|
4,508 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Lake Placid: Legacy (2018)
|
|
|
|
2.59
|
1:33:07
|
1,920 x 1,030
|
3,591 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lakeview Terrace (2008)
|
|
|
|
4.89
|
1:50:28
|
1,920 x 800
|
5,032 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,303 kbps
|
|
Lamborghini: The Man Behind the Legend (2022)
|
|
|
|
3.73
|
1:36:40
|
1,920 x 800
|
2,249 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,282 kbps
|
|
Land (2021)
|
|
|
|
|
4.08
|
1:29:14
|
3,592 x 2,160
|
5,893 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Land of the Lost (2009)
|
|
|
|
|
7.50
|
1:41:41
|
1,920 x 1,040
|
7,415 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,143 kbps
|
|
Landline (2017)
|
|
|
|
2.60
|
1:37:19
|
1,920 x 792
|
3,179 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Language Lessons (2021)
|
|
|
|
6.16
|
1:34:50
|
1,920 x 1,076
|
8,620 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
684 kbps
|
|
Lansky (2021)
|
|
|
|
3.93
|
1:59:13
|
1,920 x 804
|
2,011 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,703 kbps
|
|
Lapsis (2021)
|
|
|
|
3.03
|
1:48:10
|
1,920 x 804
|
3,373 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lara Croft: Tomb Raider (2001)
|
|
|
|
|
|
20.85
|
1:40:32
|
3,840 x 1,632
|
26,267 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,416 kbps
|
|
Lara Croft: Tomb Raider – The Cradle of Life (2003)
|
|
|
|
|
23.31
|
1:57:21
|
3,840 x 1,632
|
26,915 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,516 kbps
|
|
Larger than Life (1996)
|
|
|
|
6.87
|
1:33:13
|
1,920 x 1,040
|
9,915 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
634 kbps
|
|
Larry Crowne (2011)
|
|
|
|
5.78
|
1:38:37
|
1,920 x 800
|
5,190 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,203 kbps
|
|
Lars and the Real Girl (2007)
|
|
|
|
7.25
|
1:46:46
|
1,920 x 1,038
|
6,423 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,297 kbps
|
|
Lassie (1994)
|
|
|
|
9.46
|
1:35:02
|
1,920 x 1,080
|
11,074 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,177 kbps
|
|
Last Action Hero (1993)
|
|
|
|
|
|
39.86
|
2:10:56
|
3,840 x 1,604
|
40,405 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,169 kbps
|
|
Last and First Men (2020)
|
|
|
|
15.39
|
1:10:46
|
1,764 x 1,080
|
27,880 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,250 kbps
|
|
Last Call (2012)
|
|
|
|
1.61
|
1:24:25
|
1,920 x 1,036
|
2,503 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Last Call (2021)
|
|
|
|
2.78
|
1:41:23
|
1,920 x 1,080
|
3,534 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Last Chance for Christmas (2015)
|
|
|
|
2.54
|
1:27:38
|
1,920 x 1,080
|
3,929 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Last Christmas (2019)
|
|
|
|
5.79
|
1:42:50
|
1,920 x 960
|
4,090 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,975 kbps
|
|
Last Gasp (1995)
|
|
|
|
5.52
|
1:32:19
|
1,920 x 1,036
|
6,994 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,559 kbps
|
|
Last Knights (2015)
|
|
|
|
4.79
|
1:54:55
|
1,920 x 800
|
2,946 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,023 kbps
|
|
Last Looks (2021)
|
|
|
|
3.74
|
1:50:52
|
1,920 x 796
|
3,678 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,145 kbps
|
|
Last Man Standing (1996)
|
|
|
|
5.26
|
1:41:03
|
1,920 x 812
|
3,910 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,535 kbps
|
|
Last Moment of Clarity (2020)
|
|
|
|
8.76
|
1:30:32
|
1,920 x 800
|
10,972 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,885 kbps
|
|
Last Night (2010)
|
|
|
|
2.20
|
1:32:31
|
1,920 x 816
|
2,390 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,008 kbps
|
|
Last Night in Rozzie (2021)
|
|
|
|
1.49
|
1:20:11
|
1,920 x 1,036
|
2,016 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Last Night in Soho (2021)
|
|
|
|
|
11.09
|
1:56:33
|
3,840 x 1,608
|
12,146 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,467 kbps
|
|
Last of the Dogmen (1995)
|
|
|
|
1.37
|
1:58:02
|
720 x 356
|
1,282 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Last Ones There (2021)
|
|
|
|
5.63
|
1:12:58
|
1,920 x 1,080
|
10,815 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Last Passenger (2014)
|
|
|
|
5.49
|
1:36:33
|
1,920 x 816
|
5,034 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,111 kbps
|
|
Last Sentinel (2023)
|
|
|
|
3.18
|
1:57:09
|
1,920 x 800
|
1,417 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,471 kbps
|
|
Last Survivors (2022)
|
|
|
|
1.38
|
1:38:34
|
1,920 x 668
|
1,625 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Last Train to Christmas (2021)
|
|
|
|
6.63
|
1:50:11
|
1,920 x 1,080
|
5,961 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
496 kbps
|
|
Last Vegas (2013)
|
|
|
|
5.51
|
1:45:00
|
1,920 x 800
|
4,482 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,032 kbps
|
|
Last Weekend (2014)
|
|
|
|
2.24
|
1:34:32
|
1,920 x 1,080
|
3,011 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Late Night (2019)
|
|
|
|
3.74
|
1:41:41
|
1,920 x 1,036
|
4,209 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,056 kbps
|
|
Laurel Canyon (2003)
|
|
|
|
3.66
|
1:43:08
|
1,916 x 1,080
|
4,435 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lavalantula (2015)
|
|
|
|
2.81
|
1:23:39
|
1,920 x 1,072
|
3,531 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,282 kbps
|
|
Law Abiding Citizen (2009)
|
|
|
|
|
|
19.31
|
1:58:39
|
3,840 x 1,592
|
20,333 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,959 kbps
|
|
Lawnmower Man 2: Beyond Cyberspace (1996)
|
|
|
|
3.19
|
1:32:57
|
1,920 x 788
|
3,372 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,539 kbps
|
|
Lawrence of Arabia (1962)
|
|
|
|
|
31.76
|
3:47:02
|
3,840 x 1,744
|
18,865 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,157 kbps
|
|
Lay the Favorite (2012)
|
|
|
|
4.83
|
1:33:46
|
1,920 x 1,032
|
5,310 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,059 kbps
|
|
Layer Cake (2005)
|
|
|
|
4.53
|
1:45:35
|
1,920 x 796
|
4,843 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,301 kbps
|
|
Lazarus (2021)
|
|
|
|
1.51
|
1:45:39
|
1,920 x 816
|
1,654 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lazer Team (2016)
|
|
|
|
2.51
|
1:44:24
|
1,920 x 804
|
2,985 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Leap of Faith (1992)
|
|
|
|
6.12
|
1:47:59
|
1,912 x 1,080
|
7,472 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Leap Year (2010)
|
|
|
|
4.24
|
1:40:09
|
1,920 x 800
|
4,735 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,322 kbps
|
|
Leatherface: The Texas Chainsaw Massacre III (1990)
|
|
|
|
5.19
|
1:25:24
|
1,916 x 1,080
|
7,383 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,308 kbps
|
|
Leave It to Beaver (1997)
|
|
|
|
4.91
|
1:28:03
|
1,920 x 1,032
|
7,345 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Leave the World Behind (2023)
|
|
|
|
|
3.50
|
2:19:55
|
3,840 x 1,596
|
2,811 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Leaves of Grass (2009)
|
|
|
|
|
2.41
|
1:44:53
|
1,920 x 1,024
|
2,644 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Leaving Las Vegas (1996)
|
|
|
|
12.67
|
1:52:03
|
1,920 x 1,040
|
12,954 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,238 kbps
|
|
Leda (2021)
|
|
|
|
3.02
|
1:15:51
|
1,920 x 804
|
4,446 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,259 kbps
|
|
Left Behind (2014)
|
|
|
|
|
4.53
|
1:50:06
|
1,920 x 800
|
2,625 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,261 kbps
|
|
Left for Dead: The Ashley Reeves Story (2021)
|
|
|
|
1.82
|
1:27:26
|
1,920 x 1,080
|
2,746 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Legacy of Lies (2020)
|
|
|
|
|
3.52
|
1:41:38
|
1,920 x 800
|
1,702 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,258 kbps
|
|
Legal Eagles (1986)
|
|
|
|
13.82
|
1:55:37
|
1,920 x 808
|
16,643 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
474 kbps
|
|
Legally Blonde (2001)
|
|
|
|
5.95
|
1:36:01
|
1,920 x 816
|
5,434 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,443 kbps
|
|
Legally Blonde 2: Red, White and Blonde (2003)
|
|
|
|
6.15
|
1:34:37
|
1,920 x 1,040
|
6,006 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,303 kbps
|
|
Legally Blondes (2009)
|
|
|
|
3.55
|
1:25:54
|
1,920 x 1,080
|
5,695 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Legends of the Fall (1994)
|
|
|
|
12.44
|
2:12:50
|
1,920 x 1,040
|
10,268 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,139 kbps
|
|
Legion (2010)
|
|
|
|
5.97
|
1:40:08
|
1,920 x 800
|
6,260 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,270 kbps
|
|
Legion of Super-Heroes (2022)
|
|
|
|
|
2.18
|
1:23:23
|
3,840 x 2,156
|
2,707 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,039 kbps
|
|
Legionnaire (1998)
|
|
|
|
4.03
|
1:38:29
|
1,920 x 818
|
5,100 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
762 kbps
|
|
Lemon (2017)
|
|
|
|
1.34
|
1:22:45
|
1,920 x 802
|
1,927 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lemony Snicket's A Series of Unfortunate Events (2004)
|
|
|
|
|
|
6.17
|
1:47:58
|
1,920 x 1,080
|
5,014 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,162 kbps
|
|
Lena and Snowball (2021)
|
|
|
|
2.50
|
1:30:13
|
1,920 x 1,080
|
3,329 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lenny (1975)
|
|
|
|
12.23
|
1:51:23
|
1,920 x 1,040
|
15,138 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
584 kbps
|
|
Léon: The Professional (1994)
|
|
|
|
|
|
35.50
|
2:12:58
|
3,840 x 1,606
|
35,495 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,720 kbps
|
|
Leprechaun (1993)
|
|
|
|
4.66
|
1:31:26
|
1,920 x 1,080
|
6,695 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
603 kbps
|
|
Leprechaun 2 (1994)
|
|
|
|
4.33
|
1:25:24
|
1,920 x 1,080
|
6,551 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
707 kbps
|
|
Leprechaun 3 (1995)
|
|
|
|
4.50
|
1:33:17
|
1,920 x 1,078
|
5,424 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,477 kbps
|
|
Leprechaun 4: In Space (1997)
|
|
|
|
4.71
|
1:35:16
|
1,920 x 1,080
|
6,393 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
684 kbps
|
|
Leprechaun in the Hood (2000)
|
|
|
|
5.28
|
1:30:47
|
1,920 x 1,080
|
7,316 kbps
|
|
2.0
|
|
20 bits / 48 kHz
|
1,004 kbps
|
|
Leprechaun Returns (2018)
|
|
|
|
2.30
|
1:32:55
|
1,920 x 1,080
|
2,310 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,231 kbps
|
|
Leprechaun: Back 2 tha Hood (2003)
|
|
|
|
12.10
|
1:29:54
|
1,904 x 1,080
|
17,915 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,358 kbps
|
|
Leprechaun: Origins (2014)
|
|
|
|
4.03
|
1:30:12
|
1,920 x 1,072
|
3,323 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,063 kbps
|
|
Let Him Go (2020)
|
|
|
|
3.72
|
1:53:37
|
1,920 x 804
|
1,108 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,577 kbps
|
|
Let It Ride (1989)
|
|
|
|
7.71
|
1:30:13
|
1,920 x 1,080
|
9,075 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,157 kbps
|
|
Let It Snow (2019)
|
|
|
|
|
2.76
|
1:32:30
|
3,840 x 1,632
|
3,617 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Let It Snow (2020)
|
|
|
|
3.45
|
1:26:24
|
1,920 x 804
|
2,681 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,043 kbps
|
|
Let There Be Light (2017)
|
|
|
|
3.60
|
1:41:00
|
1,920 x 804
|
2,056 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,048 kbps
|
|
Let's Be Cops (2014)
|
|
|
|
|
5.41
|
1:44:28
|
1,920 x 1,036
|
4,350 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,068 kbps
|
|
Let's Get Physical (2022)
|
|
|
|
2.30
|
1:26:08
|
1,920 x 1,080
|
3,603 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Let's Go to Prison (2006)
|
|
|
|
4.38
|
1:29:26
|
1,920 x 1,080
|
6,363 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Let's Kill Grandpa This Christmas (2017)
|
|
|
|
1.83
|
1:19:59
|
1,920 x 1,080
|
3,042 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Let's Scare Julie (2020)
|
|
|
|
1.86
|
1:23:03
|
1,920 x 1,036
|
2,257 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
941 kbps
|
|
Lethal Weapon (1987)
|
|
|
|
7.45
|
1:49:37
|
1,920 x 1,080
|
8,207 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,521 kbps
|
|
Lethal Weapon 2 (1989)
|
|
|
|
4.59
|
1:54:27
|
1,920 x 800
|
4,339 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,398 kbps
|
|
Lethal Weapon 3 (1992)
|
|
|
|
5.87
|
1:57:51
|
1,920 x 792
|
5,596 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,536 kbps
|
|
Lethal Weapon 4 (1998)
|
|
|
|
5.27
|
2:07:24
|
1,920 x 800
|
4,318 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,598 kbps
|
|
Level 16 (2019)
|
|
|
|
1.13
|
1:42:08
|
1,920 x 804
|
656 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
930 kbps
|
|
Level Up (2016)
|
|
|
|
2.27
|
1:24:48
|
1,920 x 796
|
2,484 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,346 kbps
|
|
Leviathan (1989)
|
|
|
|
|
6.00
|
1:37:45
|
3,840 x 1,604
|
7,226 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,549 kbps
|
|
Liar Liar (1997)
|
|
|
|
6.81
|
1:26:20
|
1,920 x 1,040
|
7,629 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,658 kbps
|
|
Liberal Arts (2012)
|
|
|
|
2.77
|
1:37:17
|
1,920 x 816
|
3,181 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
893 kbps
|
|
Liberty Stands Still (2002)
|
|
|
|
16.65
|
1:36:25
|
1,912 x 1,080
|
24,076 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Licence to Kill (1989)
|
|
|
|
25.96
|
2:13:20
|
3,840 x 1,632
|
24,676 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,191 kbps
|
|
License to Drive (1988)
|
|
|
|
5.85
|
1:29:51
|
1,920 x 1,040
|
6,020 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,300 kbps
|
|
License to Wed (2007)
|
|
|
|
3.05
|
1:31:23
|
1,920 x 800
|
3,518 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,264 kbps
|
|
Licorice Pizza (2021)
|
|
|
|
|
6.15
|
2:13:27
|
3,840 x 1,596
|
6,210 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lies and Illusions (2009)
|
|
|
|
5.43
|
1:32:50
|
1,912 x 1,080
|
6,952 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,419 kbps
|
|
Life (2017)
|
|
|
|
|
|
18.94
|
1:43:58
|
3,840 x 1,608
|
22,909 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,171 kbps
|
|
Life After Beth (2014)
|
|
|
|
4.62
|
1:29:00
|
1,920 x 1,040
|
4,464 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,974 kbps
|
|
Life as a House (2001)
|
|
|
|
4.01
|
2:05:19
|
1,920 x 952
|
4,453 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
Life as We Know It (2010)
|
|
|
|
7.53
|
1:54:39
|
1,920 x 800
|
6,439 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,962 kbps
|
|
Life Is a Circus, Charlie Brown (1980)
|
|
|
|
1.63
|
24:11
|
2,880 x 2,160
|
9,280 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Life Itself (2018)
|
|
|
|
|
4.07
|
1:57:32
|
1,920 x 800
|
2,423 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,538 kbps
|
|
Life Like (2019)
|
|
|
|
1.56
|
1:35:19
|
1,920 x 804
|
1,197 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,149 kbps
|
|
Life of a King (2013)
|
|
|
|
4.86
|
1:41:28
|
1,920 x 1,080
|
5,437 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,413 kbps
|
|
Life of Crime (2014)
|
|
|
|
2.99
|
1:40:21
|
1,920 x 792
|
1,531 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,730 kbps
|
|
Life of Pi (2012)
|
|
|
|
|
|
|
17.49
|
2:07:09
|
3,840 x 2,076
|
15,697 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,989 kbps
|
|
Life of the Party (2018)
|
|
|
|
|
4.66
|
1:44:49
|
1,920 x 800
|
3,390 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,977 kbps
|
|
Life Partners (2014)
|
|
|
|
2.23
|
1:33:07
|
1,920 x 796
|
2,255 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,167 kbps
|
|
Life Stinks (1991)
|
|
|
|
4.54
|
1:32:06
|
1,920 x 1,036
|
6,510 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
541 kbps
|
|
Life with Mikey (1993)
|
|
|
|
5.17
|
1:31:29
|
1,920 x 1,032
|
7,605 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
484 kbps
|
|
Lifeforce (1985)
|
|
|
|
6.75
|
1:56:14
|
1,920 x 816
|
6,826 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,486 kbps
|
|
Lifemark (2022)
|
|
|
|
4.43
|
1:44:50
|
1,920 x 804
|
3,084 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,958 kbps
|
|
Light from Light (2019)
|
|
|
|
4.02
|
1:23:04
|
1,788 x 1,080
|
4,464 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,469 kbps
|
|
Light of My Life (2019)
|
|
|
|
3.51
|
1:59:54
|
1,792 x 1,080
|
1,594 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,598 kbps
|
|
Light Sleeper (1992)
|
|
|
|
4.96
|
1:43:21
|
1,920 x 1,040
|
6,197 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
Lights Out (2016)
|
|
|
|
|
4.51
|
1:20:55
|
3,840 x 1,600
|
5,091 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,874 kbps
|
|
Lightyear (2022)
|
|
|
|
|
5.00
|
1:45:05
|
3,840 x 1,608
|
5,309 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,499 kbps
|
|
Like a Boss (2020)
|
|
|
|
|
|
3.48
|
1:23:26
|
3,840 x 1,600
|
3,006 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,954 kbps
|
|
Like a House on Fire (2021)
|
|
|
|
2.03
|
1:24:45
|
1,800 x 1,080
|
2,783 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Like Crazy (2012)
|
|
|
|
3.00
|
1:30:03
|
1,920 x 1,080
|
2,147 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,614 kbps
|
|
Like Father (2018)
|
|
|
|
6.74
|
1:43:37
|
3,840 x 1,500
|
8,667 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Like Father Like Son (1987)
|
|
|
|
|
4.31
|
1:39:31
|
1,920 x 1,080
|
5,726 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
477 kbps
|
|
Like Love (2020)
|
|
|
|
1.64
|
1:22:49
|
1,920 x 1,040
|
2,199 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lila & Eve (2015)
|
|
|
|
2.41
|
1:33:57
|
1,920 x 1,036
|
2,686 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
979 kbps
|
|
Limitless (2011)
|
|
|
|
|
3.78
|
1:45:34
|
1,920 x 800
|
3,939 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,189 kbps
|
|
Linda Ronstadt: The Sound of My Voice (2019)
|
|
|
|
4.79
|
1:33:52
|
1,920 x 1,080
|
4,666 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,637 kbps
|
|
Line of Duty (2019)
|
|
|
|
4.69
|
1:39:35
|
1,920 x 804
|
3,469 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,265 kbps
|
|
Link (1986)
|
|
|
|
|
31.43
|
1:43:33
|
3,600 x 2,160
|
42,811 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
632 kbps
|
|
Linoleum (2022)
|
|
|
|
1.64
|
1:41:56
|
1,920 x 804
|
2,107 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lion of the Desert (1981)
|
|
|
|
|
30.41
|
2:43:12
|
3,840 x 1,632
|
23,311 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,358 kbps
|
|
Lionheart (1991)
|
|
|
|
11.59
|
1:45:09
|
1,920 x 1,040
|
14,438 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,344 kbps
|
|
Lipstick (1976)
|
|
|
|
6.40
|
1:29:12
|
1,920 x 1,032
|
9,985 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
279 kbps
|
|
Liquid Sky (1983)
|
|
|
|
5.95
|
1:52:50
|
1,920 x 1,036
|
6,259 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,285 kbps
|
|
Listening (2014)
|
|
|
|
3.64
|
1:37:29
|
1,920 x 804
|
4,285 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,058 kbps
|
|
Little (2019)
|
|
|
|
5.43
|
1:48:48
|
1,920 x 1,036
|
4,453 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,694 kbps
|
|
Little Big League (1994)
|
|
|
|
6.98
|
1:59:31
|
1,920 x 1,036
|
7,269 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,086 kbps
|
|
Little Boy (2015)
|
|
|
|
7.15
|
1:46:53
|
1,920 x 800
|
6,851 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,718 kbps
|
|
Little Buddha (1993)
|
|
|
|
11.81
|
2:20:38
|
1,920 x 956
|
8,160 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,865 kbps
|
|
Little Darlings (1980)
|
|
|
|
|
17.97
|
1:34:39
|
3,840 x 1,632
|
26,516 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
658 kbps
|
|
Little Dixie (2023)
|
|
|
|
|
5.07
|
1:45:19
|
3,840 x 1,920
|
6,246 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Little Evil (2017)
|
|
|
|
1.95
|
1:34:46
|
1,920 x 796
|
2,557 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Little Fish, Strange Pond (2009)
|
|
|
|
3.93
|
1:19:34
|
1,904 x 1,080
|
5,557 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,504 kbps
|
|
Little Fockers (2010)
|
|
|
|
|
5.42
|
1:37:48
|
1,920 x 1,040
|
5,290 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,647 kbps
|
|
Little Giants (1994)
|
|
|
|
4.54
|
1:46:02
|
1,908 x 1,080
|
5,487 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Little Italy (2018)
|
|
|
|
4.96
|
1:41:29
|
1,920 x 802
|
4,002 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
Little Joe (2019)
|
|
|
|
4.36
|
1:45:11
|
1,920 x 1,036
|
2,786 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,143 kbps
|
|
Little Man (2006)
|
|
|
|
6.21
|
1:37:40
|
1,920 x 1,040
|
7,811 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,289 kbps
|
|
Little Man Tate (1991)
|
|
|
|
3.76
|
1:39:29
|
1,916 x 1,040
|
4,904 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
506 kbps
|
|
Little Miss Sunshine (2006)
|
|
|
|
|
12.23
|
1:42:34
|
1,920 x 796
|
13,597 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,469 kbps
|
|
Little Monsters (1989)
|
|
|
|
5.78
|
1:41:34
|
1,920 x 1,060
|
6,732 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,416 kbps
|
|
Little Monsters (2019)
|
|
|
|
|
4.23
|
1:33:48
|
1,920 x 804
|
3,360 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,075 kbps
|
|
Little Nikita (1988)
|
|
|
|
9.15
|
1:36:56
|
1,920 x 1,064
|
12,931 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
575 kbps
|
|
Little Shop of Horrors (1986)
|
|
|
|
10.60
|
1:43:12
|
1,920 x 1,080
|
11,101 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,606 kbps
|
|
Little Sister (2016)
|
|
|
|
3.19
|
1:31:24
|
1,920 x 800
|
1,949 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,043 kbps
|
|
Little Women (1933)
|
|
|
|
9.30
|
1:55:56
|
1,472 x 1,080
|
10,968 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
513 kbps
|
|
Little Women (1949)
|
|
|
|
4.22
|
2:01:45
|
1,440 x 1,080
|
4,737 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Little Women (1994)
|
|
|
|
7.89
|
1:58:30
|
1,920 x 1,036
|
8,439 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,096 kbps
|
|
Little Women (2018)
|
|
|
|
2.42
|
1:52:19
|
1,920 x 1,072
|
2,699 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Little Women (2019)
|
|
|
|
4.54
|
2:14:54
|
1,920 x 1,036
|
3,618 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,194 kbps
|
|
Live and Let Die (1973)
|
|
|
|
20.40
|
2:01:33
|
3,840 x 2,076
|
20,988 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,034 kbps
|
|
Live by Night (2017)
|
|
|
|
3.36
|
2:08:52
|
1,920 x 800
|
1,774 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
1,959 kbps
|
|
Live Cargo (2016)
|
|
|
|
2.45
|
1:27:51
|
1,920 x 792
|
3,606 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Live Free or Die Hard (2007)
|
|
|
|
|
|
14.28
|
2:08:25
|
3,840 x 1,600
|
12,390 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,515 kbps
|
|
Live Wire (1992)
|
|
|
|
3.02
|
1:25:11
|
1,920 x 1,034
|
4,849 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Living with the Enemy (2005)
|
|
|
|
5.79
|
1:29:20
|
1,908 x 1,080
|
9,059 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Loaded Monday (2021)
|
|
|
|
1.44
|
1:30:40
|
1,920 x 1,080
|
2,045 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Local Color (2006)
|
|
|
|
4.52
|
1:47:19
|
1,920 x 790
|
4,557 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,472 kbps
|
|
Local Hero (1983)
|
|
|
|
9.94
|
1:51:38
|
1,920 x 1,076
|
11,761 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
991 kbps
|
|
Lock Up (1989)
|
|
|
|
|
54.13
|
1:48:41
|
3,840 x 2,076
|
67,874 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,411 kbps
|
|
Lock, Stock and Two Smoking Barrels (1998)
|
|
|
|
14.11
|
1:47:23
|
1,920 x 1,040
|
15,346 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,463 kbps
|
|
Locke (2014)
|
|
|
|
2.85
|
1:24:50
|
1,920 x 800
|
2,125 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,688 kbps
|
|
Locked Down (2021)
|
|
|
|
|
3.94
|
1:57:54
|
3,840 x 2,068
|
4,006 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Locked In (2021)
|
|
|
|
2.34
|
1:30:21
|
1,920 x 800
|
1,145 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,562 kbps
|
|
Logan (2017)
|
|
|
|
|
|
9.32
|
2:17:23
|
3,840 x 1,608
|
6,994 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,716 kbps
|
|
Logan Lucky (2017)
|
|
|
|
|
7.17
|
1:59:03
|
3,840 x 1,608
|
5,996 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,619 kbps
|
|
Logan's Run (1976)
|
|
|
|
|
6.50
|
1:58:32
|
1,920 x 800
|
6,270 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,578 kbps
|
|
London (2005)
|
|
|
|
1.67
|
1:32:30
|
1,920 x 808
|
1,944 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
London Has Fallen (2016)
|
|
|
|
|
|
6.06
|
1:39:16
|
3,840 x 1,608
|
5,631 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,095 kbps
|
|
London Kills Me (1991)
|
|
|
|
3.86
|
1:47:13
|
1,920 x 1,036
|
4,568 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
582 kbps
|
|
Lone Star (1996)
|
|
|
|
|
12.91
|
2:15:21
|
3,840 x 1,604
|
12,174 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,472 kbps
|
|
Lone Survivor (2014)
|
|
|
|
|
7.17
|
2:01:16
|
3,840 x 1,600
|
6,177 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,282 kbps
|
|
Lone Wolf (2021)
|
|
|
|
3.27
|
1:43:50
|
1,920 x 800
|
4,128 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lone Wolf McQuade (1983)
|
|
|
|
10.84
|
1:47:11
|
1,920 x 1,040
|
13,817 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
665 kbps
|
|
Lonestar Christmas (2020)
|
|
|
|
2.83
|
1:26:31
|
1,920 x 1,080
|
4,454 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Long Shot (2019)
|
|
|
|
|
6.46
|
2:04:57
|
3,840 x 1,608
|
4,955 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,440 kbps
|
|
Long Story Short (2021)
|
|
|
|
2.99
|
1:34:28
|
1,920 x 804
|
1,807 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,728 kbps
|
|
Look Again (2015)
|
|
|
|
2.14
|
1:33:10
|
1,920 x 1,078
|
3,068 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Look Both Ways (2022)
|
|
|
|
|
4.00
|
1:50:34
|
3,840 x 1,920
|
4,397 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Look Who's Talking (1989)
|
|
|
|
12.93
|
1:35:51
|
1,920 x 1,036
|
16,382 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,930 kbps
|
|
Look Who's Talking Now (1993)
|
|
|
|
5.07
|
1:35:08
|
1,920 x 1,076
|
7,399 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Look Who's Talking Too (1990)
|
|
|
|
6.71
|
1:20:39
|
1,916 x 1,080
|
11,682 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Looker (1981)
|
|
|
|
8.52
|
1:33:29
|
1,920 x 800
|
11,792 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,258 kbps
|
|
Looking Glass (2018)
|
|
|
|
3.36
|
1:43:39
|
1,920 x 1,080
|
3,580 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,062 kbps
|
|
Looks That Kill (2020)
|
|
|
|
|
2.80
|
1:32:39
|
1,920 x 804
|
1,401 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,928 kbps
|
|
Looney Tunes: Back in Action (2003)
|
|
|
|
5.06
|
1:31:39
|
1,920 x 798
|
4,739 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,162 kbps
|
|
Looper (2012)
|
|
|
|
|
29.81
|
1:58:38
|
3,840 x 1,604
|
34,554 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,416 kbps
|
|
Loophole (1986)
|
|
|
|
6.61
|
1:43:53
|
1,920 x 1,076
|
8,746 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
355 kbps
|
|
Loose Cannons (1990)
|
|
|
|
3.96
|
1:34:08
|
1,920 x 800
|
5,895 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
Lord of Illusions (1995)
|
|
|
|
4.87
|
2:01:34
|
1,920 x 1,040
|
4,287 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,451 kbps
|
|
Lord of the Flies (1990)
|
|
|
|
7.00
|
1:30:16
|
1,920 x 1,040
|
9,786 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,319 kbps
|
|
Lord of War (2005)
|
|
|
|
|
|
23.47
|
2:01:43
|
3,840 x 1,600
|
24,711 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,891 kbps
|
|
Loser (2000)
|
|
|
|
5.11
|
1:35:10
|
1,920 x 1,036
|
7,056 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
632 kbps
|
|
Losers Take All (2011)
|
|
|
|
2.51
|
1:35:35
|
1,920 x 1,072
|
3,114 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Losin' It (1983)
|
|
|
|
5.69
|
1:40:05
|
1,920 x 1,032
|
7,907 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
227 kbps
|
|
Lost & Found (1999)
|
|
|
|
3.98
|
1:39:49
|
1,912 x 1,080
|
5,059 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lost Angel (2022)
|
|
|
|
2.00
|
1:33:44
|
1,920 x 800
|
2,668 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lost City of the Jungle (1946)
|
|
|
|
4.64
|
4:01:06
|
1,482 x 1,080
|
2,454 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
300 kbps
|
|
Lost City Raiders (2008)
|
|
|
|
6.92
|
1:41:42
|
1,916 x 1,080
|
8,151 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,589 kbps
|
|
Lost Faith (1992)
|
|
|
|
0.43
|
1:25:31
|
352 x 240
|
583 kbps
|
|
1.0
|
|
12 bits / 24 kHz
|
129 kbps
|
|
Lost Girls & Love Hotels (2020)
|
|
|
|
4.16
|
1:36:57
|
1,920 x 1,036
|
3,706 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,442 kbps
|
|
Lost Girls (2020)
|
|
|
|
|
2.51
|
1:34:47
|
3,840 x 1,920
|
3,013 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Lost Highway (1997)
|
|
|
|
4.57
|
2:14:57
|
1,920 x 790
|
3,542 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,300 kbps
|
|
Lost Holiday (2019)
|
|
|
|
3.03
|
1:17:43
|
1,920 x 1,072
|
5,389 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lost in America (1985)
|
|
|
|
7.97
|
1:31:30
|
1,920 x 1,036
|
11,843 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
627 kbps
|
|
Lost in Space (1998)
|
|
|
|
6.92
|
2:10:14
|
1,920 x 800
|
3,982 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,627 kbps
|
|
Lost in the Sun (2015)
|
|
|
|
3.37
|
1:35:26
|
1,920 x 804
|
4,087 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
973 kbps
|
|
Lost in Translation (2003)
|
|
|
|
6.65
|
1:41:40
|
1,916 x 1,080
|
5,857 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,507 kbps
|
|
Lost in Yonkers (1993)
|
|
|
|
6.17
|
1:53:59
|
1,920 x 1,072
|
7,527 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Lost River (2015)
|
|
|
|
3.79
|
1:35:02
|
1,920 x 800
|
2,836 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,872 kbps
|
|
Lost Souls (2000)
|
|
|
|
6.52
|
1:37:53
|
1,920 x 816
|
9,150 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lost Treasure of Jesse James (2021)
|
|
|
|
2.85
|
1:39:00
|
1,920 x 1,080
|
3,899 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Lotawana (2022)
|
|
|
|
9.93
|
1:36:53
|
3,840 x 1,614
|
14,282 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Lou (2022)
|
|
|
|
|
6.71
|
1:47:35
|
3,840 x 1,608
|
8,136 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Louis C.K. at the Dolby (2023)
|
|
|
|
0.90
|
1:00:20
|
1,920 x 1,080
|
1,934 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Love & Mercy (2015)
|
|
|
|
|
9.85
|
2:01:35
|
1,920 x 1,080
|
9,105 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,495 kbps
|
|
Love & Other Drugs (2010)
|
|
|
|
6.76
|
1:52:21
|
1,920 x 1,040
|
6,072 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,537 kbps
|
|
Love Actually (2003)
|
|
|
|
|
25.72
|
2:14:57
|
3,840 x 1,608
|
25,689 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Love Again (2023)
|
|
|
|
|
9.27
|
1:44:22
|
3,840 x 2,072
|
11,544 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,171 kbps
|
|
Love and a .45 (1994)
|
|
|
|
13.67
|
1:42:02
|
1,920 x 1,080
|
15,619 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,555 kbps
|
|
Love and Monsters (2020)
|
|
|
|
|
10.03
|
1:48:52
|
3,840 x 1,604
|
9,497 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,683 kbps
|
|
Love and Other Disasters (2007)
|
|
|
|
3.94
|
1:30:30
|
1,920 x 1,024
|
5,008 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,218 kbps
|
|
Love at First Bite (1979)
|
|
|
|
5.17
|
1:36:04
|
1,920 x 1,040
|
7,378 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
324 kbps
|
|
Love Field (1993)
|
|
|
|
5.76
|
1:44:42
|
1,920 x 1,038
|
7,316 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
563 kbps
|
|
Love Hard (2021)
|
|
|
|
|
1.85
|
1:44:55
|
1,920 x 952
|
1,734 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Love Potion No. 9 (1992)
|
|
|
|
6.63
|
1:36:34
|
1,904 x 1,080
|
9,640 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Love Shot (2018)
|
|
|
|
2.48
|
1:17:35
|
1,920 x 1,036
|
1,786 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,786 kbps
|
|
Love Slaves of the Amazon (1957)
|
|
|
|
6.61
|
1:21:12
|
1,920 x 952
|
11,155 kbps
|
|
1.0
|
|
19 bits / 48 kHz
|
493 kbps
|
|
Love Story (1970)
|
|
|
|
12.25
|
1:40:17
|
1,920 x 1,036
|
15,377 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,106 kbps
|
|
Love the Coopers (2015)
|
|
|
|
4.13
|
1:47:13
|
1,920 x 800
|
2,635 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,879 kbps
|
|
Love with the Proper Stranger (1963)
|
|
|
|
7.58
|
1:40:19
|
1,920 x 1,040
|
10,525 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
291 kbps
|
|
Love's Kitchen (2011)
|
|
|
|
7.29
|
1:29:59
|
1,904 x 1,080
|
10,465 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,137 kbps
|
|
Love, Game, Match (2022)
|
|
|
|
2.82
|
1:30:39
|
1,920 x 1,080
|
3,808 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Love, Rosie (2014)
|
|
|
|
6.61
|
1:42:57
|
1,920 x 816
|
8,033 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,157 kbps
|
|
Lovelace (2013)
|
|
|
|
12.34
|
1:32:48
|
1,920 x 1,040
|
15,450 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,589 kbps
|
|
Lovers Lane (1999)
|
|
|
|
14.44
|
1:29:06
|
1,920 x 1,036
|
22,561 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
633 kbps
|
|
Lovewrecked (2006)
|
|
|
|
5.04
|
1:26:35
|
1,920 x 1,034
|
6,648 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,683 kbps
|
|
Loving (2016)
|
|
|
|
4.76
|
2:03:25
|
1,920 x 800
|
2,801 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,719 kbps
|
|
Low Tide (2019)
|
|
|
|
|
2.24
|
1:25:55
|
3,840 x 1,596
|
3,091 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Lowriders (2016)
|
|
|
|
4.18
|
1:38:11
|
1,920 x 788
|
3,137 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,962 kbps
|
|
Luca (2021)
|
|
|
|
|
9.22
|
1:35:15
|
3,840 x 2,076
|
11,412 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,433 kbps
|
|
Lucas (1986)
|
|
|
|
7.03
|
1:39:37
|
1,920 x 1,036
|
8,691 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,416 kbps
|
|
Luckiest Girl Alive (2022)
|
|
|
|
|
4.95
|
1:53:04
|
3,840 x 1,604
|
5,481 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Lucky (2017)
|
|
|
|
3.09
|
1:28:18
|
1,920 x 798
|
2,098 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,905 kbps
|
|
Lucky Day (2019)
|
|
|
|
5.27
|
1:39:15
|
3,840 x 1,588
|
4,755 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,846 kbps
|
|
Lucky in Love (2014)
|
|
|
|
2.00
|
1:26:37
|
1,920 x 1,080
|
3,080 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Lucky Number Slevin (2006)
|
|
|
|
|
5.94
|
1:49:51
|
1,920 x 800
|
5,059 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,675 kbps
|
|
Lucy (2014)
|
|
|
|
|
|
7.48
|
1:29:29
|
3,840 x 1,600
|
8,848 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,120 kbps
|
|
Lucy in the Sky (2019)
|
|
|
|
|
|
2.71
|
2:05:00
|
3,840 x 2,076
|
2,844 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Lurking Fear (1994)
|
|
|
|
3.77
|
1:17:07
|
1,920 x 1,080
|
6,303 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
686 kbps
|
|
LX 2048 (2020)
|
|
|
|
1.37
|
1:43:29
|
1,920 x 796
|
1,071 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
825 kbps
|
|
Lying and Stealing (2019)
|
|
|
|
3.22
|
1:40:15
|
1,920 x 800
|
1,421 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,180 kbps
|
|
Lyle, Lyle, Crocodile (2022)
|
|
|
|
|
4.46
|
1:46:38
|
3,840 x 1,608
|
3,172 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,813 kbps
|
|
M*A*S*H (1970)
|
|
|
|
6.07
|
1:55:55
|
1,920 x 816
|
4,907 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,593 kbps
|
|
M.F.A. (2017)
|
|
|
|
2.33
|
1:32:06
|
1,920 x 1,036
|
2,872 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
753 kbps
|
|
M3GAN (2022)
|
|
|
|
|
4.35
|
1:41:51
|
3,840 x 1,608
|
4,813 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,302 kbps
|
|
Ma (2019)
|
|
|
|
|
6.62
|
1:39:21
|
3,840 x 1,608
|
6,765 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,768 kbps
|
|
Mac and Me (1988)
|
|
|
|
6.81
|
1:39:21
|
1,920 x 1,040
|
9,205 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
599 kbps
|
|
Macabre (1980)
|
|
|
|
5.35
|
1:29:48
|
1,920 x 1,036
|
8,325 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
211 kbps
|
|
MacGruber (2010)
|
|
|
|
|
3.78
|
1:34:54
|
1,920 x 800
|
2,393 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,307 kbps
|
|
Mad About Mambo (2000)
|
|
|
|
3.24
|
1:32:22
|
1,920 x 1,040
|
4,821 kbps
|
|
5.1
|
|
48 kHz
|
192 kbps
|
|
Mad City (1997)
|
|
|
|
6.41
|
1:54:45
|
1,920 x 816
|
6,935 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,060 kbps
|
|
Mad Dog Time (1996)
|
|
|
|
2.87
|
1:32:54
|
1,920 x 1,038
|
3,114 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,308 kbps
|
|
Mad Heidi (2022)
|
|
|
|
|
31.63
|
1:33:06
|
3,840 x 1,704
|
47,289 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,346 kbps
|
|
Mad Max (1980)
|
|
|
|
|
36.39
|
1:33:11
|
3,840 x 1,632
|
52,493 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,419 kbps
|
|
Mad Max 2: The Road Warrior (1982)
|
|
|
|
|
9.98
|
1:35:29
|
3,840 x 1,608
|
13,217 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,744 kbps
|
|
Mad Max Beyond Thunderdome (1985)
|
|
|
|
|
11.56
|
1:46:55
|
3,840 x 1,608
|
13,635 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,833 kbps
|
|
Mad Max: Fury Road (2015)
|
|
|
|
|
14.33
|
2:00:21
|
3,840 x 1,600
|
13,559 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,484 kbps
|
|
Mad Money (2008)
|
|
|
|
5.98
|
1:44:00
|
1,920 x 798
|
5,170 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,056 kbps
|
|
Madagascar (2005)
|
|
|
|
4.90
|
1:25:58
|
1,920 x 1,080
|
5,005 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,152 kbps
|
|
Madagascar 3: Europe's Most Wanted (2012)
|
|
|
|
6.78
|
1:33:24
|
1,920 x 1,080
|
5,991 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,402 kbps
|
|
Madagascar: Escape 2 Africa (2008)
|
|
|
|
4.92
|
1:29:24
|
1,920 x 1,080
|
4,718 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,159 kbps
|
|
Madame Web (2024)
|
|
|
|
|
4.32
|
1:56:11
|
3,840 x 1,606
|
4,552 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Made (2001)
|
|
|
|
6.87
|
1:34:42
|
1,920 x 1,080
|
7,213 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,176 kbps
|
|
Made in America (1993)
|
|
|
|
5.45
|
1:50:22
|
1,920 x 1,040
|
6,876 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Made of Honor (2008)
|
|
|
|
5.22
|
1:41:33
|
1,920 x 800
|
4,360 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,997 kbps
|
|
Madhouse (1990)
|
|
|
|
5.67
|
1:30:18
|
1,920 x 1,040
|
7,555 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,432 kbps
|
|
Maestro (2023)
|
|
|
|
|
21.01
|
2:11:14
|
3,840 x 2,160
|
22,150 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Mafia Mamma (2023)
|
|
|
|
4.64
|
1:41:10
|
1,920 x 1,028
|
3,381 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,180 kbps
|
|
Magellan (2017)
|
|
|
|
2.33
|
1:41:15
|
1,920 x 1,078
|
1,989 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,304 kbps
|
|
Maggie (2015)
|
|
|
|
7.37
|
1:35:04
|
1,920 x 800
|
8,095 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
Maggie Simpson in "Playdate with Destiny" (2020)
|
|
|
|
|
0.38
|
05:11
|
3,840 x 2,068
|
9,640 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Magic Max (2020)
|
|
|
|
3.04
|
1:37:59
|
1,920 x 1,080
|
3,796 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Magical Mystery Tour (1967)
|
|
|
|
4.37
|
53:32
|
1,432 x 1,080
|
4,491 kbps
|
|
5.1
|
|
24 bits / 96 kHz
|
7,201 kbps
|
|
Magnum Force (1973)
|
|
|
|
|
8.13
|
2:02:34
|
1,920 x 800
|
8,277 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,220 kbps
|
|
Maid in Manhattan (2002)
|
|
|
|
5.02
|
1:45:17
|
1,920 x 800
|
5,739 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,085 kbps
|
|
Major League (1989)
|
|
|
|
|
15.06
|
1:46:36
|
3,840 x 2,076
|
16,720 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,495 kbps
|
|
Major League: Back to the Minors (1998)
|
|
|
|
5.24
|
1:39:37
|
1,920 x 1,036
|
6,349 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,185 kbps
|
|
Major Payne (1995)
|
|
|
|
11.58
|
1:36:59
|
1,920 x 1,036
|
13,467 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,624 kbps
|
|
Making Sense (2021)
|
|
|
|
3.75
|
1:24:07
|
1,920 x 1,036
|
6,164 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Making the Rules (2014)
|
|
|
|
3.09
|
1:17:51
|
1,920 x 1,068
|
5,303 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Malcolm (1986)
|
|
|
|
6.16
|
1:25:36
|
1,920 x 1,036
|
9,577 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
721 kbps
|
|
Maleficent (2014)
|
|
|
|
|
|
6.49
|
1:37:28
|
3,840 x 1,600
|
7,984 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,537 kbps
|
|
Maleficent: Mistress of Evil (2019)
|
|
|
|
|
7.43
|
1:58:51
|
3,840 x 1,606
|
7,145 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,801 kbps
|
|
Malibu Express (1985)
|
|
|
|
8.64
|
1:41:04
|
1,920 x 1,080
|
11,906 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
337 kbps
|
|
Malibu High (1979)
|
|
|
|
8.14
|
1:30:12
|
1,920 x 1,036
|
11,513 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,408 kbps
|
|
Mallrats (1995)
|
|
|
|
|
45.01
|
2:01:50
|
3,840 x 2,076
|
49,388 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,495 kbps
|
|
Malone (1987)
|
|
|
|
10.14
|
1:31:48
|
1,920 x 1,032
|
14,465 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,342 kbps
|
|
Man About Town (2006)
|
|
|
|
2.88
|
1:38:44
|
1,920 x 814
|
3,731 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Man of La Mancha (1972)
|
|
|
|
6.49
|
2:09:03
|
1,920 x 1,040
|
6,666 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
530 kbps
|
|
Man of Steel (2013)
|
|
|
|
|
|
30.98
|
2:23:00
|
3,840 x 1,600
|
26,325 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,687 kbps
|
|
Man of the House (1995)
|
|
|
|
4.62
|
1:36:50
|
1,920 x 1,064
|
6,191 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Man of the House (2005)
|
|
|
|
2.76
|
1:39:56
|
1,920 x 800
|
3,312 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Man of the Year (2006)
|
|
|
|
3.01
|
1:55:19
|
1,920 x 816
|
3,099 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Man on a Ledge (2012)
|
|
|
|
|
|
18.52
|
1:42:23
|
3,840 x 1,600
|
23,226 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,665 kbps
|
|
Man on Fire (1987)
|
|
|
|
4.89
|
1:32:22
|
1,920 x 1,080
|
7,004 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
572 kbps
|
|
Man on Fire (2004)
|
|
|
|
14.98
|
2:26:08
|
1,920 x 804
|
11,296 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,378 kbps
|
|
Man on the Moon (1999)
|
|
|
|
10.51
|
1:58:33
|
1,920 x 800
|
9,495 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,194 kbps
|
|
Man Up (2015)
|
|
|
|
4.79
|
1:27:55
|
1,920 x 796
|
4,480 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,321 kbps
|
|
Man's Best Friend (1993)
|
|
|
|
5.30
|
1:27:05
|
1,920 x 1,036
|
7,481 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
Man-Thing (2005)
|
|
|
|
3.68
|
1:37:00
|
1,912 x 1,080
|
4,788 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mandy (2018)
|
|
|
|
5.72
|
2:06:15
|
1,920 x 804
|
3,621 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,868 kbps
|
|
Manglehorn (2015)
|
|
|
|
4.19
|
1:37:26
|
1,920 x 804
|
3,297 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,858 kbps
|
|
Manhattan Baby (1982)
|
|
|
|
4.73
|
1:28:58
|
1,920 x 800
|
5,237 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,373 kbps
|
|
Manhunter (1986)
|
|
|
|
9.42
|
2:04:19
|
1,920 x 806
|
7,529 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,317 kbps
|
|
Maniac (1980)
|
|
|
|
|
28.28
|
1:28:29
|
3,840 x 2,076
|
42,958 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,795 kbps
|
|
Maniac (2013)
|
|
|
|
|
6.88
|
1:28:53
|
3,840 x 1,600
|
9,931 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,142 kbps
|
|
Maniac Cop (1988)
|
|
|
|
7.51
|
1:24:57
|
1,920 x 1,040
|
12,071 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
591 kbps
|
|
Maniac Cop 2 (1990)
|
|
|
|
|
48.49
|
1:27:24
|
3,840 x 2,076
|
76,327 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,095 kbps
|
|
Maniac Cop 3: Badge of Silence (1992)
|
|
|
|
|
34.74
|
1:24:44
|
3,840 x 1,604
|
55,760 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,929 kbps
|
|
Manipulated (2021)
|
|
|
|
1.87
|
1:32:11
|
1,920 x 1,076
|
2,258 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mannequin (1987)
|
|
|
|
6.40
|
1:30:02
|
1,920 x 1,036
|
8,868 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,301 kbps
|
|
Mannequin Two: On the Move (1991)
|
|
|
|
7.64
|
1:35:04
|
1,920 x 1,040
|
10,068 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,436 kbps
|
|
Maps to the Stars (2015)
|
|
|
|
2.08
|
1:51:59
|
1,920 x 1,040
|
1,907 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
756 kbps
|
|
Mara (2018)
|
|
|
|
1.54
|
1:39:05
|
1,920 x 798
|
1,166 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,060 kbps
|
|
Marathon Man (1976)
|
|
|
|
|
38.11
|
2:05:23
|
3,840 x 2,076
|
41,223 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
Marauders (2016)
|
|
|
|
4.42
|
1:47:07
|
1,920 x 804
|
2,713 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,195 kbps
|
|
Margaret (2012)
|
|
|
|
6.74
|
2:29:53
|
1,920 x 1,036
|
4,138 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,302 kbps
|
|
Margin Call (2011)
|
|
|
|
3.21
|
1:47:03
|
1,912 x 1,080
|
1,870 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,401 kbps
|
|
Mariah Carey: Live at the Tokyo Dome (1996)
|
|
|
|
3.55
|
1:24:10
|
1,920 x 1,026
|
5,161 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
865 kbps
|
|
Marked for Death (1990)
|
|
|
|
|
7.28
|
1:33:19
|
1,920 x 812
|
7,285 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,877 kbps
|
|
Marley & Me (2008)
|
|
|
|
7.07
|
1:55:35
|
1,920 x 816
|
7,379 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,379 kbps
|
|
Marley (2012)
|
|
|
|
10.20
|
2:25:06
|
1,920 x 1,080
|
8,998 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,061 kbps
|
|
Marlowe (2022)
|
|
|
|
|
5.16
|
1:49:00
|
3,840 x 1,600
|
3,882 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,892 kbps
|
|
Marnie (1964)
|
|
|
|
|
35.90
|
2:10:25
|
3,840 x 2,076
|
38,787 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
617 kbps
|
|
Marriage Story (2019)
|
|
|
|
|
15.91
|
2:16:31
|
3,600 x 2,160
|
14,104 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,577 kbps
|
|
Married to the Mob (1988)
|
|
|
|
8.17
|
1:44:05
|
1,920 x 1,040
|
9,736 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,498 kbps
|
|
Marrowbone (2018)
|
|
|
|
|
5.30
|
1:50:16
|
3,840 x 1,600
|
4,468 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,401 kbps
|
|
Marrying Father Christmas (2018)
|
|
|
|
1.99
|
1:26:35
|
1,920 x 1,080
|
3,070 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Martha Marcy May Marlene (2011)
|
|
|
|
3.56
|
1:41:55
|
1,920 x 800
|
2,509 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,493 kbps
|
|
Martial Law (1991)
|
|
|
|
7.79
|
1:29:05
|
1,920 x 1,036
|
11,093 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,426 kbps
|
|
Martial Law II: Undercover (1992)
|
|
|
|
9.36
|
1:31:32
|
1,920 x 1,036
|
13,209 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,428 kbps
|
|
Martin (1977)
|
|
|
|
|
16.99
|
1:34:44
|
2,960 x 2,160
|
24,329 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,345 kbps
|
|
Marvin's Room (1996)
|
|
|
|
6.26
|
1:38:23
|
1,920 x 1,080
|
8,070 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,031 kbps
|
|
Mary 4 Mayor (2020)
|
|
|
|
3.63
|
1:36:34
|
1,920 x 1,080
|
4,733 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mary Christmas (2002)
|
|
|
|
3.67
|
1:29:07
|
1,904 x 1,080
|
5,663 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Mary Poppins Returns (2018)
|
|
|
|
|
13.06
|
2:10:29
|
3,840 x 1,608
|
12,827 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,499 kbps
|
|
Mary Queen of Scots (2018)
|
|
|
|
|
7.99
|
2:03:54
|
3,840 x 1,604
|
6,659 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,567 kbps
|
|
Mary Shelley (2017)
|
|
|
|
3.65
|
2:00:44
|
1,920 x 804
|
1,537 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,789 kbps
|
|
Mask (1985)
|
|
|
|
|
6.00
|
2:00:06
|
1,920 x 1,040
|
6,860 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
293 kbps
|
|
Masquerade (1988)
|
|
|
|
7.85
|
1:31:27
|
1,920 x 1,032
|
11,689 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
606 kbps
|
|
Masquerade (2021)
|
|
|
|
1.42
|
1:20:21
|
1,920 x 960
|
1,402 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,126 kbps
|
|
Mass (2021)
|
|
|
|
3.41
|
1:51:21
|
1,920 x 936
|
1,813 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,568 kbps
|
|
Master and Commander: The Far Side of the World (2003)
|
|
|
|
7.00
|
2:18:20
|
1,920 x 800
|
3,683 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,560 kbps
|
|
Masterminds (2016)
|
|
|
|
|
4.53
|
1:34:39
|
1,920 x 1,080
|
3,533 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,314 kbps
|
|
Masters of the Universe (1987)
|
|
|
|
11.18
|
1:45:43
|
1,920 x 1,080
|
14,436 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
698 kbps
|
|
Matangi/Maya/M.I.A. (2018)
|
|
|
|
6.89
|
1:36:26
|
1,920 x 1,080
|
7,681 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,546 kbps
|
|
Match Point (2006)
|
|
|
|
3.10
|
2:03:59
|
1,920 x 1,028
|
3,319 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
262 kbps
|
|
Matchmaker Christmas (2019)
|
|
|
|
2.40
|
1:27:31
|
1,920 x 1,080
|
3,286 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Matchstick Men (2003)
|
|
|
|
4.47
|
1:56:08
|
1,920 x 800
|
4,256 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,255 kbps
|
|
Matilda (1996)
|
|
|
|
|
|
10.39
|
1:38:09
|
3,840 x 1,604
|
12,134 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Maudie (2016)
|
|
|
|
|
3.96
|
1:55:56
|
1,920 x 1,036
|
2,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,852 kbps
|
|
Maverick (1994)
|
|
|
|
4.78
|
2:06:36
|
1,920 x 800
|
4,037 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,372 kbps
|
|
Max Payne (2008)
|
|
|
|
5.77
|
1:42:59
|
1,920 x 796
|
4,548 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,478 kbps
|
|
Max Reload and the Nether Blasters (2021)
|
|
|
|
2.52
|
1:40:51
|
1,920 x 800
|
2,980 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
596 kbps
|
|
Max Steel (2016)
|
|
|
|
3.29
|
1:32:12
|
1,920 x 800
|
1,893 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,220 kbps
|
|
Maximum Overdrive (1986)
|
|
|
|
3.69
|
1:38:28
|
1,920 x 814
|
4,013 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,344 kbps
|
|
Maximum Ride (2016)
|
|
|
|
2.03
|
1:28:15
|
1,920 x 1,076
|
2,900 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Maximum Risk (1996)
|
|
|
|
4.36
|
1:40:35
|
1,920 x 800
|
4,496 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,703 kbps
|
|
Maximum Truth (2023)
|
|
|
|
|
7.14
|
1:26:25
|
3,840 x 1,912
|
11,194 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mayday (2021)
|
|
|
|
5.43
|
1:39:40
|
1,920 x 804
|
6,755 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,042 kbps
|
|
Mayhem (2017)
|
|
|
|
8.98
|
1:27:33
|
3,840 x 1,604
|
13,365 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,312 kbps
|
|
Maze Runner: The Death Cure (2018)
|
|
|
|
|
17.29
|
2:23:53
|
3,840 x 1,600
|
14,220 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,974 kbps
|
|
Maze Runner: The Scorch Trials (2015)
|
|
|
|
|
12.14
|
2:11:43
|
3,840 x 1,600
|
8,787 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,400 kbps
|
|
McCanick (2014)
|
|
|
|
1.54
|
1:36:21
|
1,920 x 800
|
1,325 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
966 kbps
|
|
McHale's Navy (1964)
|
|
|
|
9.53
|
1:32:55
|
1,920 x 1,040
|
14,374 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
305 kbps
|
|
McHale's Navy (1997)
|
|
|
|
3.76
|
1:48:48
|
1,920 x 1,040
|
4,305 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
McHale's Navy Joins the Air Force (1965)
|
|
|
|
7.69
|
1:30:16
|
1,920 x 1,040
|
11,895 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
295 kbps
|
|
Me and Earl and the Dying Girl (2015)
|
|
|
|
|
8.21
|
1:45:12
|
3,840 x 1,600
|
9,718 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,449 kbps
|
|
Me and My Pal (1933)
|
|
|
|
0.46
|
20:30
|
1,418 x 1,080
|
3,021 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
206 kbps
|
|
Me Before You (2016)
|
|
|
|
|
4.69
|
1:50:14
|
3,840 x 1,600
|
3,166 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,916 kbps
|
|
Me Myself & I (1992)
|
|
|
|
3.48
|
1:37:07
|
1,920 x 1,080
|
4,909 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Me Time (2022)
|
|
|
|
|
|
6.97
|
1:42:09
|
3,840 x 1,604
|
8,980 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Me You Madness (2021)
|
|
|
|
1.87
|
1:38:04
|
1,920 x 798
|
2,337 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Me, Myself & Irene (2000)
|
|
|
|
|
7.39
|
1:56:34
|
1,920 x 1,036
|
5,420 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,653 kbps
|
|
Meadowland (2015)
|
|
|
|
2.15
|
1:35:04
|
1,920 x 1,080
|
2,589 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Mean Creek (2004)
|
|
|
|
2.88
|
1:29:45
|
1,920 x 1,072
|
4,215 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Mean Girls (2004)
|
|
|
|
|
8.09
|
1:36:54
|
1,920 x 1,080
|
8,552 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,395 kbps
|
|
Mean Girls (2024)
|
|
|
|
|
7.37
|
1:52:13
|
3,840 x 2,074
|
8,622 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Mean Girls 2 (2011)
|
|
|
|
1.79
|
1:36:57
|
1,280 x 718
|
2,485 kbps
|
|
2.0
|
|
48 kHz
|
157 kbps
|
|
Mean Guns (1997)
|
|
|
|
3.77
|
1:50:21
|
1,920 x 1,080
|
3,503 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,385 kbps
|
|
Meatballs (1979)
|
|
|
|
8.24
|
1:33:44
|
1,920 x 1,078
|
11,232 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,351 kbps
|
|
Medicine Man (1992)
|
|
|
|
4.17
|
1:45:17
|
1,920 x 800
|
5,441 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Meet Cute (2022)
|
|
|
|
5.06
|
1:29:40
|
1,920 x 956
|
5,200 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,880 kbps
|
|
Meet Dave (2008)
|
|
|
|
|
6.57
|
1:30:24
|
1,920 x 1,038
|
7,030 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,371 kbps
|
|
Meet Joe Black (1998)
|
|
|
|
13.81
|
3:00:33
|
1,920 x 1,040
|
8,128 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,817 kbps
|
|
Meet the Fockers (2004)
|
|
|
|
|
11.93
|
1:55:16
|
1,920 x 1,040
|
11,356 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,457 kbps
|
|
Meet the Parents (2000)
|
|
|
|
|
3.90
|
1:47:43
|
1,920 x 1,040
|
4,085 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,096 kbps
|
|
Meet the Santas (2005)
|
|
|
|
9.67
|
1:27:54
|
1,904 x 1,080
|
15,517 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Meg 2: The Trench (2023)
|
|
|
|
|
6.42
|
1:55:41
|
3,840 x 1,608
|
6,502 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,442 kbps
|
|
Megaforce (1982)
|
|
|
|
4.22
|
1:39:04
|
1,920 x 1,072
|
4,715 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,379 kbps
|
|
Megamind (2010)
|
|
|
|
3.82
|
1:35:35
|
1,920 x 800
|
3,393 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,330 kbps
|
|
Mel (1998)
|
|
|
|
8.97
|
1:32:16
|
1,920 x 1,080
|
13,698 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Melrose (2020)
|
|
|
|
2.90
|
1:45:13
|
1,920 x 796
|
3,560 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Melvin and Howard (1980)
|
|
|
|
4.46
|
1:34:42
|
1,920 x 1,042
|
6,433 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
308 kbps
|
|
Memento (2001)
|
|
|
|
5.69
|
1:53:27
|
1,920 x 818
|
3,747 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,436 kbps
|
|
Memoirs of a Geisha (2005)
|
|
|
|
4.20
|
2:25:09
|
1,920 x 800
|
2,768 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,371 kbps
|
|
Memoirs of an Invisible Man (1992)
|
|
|
|
|
5.60
|
1:39:06
|
1,920 x 816
|
6,657 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,424 kbps
|
|
Memoria (2021)
|
|
|
|
|
6.33
|
2:15:49
|
1,920 x 1,036
|
5,596 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,076 kbps
|
|
Memories of Me (1988)
|
|
|
|
11.68
|
1:43:22
|
1,920 x 1,040
|
15,896 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
272 kbps
|
|
Memory (2022)
|
|
|
|
|
|
|
6.23
|
1:53:39
|
3,840 x 1,608
|
4,972 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,871 kbps
|
|
Men (2022)
|
|
|
|
|
4.86
|
1:40:10
|
3,840 x 2,076
|
4,633 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,306 kbps
|
|
Men at Work (1990)
|
|
|
|
5.12
|
1:38:43
|
1,920 x 1,040
|
6,744 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
675 kbps
|
|
Men Don't Leave (1990)
|
|
|
|
3.87
|
1:54:23
|
1,912 x 1,080
|
4,617 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Men in Black (1997)
|
|
|
|
|
|
23.33
|
1:37:58
|
3,840 x 2,076
|
30,787 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,306 kbps
|
|
Men in Black 3 (2012)
|
|
|
|
|
|
16.03
|
1:45:49
|
3,840 x 2,076
|
18,955 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,726 kbps
|
|
Men in Black II (2002)
|
|
|
|
|
|
21.60
|
1:28:08
|
3,840 x 2,076
|
31,558 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,524 kbps
|
|
Men in Black: International (2019)
|
|
|
|
|
8.11
|
1:54:50
|
3,840 x 1,916
|
8,445 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,655 kbps
|
|
Men of Honor (2000)
|
|
|
|
6.51
|
2:08:48
|
1,920 x 814
|
3,901 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,335 kbps
|
|
Men, Women & Children (2014)
|
|
|
|
3.06
|
1:59:27
|
1,920 x 1,080
|
1,651 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,013 kbps
|
|
Mental (2013)
|
|
|
|
4.91
|
1:55:16
|
1,920 x 800
|
3,127 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,964 kbps
|
|
Mercenery for Justice (2006)
|
|
|
|
8.95
|
1:36:24
|
1,920 x 1,080
|
12,653 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Mercury Rising (1998)
|
|
|
|
|
5.54
|
1:51:27
|
1,920 x 808
|
3,529 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,591 kbps
|
|
Mercy (2023)
|
|
|
|
1.33
|
1:25:06
|
1,920 x 800
|
1,593 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Meridian (2016)
|
|
|
|
|
|
1.13
|
11:59
|
3,840 x 2,160
|
10,005 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,457 kbps
|
|
Mermaids (1990)
|
|
|
|
5.39
|
1:50:12
|
1,920 x 1,040
|
5,623 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,380 kbps
|
|
Message from the King (2016)
|
|
|
|
5.26
|
1:42:40
|
1,920 x 804
|
6,452 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
874 kbps
|
|
Message in a Bottle (1999)
|
|
|
|
5.46
|
2:10:52
|
1,920 x 814
|
4,933 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,043 kbps
|
|
Meteor (1979)
|
|
|
|
8.04
|
1:47:15
|
1,920 x 810
|
10,482 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
253 kbps
|
|
Meteor Moon (2020)
|
|
|
|
3.48
|
1:28:27
|
1,920 x 800
|
2,290 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,337 kbps
|
|
Method to the Madness of Jerry Lewis (2011)
|
|
|
|
6.68
|
1:56:08
|
1,920 x 1,080
|
7,595 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Miami Blues (1990)
|
|
|
|
8.10
|
1:36:53
|
1,920 x 1,036
|
10,580 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,383 kbps
|
|
Miami Connection (1987)
|
|
|
|
|
27.24
|
1:26:42
|
3,840 x 2,076
|
43,395 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,586 kbps
|
|
Miami Heat (2021)
|
|
|
|
2.26
|
1:25:09
|
1,920 x 810
|
3,567 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Miami Rhapsody (1995)
|
|
|
|
5.21
|
1:35:17
|
1,920 x 1,036
|
7,083 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
737 kbps
|
|
Miami Supercops (1985)
|
|
|
|
9.66
|
1:36:59
|
1,916 x 1,080
|
13,785 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
467 kbps
|
|
Miami Vice (2006)
|
|
|
|
20.99
|
2:19:13
|
1,920 x 800
|
18,495 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,094 kbps
|
|
Mickey Blue Eyes (1999)
|
|
|
|
3.59
|
1:42:19
|
1,916 x 1,080
|
4,380 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mickey's Christmas Carol (1983)
|
|
|
|
|
1.02
|
25:42
|
1,920 x 1,080
|
5,370 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Mickey's Once Upon a Christmas (1999)
|
|
|
|
3.31
|
1:05:45
|
1,920 x 1,080
|
3,600 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,612 kbps
|
|
Mickey's Twice Upon a Christmas (2004)
|
|
|
|
3.25
|
1:07:17
|
1,920 x 1,080
|
3,337 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,569 kbps
|
|
Microsoft Windows 95 Video Guide (1995)
|
|
|
|
0.32
|
56:45
|
320 x 240
|
382 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
408 kbps
|
|
Middle of Nowhere (2008)
|
|
|
|
8.61
|
1:35:31
|
1,920 x 1,028
|
11,646 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,255 kbps
|
|
Middle School: The Worst Years of My Life (2016)
|
|
|
|
4.06
|
1:31:49
|
1,920 x 800
|
3,028 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,304 kbps
|
|
Midnight Cowboy (1969)
|
|
|
|
20.62
|
1:53:19
|
1,920 x 1,036
|
23,222 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,825 kbps
|
|
Midnight Crossing (1989)
|
|
|
|
4.06
|
1:36:46
|
1,920 x 1,040
|
5,781 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Midnight Express (1978)
|
|
|
|
4.88
|
2:00:59
|
1,920 x 1,040
|
4,675 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,100 kbps
|
|
Midnight Heat (1996)
|
|
|
|
4.89
|
1:38:26
|
1,920 x 1,040
|
6,883 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Midnight in the Garden of Good and Evil (1997)
|
|
|
|
12.15
|
2:35:09
|
1,920 x 1,080
|
7,724 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,484 kbps
|
|
Midnight in the Switchgrass (2021)
|
|
|
|
3.63
|
1:38:44
|
1,920 x 800
|
2,203 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,053 kbps
|
|
Midnight Run (1988)
|
|
|
|
|
|
40.56
|
2:06:30
|
3,840 x 2,076
|
43,180 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,724 kbps
|
|
Midnight Special (2016)
|
|
|
|
4.40
|
1:51:55
|
1,920 x 800
|
2,697 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,934 kbps
|
|
Midnight's Children (2012)
|
|
|
|
7.12
|
2:25:34
|
1,920 x 800
|
3,664 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,333 kbps
|
|
Midsommar (2019)
|
|
|
|
|
9.46
|
2:50:16
|
3,840 x 1,920
|
7,054 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
899 kbps
|
|
Midway (2019)
|
|
|
|
|
17.48
|
2:18:25
|
3,840 x 1,608
|
16,214 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,860 kbps
|
|
Mighty Aphrodite (1995)
|
|
|
|
6.73
|
1:34:41
|
1,912 x 1,080
|
9,870 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
299 kbps
|
|
Mighty Morphin Power Rangers: The Movie (1995)
|
|
|
|
13.15
|
1:35:41
|
1,920 x 1,036
|
17,942 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,740 kbps
|
|
Migration (2023)
|
|
|
|
|
3.99
|
1:22:54
|
3,840 x 1,608
|
5,151 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,732 kbps
|
|
Mike and Dave Need Wedding Dates (2016)
|
|
|
|
|
|
10.00
|
1:38:33
|
3,840 x 1,600
|
10,615 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,906 kbps
|
|
Mile 22 (2018)
|
|
|
|
|
|
5.05
|
1:33:12
|
3,840 x 1,592
|
4,405 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,343 kbps
|
|
Milk Money (1994)
|
|
|
|
6.00
|
1:48:53
|
1,912 x 1,080
|
7,250 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Miller's Crossing (1990)
|
|
|
|
4.69
|
1:54:52
|
1,920 x 1,040
|
2,803 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,037 kbps
|
|
Miller's Girl (2024)
|
|
|
|
|
2.64
|
1:33:03
|
3,840 x 1,912
|
3,414 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Milli Vanilli (2023)
|
|
|
|
|
7.98
|
1:46:32
|
3,840 x 2,160
|
10,079 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Million Dollar Arm (2014)
|
|
|
|
|
6.09
|
2:04:06
|
1,920 x 792
|
4,097 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,922 kbps
|
|
Million Dollar Baby (2005)
|
|
|
|
|
5.94
|
2:12:32
|
1,920 x 800
|
3,643 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,772 kbps
|
|
Millions (2005)
|
|
|
|
3.81
|
1:39:04
|
1,888 x 1,080
|
4,861 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mimic (1997)
|
|
|
|
8.64
|
1:51:45
|
1,920 x 1,040
|
6,303 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,760 kbps
|
|
Mimic 2 (2001)
|
|
|
|
5.54
|
1:22:02
|
1,916 x 1,080
|
6,381 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,295 kbps
|
|
Mimic 3: Sentinel (2003)
|
|
|
|
3.13
|
1:16:46
|
1,916 x 1,080
|
2,965 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,861 kbps
|
|
Mind Talker (2021)
|
|
|
|
3.46
|
1:38:14
|
1,920 x 796
|
4,655 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Mindcage (2022)
|
|
|
|
6.09
|
1:36:35
|
1,920 x 804
|
5,983 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,050 kbps
|
|
Mindfield (1989)
|
|
|
|
5.64
|
1:30:58
|
1,920 x 1,036
|
8,233 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
645 kbps
|
|
Mindwarp (1992)
|
|
|
|
6.42
|
1:35:49
|
1,920 x 1,040
|
8,234 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,349 kbps
|
|
Mine 9 (2020)
|
|
|
|
4.74
|
1:22:48
|
1,920 x 1,080
|
7,753 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Minions (2015)
|
|
|
|
|
|
7.48
|
1:30:56
|
3,840 x 2,076
|
8,877 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,890 kbps
|
|
Minions: The Rise of Gru (2022)
|
|
|
|
|
6.05
|
1:27:25
|
3,840 x 1,608
|
8,109 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,793 kbps
|
|
Minor Premise (2020)
|
|
|
|
3.27
|
1:35:26
|
1,920 x 788
|
2,545 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,358 kbps
|
|
Minority Report (2002)
|
|
|
|
|
34.55
|
2:25:09
|
3,840 x 1,604
|
32,897 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,179 kbps
|
|
Minutemen (2008)
|
|
|
|
6.36
|
1:30:32
|
1,904 x 1,080
|
9,423 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Miracle Beach (1992)
|
|
|
|
8.25
|
1:27:42
|
1,920 x 1,038
|
12,902 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
566 kbps
|
|
Miracle Mile (1988)
|
|
|
|
|
8.06
|
1:28:04
|
1,920 x 1,036
|
11,681 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,423 kbps
|
|
Miracle on 34th Street (1947)
|
|
|
|
8.34
|
1:36:24
|
1,480 x 1,080
|
9,704 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,675 kbps
|
|
Miracle on 34th Street (1994)
|
|
|
|
5.30
|
1:54:01
|
1,920 x 1,040
|
3,646 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,011 kbps
|
|
Miracles from Heaven (2016)
|
|
|
|
|
4.75
|
1:48:59
|
3,840 x 2,072
|
5,843 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Miranda's Victim (2023)
|
|
|
|
3.74
|
2:06:22
|
1,920 x 800
|
3,327 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
912 kbps
|
|
Mirror Mirror (2012)
|
|
|
|
3.56
|
1:45:53
|
1,920 x 1,038
|
3,349 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,461 kbps
|
|
MirrorMask (2006)
|
|
|
|
3.34
|
1:40:45
|
1,920 x 1,036
|
3,427 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,315 kbps
|
|
Mirrors (2008)
|
|
|
|
14.86
|
1:51:22
|
1,920 x 800
|
15,962 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,140 kbps
|
|
Mirrors 2 (2010)
|
|
|
|
4.47
|
1:30:11
|
1,920 x 1,080
|
3,897 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,191 kbps
|
|
Misbehaviour (2020)
|
|
|
|
2.86
|
1:46:19
|
1,920 x 804
|
2,899 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
953 kbps
|
|
Mischief (1985)
|
|
|
|
5.26
|
1:36:46
|
1,920 x 1,040
|
7,551 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Misconduct (2016)
|
|
|
|
3.45
|
1:45:54
|
1,920 x 800
|
1,708 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,958 kbps
|
|
Misery (1990)
|
|
|
|
|
|
26.04
|
1:47:24
|
3,840 x 2,076
|
31,664 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,045 kbps
|
|
Miss Bala (2019)
|
|
|
|
|
2.70
|
1:43:58
|
1,920 x 800
|
2,333 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,382 kbps
|
|
Miss Congeniality (2000)
|
|
|
|
7.88
|
1:50:15
|
1,920 x 1,080
|
6,774 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,457 kbps
|
|
Miss Congeniality 2: Armed and Fabulous (2005)
|
|
|
|
5.39
|
1:55:21
|
1,920 x 794
|
3,679 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,012 kbps
|
|
Miss Fisher and the Crypt of Tears (2020)
|
|
|
|
2.30
|
1:41:07
|
1,920 x 948
|
2,104 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,156 kbps
|
|
Miss March (2009)
|
|
|
|
8.14
|
1:33:34
|
1,920 x 1,036
|
9,205 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,243 kbps
|
|
Miss Meadows (2014)
|
|
|
|
|
4.28
|
1:27:43
|
1,920 x 1,080
|
4,357 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,631 kbps
|
|
Miss Peregrine's Home for Peculiar Children (2016)
|
|
|
|
|
|
11.61
|
2:06:56
|
3,840 x 2,076
|
10,638 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,451 kbps
|
|
Miss Potter (2006)
|
|
|
|
3.03
|
1:33:12
|
1,920 x 814
|
4,009 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Missing (2023)
|
|
|
|
|
3.71
|
1:50:40
|
3,840 x 2,160
|
3,506 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,284 kbps
|
|
Mission Kill (1986)
|
|
|
|
11.33
|
1:36:27
|
1,904 x 1,080
|
16,188 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
624 kbps
|
|
Mission to Mars (2000)
|
|
|
|
|
4.34
|
1:53:39
|
1,920 x 816
|
3,935 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,527 kbps
|
|
Mission: Impossible (1996)
|
|
|
|
|
|
39.16
|
1:50:13
|
3,840 x 1,600
|
47,650 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,206 kbps
|
|
Mission: Impossible II (2000)
|
|
|
|
|
33.37
|
2:03:36
|
3,840 x 1,632
|
35,305 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,337 kbps
|
|
Mission: Impossible III (2006)
|
|
|
|
|
|
18.44
|
2:05:25
|
3,840 x 1,600
|
17,660 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,384 kbps
|
|
Mission: Impossible – Dead Reckoning Part One (2023)
|
|
|
|
|
|
16.75
|
2:43:26
|
3,840 x 1,608
|
13,011 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,656 kbps
|
|
Mission: Impossible – Fallout (2018)
|
|
|
|
|
|
34.72
|
2:27:25
|
3,840 x 1,600
|
30,595 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,121 kbps
|
|
Mission: Impossible – Ghost Protocol (2011)
|
|
|
|
|
|
27.87
|
2:12:56
|
3,840 x 1,600
|
25,676 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,328 kbps
|
|
Mission: Impossible – Rogue Nation (2015)
|
|
|
|
|
23.46
|
2:11:34
|
3,840 x 1,600
|
22,354 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,172 kbps
|
|
Mississippi Masala (1991)
|
|
|
|
|
8.25
|
1:57:53
|
1,920 x 1,036
|
8,677 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,346 kbps
|
|
Mister Johnson (1990)
|
|
|
|
6.67
|
1:41:32
|
1,920 x 1,036
|
8,161 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,247 kbps
|
|
Mister Roberts (1955)
|
|
|
|
10.19
|
2:01:04
|
1,920 x 752
|
8,790 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,252 kbps
|
|
Mixed Nuts (1994)
|
|
|
|
5.04
|
1:37:01
|
1,920 x 1,072
|
7,208 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Mixtape (2021)
|
|
|
|
|
3.50
|
1:37:11
|
1,920 x 956
|
4,381 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Mo' Money (1992)
|
|
|
|
2.89
|
1:29:41
|
1,920 x 1,036
|
4,232 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Moana (2016)
|
|
|
|
|
|
7.83
|
1:47:13
|
3,840 x 1,608
|
7,551 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,898 kbps
|
|
Mobsters (1991)
|
|
|
|
3.69
|
2:00:36
|
1,920 x 1,036
|
3,809 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
571 kbps
|
|
Moby Dick (1956)
|
|
|
|
4.77
|
1:55:38
|
1,788 x 1,080
|
5,675 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
234 kbps
|
|
Modern Problems (1981)
|
|
|
|
|
5.26
|
1:32:39
|
1,920 x 1,038
|
7,900 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Modern Vampires (1998)
|
|
|
|
4.86
|
1:34:46
|
1,920 x 1,036
|
5,966 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,382 kbps
|
|
Mojave (2015)
|
|
|
|
1.81
|
1:33:10
|
1,920 x 800
|
1,794 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
992 kbps
|
|
Molly's Game (2018)
|
|
|
|
4.73
|
2:20:58
|
1,920 x 798
|
1,357 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,448 kbps
|
|
Mom (1991)
|
|
|
|
4.79
|
1:35:34
|
1,920 x 1,036
|
5,890 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,280 kbps
|
|
Mom and Dad (2018)
|
|
|
|
2.39
|
1:23:06
|
1,920 x 800
|
3,041 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,077 kbps
|
|
Mommy Dead and Dearest (2017)
|
|
|
|
1.83
|
1:22:09
|
1,920 x 1,080
|
2,810 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Mommy's Little Star (2022)
|
|
|
|
3.80
|
1:25:16
|
1,920 x 1,080
|
6,146 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Mona Lisa Smile (2003)
|
|
|
|
|
7.32
|
1:59:20
|
1,920 x 1,036
|
7,562 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,217 kbps
|
|
Monday (2020)
|
|
|
|
5.15
|
1:56:49
|
1,920 x 856
|
3,455 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,854 kbps
|
|
Mondo Hollywoodland (2021)
|
|
|
|
3.48
|
1:44:46
|
1,920 x 800
|
4,525 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Money (2016)
|
|
|
|
|
3.44
|
1:24:35
|
1,920 x 856
|
2,844 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,972 kbps
|
|
Money Monster (2016)
|
|
|
|
|
3.42
|
1:38:39
|
3,840 x 1,604
|
3,678 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,277 kbps
|
|
Money Movers (1978)
|
|
|
|
12.09
|
1:33:33
|
1,920 x 1,036
|
15,588 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,920 kbps
|
|
Money Plane (2020)
|
|
|
|
3.47
|
1:22:12
|
1,920 x 1,080
|
2,938 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,105 kbps
|
|
Money Talks (1997)
|
|
|
|
1.89
|
1:35:43
|
1,920 x 802
|
2,598 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Money Train (1995)
|
|
|
|
4.13
|
1:49:57
|
1,920 x 800
|
3,946 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,431 kbps
|
|
Moneyball (2011)
|
|
|
|
17.82
|
2:13:16
|
3,840 x 2,076
|
18,003 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,138 kbps
|
|
Monica (2022)
|
|
|
|
2.73
|
1:53:22
|
1,312 x 1,080
|
2,811 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Monkey Shines (1988)
|
|
|
|
7.51
|
1:53:18
|
1,920 x 1,040
|
8,493 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,000 kbps
|
|
Monkey Up (2016)
|
|
|
|
3.00
|
1:23:17
|
1,920 x 1,080
|
4,773 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Monster (2004)
|
|
|
|
13.59
|
1:48:49
|
1,920 x 1,040
|
16,759 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,124 kbps
|
|
Monster Force Zero (2020)
|
|
|
|
|
9.27
|
1:24:34
|
1,920 x 800
|
14,300 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,388 kbps
|
|
Monster Hunter (2020)
|
|
|
|
|
|
8.27
|
1:43:08
|
3,840 x 1,604
|
8,380 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,084 kbps
|
|
Monster Hunters (2020)
|
|
|
|
4.10
|
1:27:42
|
1,920 x 802
|
5,402 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,286 kbps
|
|
Monster Party (2018)
|
|
|
|
2.61
|
1:29:14
|
1,920 x 788
|
1,391 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,798 kbps
|
|
Monster Trucks (2017)
|
|
|
|
|
4.19
|
1:44:44
|
1,920 x 800
|
2,924 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,798 kbps
|
|
Monster's Ball (2002)
|
|
|
|
4.24
|
1:52:43
|
1,920 x 812
|
2,111 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,279 kbps
|
|
Monster-in-Law (2005)
|
|
|
|
2.80
|
1:41:18
|
1,920 x 1,032
|
3,726 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Monsters (2010)
|
|
|
|
4.90
|
1:33:57
|
1,920 x 816
|
3,432 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,013 kbps
|
|
Monsters of Man (2020)
|
|
|
|
5.51
|
2:11:52
|
1,920 x 796
|
3,337 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,641 kbps
|
|
Monsters University (2013)
|
|
|
|
|
6.36
|
1:43:48
|
3,840 x 2,160
|
5,990 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,772 kbps
|
|
Monsters vs. Aliens: Mutant Pumpkins from Outer Space (2009)
|
|
|
|
1.40
|
27:07
|
1,920 x 1,064
|
3,674 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,707 kbps
|
|
Monsters, Inc. (2001)
|
|
|
|
|
6.67
|
1:32:10
|
3,840 x 2,076
|
7,715 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,644 kbps
|
|
Monstrous (2022)
|
|
|
|
3.21
|
1:28:40
|
1,920 x 796
|
2,209 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
Monte Carlo (2011)
|
|
|
|
|
11.60
|
1:48:46
|
1,920 x 1,040
|
12,254 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,013 kbps
|
|
Monty Python and the Holy Grail (1975)
|
|
|
|
10.29
|
1:32:08
|
1,796 x 1,080
|
14,823 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,162 kbps
|
|
Monty Python's Life of Brian (1979)
|
|
|
|
10.47
|
1:33:44
|
1,920 x 1,040
|
14,054 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,942 kbps
|
|
Monty Python's The Meaning of Life (1983)
|
|
|
|
|
32.20
|
1:47:01
|
3,840 x 2,076
|
40,798 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,277 kbps
|
|
Moon (2009)
|
|
|
|
|
7.78
|
1:37:06
|
3,840 x 1,596
|
10,052 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
Moon 44 (1990)
|
|
|
|
5.33
|
1:39:18
|
1,920 x 816
|
6,245 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,443 kbps
|
|
Moon Crash (2022)
|
|
|
|
2.66
|
1:29:59
|
1,920 x 800
|
2,958 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,269 kbps
|
|
Moon in Scorpio (1987)
|
|
|
|
5.99
|
1:27:18
|
1,920 x 1,036
|
9,183 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
636 kbps
|
|
Moon Pilot (1962)
|
|
|
|
6.75
|
1:38:37
|
1,912 x 1,080
|
9,576 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Moonfall (2022)
|
|
|
|
|
|
9.87
|
2:10:18
|
3,840 x 1,608
|
7,678 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,165 kbps
|
|
Moonlight and Valentino (1995)
|
|
|
|
4.94
|
1:44:36
|
1,920 x 808
|
6,532 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Moonraker (1979)
|
|
|
|
11.22
|
2:06:25
|
3,840 x 1,632
|
9,154 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,549 kbps
|
|
Moonrise Kingdom (2012)
|
|
|
|
|
7.22
|
1:33:33
|
1,920 x 1,038
|
8,044 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,009 kbps
|
|
Moonshot (2022)
|
|
|
|
|
3.49
|
1:44:11
|
3,840 x 1,608
|
4,022 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Moonstruck (1988)
|
|
|
|
6.65
|
1:41:56
|
1,920 x 1,038
|
6,237 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,100 kbps
|
|
Moontrap (1989)
|
|
|
|
11.96
|
1:30:39
|
1,920 x 1,076
|
18,593 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
298 kbps
|
|
Moonwalker (1988)
|
|
|
|
8.86
|
1:32:50
|
1,920 x 1,080
|
9,889 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,768 kbps
|
|
Moonwalkers (2015)
|
|
|
|
3.77
|
1:36:22
|
1,920 x 804
|
2,709 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,883 kbps
|
|
Morbius (2022)
|
|
|
|
|
|
8.99
|
1:44:11
|
3,840 x 1,608
|
9,197 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,149 kbps
|
|
Morgan (2016)
|
|
|
|
|
|
6.23
|
1:31:53
|
3,840 x 1,608
|
5,810 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,889 kbps
|
|
Morning Glory (2010)
|
|
|
|
5.20
|
1:47:28
|
1,920 x 798
|
3,969 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,951 kbps
|
|
Mortal (2020)
|
|
|
|
|
4.05
|
1:44:51
|
1,920 x 804
|
2,196 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,338 kbps
|
|
Mortal Engines (2018)
|
|
|
|
|
9.67
|
2:08:21
|
3,840 x 1,608
|
7,578 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,202 kbps
|
|
Mortal Kombat (1995)
|
|
|
|
6.71
|
1:41:25
|
1,916 x 1,080
|
5,877 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,595 kbps
|
|
Mortal Kombat (2021)
|
|
|
|
|
7.98
|
1:50:04
|
3,840 x 1,608
|
8,511 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,867 kbps
|
|
Mortdecai (2015)
|
|
|
|
5.30
|
1:46:42
|
1,920 x 800
|
3,096 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,018 kbps
|
|
Moscow on the Hudson (1984)
|
|
|
|
|
20.60
|
1:57:15
|
1,920 x 1,036
|
22,276 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,874 kbps
|
|
Most Beautiful Island (2017)
|
|
|
|
4.61
|
1:19:26
|
1,800 x 1,080
|
5,639 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,663 kbps
|
|
Mostly Ghostly (2008)
|
|
|
|
2.31
|
1:38:00
|
1,920 x 1,080
|
2,728 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Motel Hell (1980)
|
|
|
|
|
38.85
|
1:41:37
|
3,840 x 2,072
|
53,358 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,363 kbps
|
|
Mother (1996)
|
|
|
|
3.97
|
1:43:51
|
1,920 x 1,072
|
5,084 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Mother! (2017)
|
|
|
|
|
22.83
|
2:01:13
|
3,840 x 1,604
|
24,717 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,247 kbps
|
|
Mother's Boys (1994)
|
|
|
|
10.05
|
1:35:35
|
1,912 x 1,080
|
14,571 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
482 kbps
|
|
Mother's Day (1980)
|
|
|
|
|
38.76
|
1:30:40
|
3,840 x 2,076
|
60,489 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
705 kbps
|
|
Mother/Android (2021)
|
|
|
|
7.42
|
1:50:00
|
3,840 x 1,572
|
9,399 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Motherless Brooklyn (2019)
|
|
|
|
|
|
5.85
|
2:24:20
|
3,840 x 2,072
|
4,491 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,304 kbps
|
|
Mothra vs. Godzilla (1964)
|
|
|
|
5.80
|
1:28:57
|
1,920 x 808
|
8,741 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
589 kbps
|
|
Moulin Rouge! (2001)
|
|
|
|
10.51
|
2:07:48
|
1,920 x 800
|
8,219 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,555 kbps
|
|
Mount Adams (2021)
|
|
|
|
2.68
|
1:34:01
|
1,920 x 800
|
3,854 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
MouseHunt (1997)
|
|
|
|
5.91
|
1:37:40
|
1,920 x 1,036
|
7,233 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,422 kbps
|
|
Movie 43 (2013)
|
|
|
|
|
4.49
|
1:38:00
|
1,920 x 1,040
|
5,517 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,038 kbps
|
|
Moving (1988)
|
|
|
|
7.39
|
1:28:52
|
1,920 x 1,076
|
11,677 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Moving McAllister (2007)
|
|
|
|
6.03
|
1:29:51
|
1,920 x 1,080
|
8,961 kbps
|
|
2.0
|
|
48 kHz
|
640 kbps
|
|
Moving On (2022)
|
|
|
|
3.42
|
1:24:54
|
1,920 x 800
|
3,158 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,610 kbps
|
|
Mr. & Mrs. Smith (2005)
|
|
|
|
|
5.91
|
2:00:00
|
1,920 x 816
|
3,578 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,473 kbps
|
|
Mr. Baseball (1992)
|
|
|
|
5.76
|
1:48:20
|
1,920 x 816
|
6,187 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,428 kbps
|
|
Mr. Bean's Holiday (2007)
|
|
|
|
6.93
|
1:29:35
|
1,920 x 1,040
|
7,621 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,460 kbps
|
|
Mr. Billion (1977)
|
|
|
|
4.98
|
1:32:47
|
1,920 x 1,036
|
7,114 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
564 kbps
|
|
Mr. Church (2016)
|
|
|
|
7.95
|
1:45:22
|
1,920 x 1,036
|
8,044 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,756 kbps
|
|
Mr. Deeds (2002)
|
|
|
|
|
5.39
|
1:36:37
|
1,920 x 1,038
|
6,403 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,577 kbps
|
|
Mr. Deeds Goes to Town (1936)
|
|
|
|
9.79
|
1:55:36
|
1,476 x 1,080
|
11,904 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
223 kbps
|
|
Mr. Destiny (1990)
|
|
|
|
6.72
|
1:50:28
|
1,920 x 1,036
|
8,200 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
505 kbps
|
|
Mr. Holland's Opus (1995)
|
|
|
|
5.10
|
2:22:44
|
1,920 x 808
|
4,038 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,077 kbps
|
|
Mr. Holmes (2015)
|
|
|
|
2.36
|
1:43:45
|
1,920 x 800
|
2,338 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
919 kbps
|
|
Mr. Jealousy (1997)
|
|
|
|
3.39
|
1:41:22
|
1,920 x 1,080
|
4,267 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
518 kbps
|
|
Mr. Magoo (1997)
|
|
|
|
2.90
|
1:27:30
|
1,920 x 1,072
|
4,548 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Mr. Magorium's Wonder Emporium (2007)
|
|
|
|
6.08
|
1:34:17
|
1,920 x 816
|
5,920 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,315 kbps
|
|
Mr. Majestyk (1974)
|
|
|
|
5.70
|
1:43:39
|
1,920 x 1,040
|
7,550 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
323 kbps
|
|
Mr. Mom (1983)
|
|
|
|
5.90
|
1:31:17
|
1,920 x 1,038
|
6,197 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,052 kbps
|
|
Mr. Monk's Last Case: A Monk Movie (2023)
|
|
|
|
|
6.55
|
1:37:25
|
3,840 x 1,920
|
9,420 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mr. Morgan's Last Love (2013)
|
|
|
|
9.84
|
1:55:50
|
1,920 x 1,032
|
9,504 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,655 kbps
|
|
Mr. Nanny (1993)
|
|
|
|
4.70
|
1:23:51
|
1,916 x 1,080
|
7,792 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Mr. Nice (2011)
|
|
|
|
9.09
|
2:00:51
|
1,920 x 1,036
|
7,459 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,306 kbps
|
|
Mr. Nobody (2013)
|
|
|
|
8.03
|
2:35:54
|
1,920 x 820
|
6,149 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,223 kbps
|
|
Mr. North (1988)
|
|
|
|
5.92
|
1:32:47
|
1,920 x 1,040
|
8,911 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Mr. Peabody & Sherman (2014)
|
|
|
|
|
5.07
|
1:32:30
|
1,920 x 1,040
|
3,656 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,194 kbps
|
|
Mr. Pip (2013)
|
|
|
|
4.46
|
1:55:27
|
1,920 x 816
|
4,481 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,052 kbps
|
|
Mr. Popper's Penguins (2011)
|
|
|
|
|
3.87
|
1:34:21
|
1,920 x 1,040
|
2,871 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,000 kbps
|
|
Mr. Right (2016)
|
|
|
|
|
3.91
|
1:35:29
|
1,920 x 804
|
2,620 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,239 kbps
|
|
Mr. Smith Goes to Washington (1939)
|
|
|
|
|
41.73
|
2:09:41
|
2,960 x 2,160
|
45,573 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
493 kbps
|
|
Mrs. Doubtfire (1993)
|
|
|
|
|
5.95
|
2:05:11
|
1,920 x 820
|
5,698 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,107 kbps
|
|
Ms .45 (1981)
|
|
|
|
3.54
|
1:20:51
|
1,920 x 1,032
|
5,975 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
294 kbps
|
|
Mulan (1998)
|
|
|
|
|
|
4.41
|
1:27:51
|
3,600 x 2,160
|
4,036 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,137 kbps
|
|
Mulan (2020)
|
|
|
|
|
5.25
|
1:55:11
|
3,840 x 1,608
|
5,040 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,482 kbps
|
|
Mulholland Drive (2001)
|
|
|
|
|
39.19
|
2:27:20
|
3,840 x 2,076
|
34,790 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,285 kbps
|
|
Multiplicity (1996)
|
|
|
|
6.92
|
1:57:12
|
1,920 x 804
|
7,410 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,045 kbps
|
|
Multiverse (2019)
|
|
|
|
2.03
|
1:31:19
|
1,920 x 800
|
1,905 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,283 kbps
|
|
Munich (2006)
|
|
|
|
11.20
|
2:43:50
|
1,920 x 808
|
6,429 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,355 kbps
|
|
Munster, Go Home! (1966)
|
|
|
|
28.51
|
1:36:19
|
1,920 x 1,040
|
42,106 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
271 kbps
|
|
Muppets from Space (1999)
|
|
|
|
10.23
|
1:28:12
|
1,920 x 1,040
|
13,225 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,372 kbps
|
|
Murder at 1600 (1997)
|
|
|
|
2.67
|
1:46:40
|
1,892 x 1,080
|
2,943 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Murder Bury Win (2020)
|
|
|
|
1.10
|
1:30:56
|
1,920 x 796
|
1,604 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
Murder by Death (1976)
|
|
|
|
5.01
|
1:34:40
|
1,920 x 1,040
|
7,287 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
292 kbps
|
|
Murder by Numbers (2002)
|
|
|
|
5.31
|
2:00:03
|
1,904 x 1,080
|
6,107 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Murder in the First (1995)
|
|
|
|
9.52
|
2:02:49
|
1,920 x 1,040
|
9,766 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,332 kbps
|
|
Murder Mystery (2019)
|
|
|
|
|
|
5.08
|
1:37:00
|
3,840 x 1,920
|
6,847 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Murder Mystery 2 (2023)
|
|
|
|
|
4.77
|
1:28:55
|
3,840 x 1,920
|
6,905 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Murder on the Orient Express (2017)
|
|
|
|
|
|
9.61
|
1:53:56
|
3,840 x 1,604
|
9,840 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,229 kbps
|
|
Murder Weapon (1989)
|
|
|
|
13.17
|
1:21:15
|
1,920 x 1,080
|
22,467 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
740 kbps
|
|
Murderers' Row (1966)
|
|
|
|
12.39
|
1:45:06
|
1,904 x 1,080
|
16,643 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
239 kbps
|
|
Muriel's Wedding (1995)
|
|
|
|
5.62
|
1:45:24
|
1,920 x 1,036
|
6,223 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,409 kbps
|
|
Muscle (2020)
|
|
|
|
5.32
|
1:50:35
|
1,920 x 804
|
4,190 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,694 kbps
|
|
Music Box (1989)
|
|
|
|
|
5.65
|
2:05:56
|
1,920 x 812
|
5,138 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,281 kbps
|
|
Música (2024)
|
|
|
|
|
|
5.62
|
1:31:51
|
3,840 x 1,920
|
8,312 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Mutant War (1988)
|
|
|
|
9.17
|
1:21:48
|
1,920 x 1,036
|
14,707 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,347 kbps
|
|
Mute (2018)
|
|
|
|
|
4.59
|
2:06:46
|
1,920 x 960
|
4,803 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Mute Date (2019)
|
|
|
|
3.01
|
1:20:10
|
1,920 x 1,080
|
5,147 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Mutiny on the Bounty (1962)
|
|
|
|
7.27
|
3:05:26
|
1,920 x 688
|
2,697 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,916 kbps
|
|
My Adventures with Santa (2019)
|
|
|
|
6.30
|
1:31:37
|
1,920 x 1,080
|
6,775 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,070 kbps
|
|
My All American (2015)
|
|
|
|
5.60
|
1:58:36
|
1,920 x 800
|
3,650 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,111 kbps
|
|
My Best Friend Is a Vampire (1987)
|
|
|
|
3.77
|
1:29:26
|
1,920 x 1,036
|
4,610 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,429 kbps
|
|
My Best Friend's Wedding (1997)
|
|
|
|
|
9.89
|
1:44:52
|
3,840 x 1,596
|
10,839 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,655 kbps
|
|
My Bloody Valentine (1981)
|
|
|
|
|
21.96
|
1:33:01
|
3,840 x 2,076
|
30,447 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,819 kbps
|
|
My Blue Heaven (1990)
|
|
|
|
5.39
|
1:35:26
|
1,920 x 1,080
|
6,698 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,383 kbps
|
|
My Blueberry Nights (2007)
|
|
|
|
6.07
|
1:35:03
|
1,920 x 808
|
6,074 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,060 kbps
|
|
My Boss's Daughter (2003)
|
|
|
|
|
4.06
|
1:30:06
|
1,916 x 1,080
|
5,090 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,353 kbps
|
|
My Boyfriend's Back (1993)
|
|
|
|
6.21
|
1:24:29
|
1,920 x 1,028
|
10,001 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
515 kbps
|
|
My Cousin Rachel (2017)
|
|
|
|
4.10
|
1:46:09
|
1,920 x 804
|
2,752 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,775 kbps
|
|
My Cousin Vinny (1992)
|
|
|
|
|
7.49
|
1:59:19
|
1,920 x 1,040
|
6,029 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,953 kbps
|
|
My Dog Skip (2000)
|
|
|
|
6.76
|
1:35:32
|
1,920 x 1,080
|
6,406 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,724 kbps
|
|
My Fair Lady (1964)
|
|
|
|
|
19.32
|
2:53:08
|
3,840 x 1,744
|
12,117 kbps
|
|
7.1
|
|
19 bits / 96 kHz
|
3,859 kbps
|
|
My Father Die (2016)
|
|
|
|
2.16
|
1:30:45
|
1,920 x 720
|
2,320 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,084 kbps
|
|
My Favorite Martian (1999)
|
|
|
|
4.00
|
1:33:34
|
1,920 x 1,036
|
5,478 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
My Favorite Year (1982)
|
|
|
|
6.37
|
1:32:21
|
1,920 x 1,036
|
9,183 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
694 kbps
|
|
My Fellow Americans (1996)
|
|
|
|
5.51
|
1:41:08
|
1,920 x 1,072
|
7,162 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
My Friend Dahmer (2018)
|
|
|
|
2.68
|
1:47:29
|
1,920 x 800
|
2,546 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,028 kbps
|
|
My Girl (1991)
|
|
|
|
9.98
|
1:42:16
|
1,920 x 1,036
|
12,655 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,316 kbps
|
|
My Girl 2 (1994)
|
|
|
|
2.80
|
1:38:47
|
1,920 x 1,036
|
3,542 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
508 kbps
|
|
My Girlfriend's Boyfriend (2012)
|
|
|
|
3.71
|
1:24:22
|
1,904 x 1,080
|
3,023 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,274 kbps
|
|
My Grandpa Is a Vampire (1992)
|
|
|
|
7.83
|
1:33:28
|
1,920 x 1,016
|
8,857 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,141 kbps
|
|
My Life (1993)
|
|
|
|
10.81
|
1:56:55
|
1,920 x 1,080
|
13,006 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
My Little Eye (2002)
|
|
|
|
1.20
|
1:35:21
|
720 x 480
|
1,419 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
My Name Is Bruce (2007)
|
|
|
|
3.26
|
1:24:02
|
1,904 x 1,080
|
4,310 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,241 kbps
|
|
My One and Only (2009)
|
|
|
|
5.77
|
1:47:32
|
1,920 x 816
|
6,410 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,271 kbps
|
|
My Own Private Idaho (1991)
|
|
|
|
16.34
|
1:44:10
|
1,920 x 1,028
|
19,484 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
My Pet Dinosaur (2017)
|
|
|
|
2.22
|
1:33:48
|
1,920 x 800
|
2,041 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,337 kbps
|
|
My Salinger Year (2021)
|
|
|
|
2.76
|
1:41:01
|
1,920 x 1,036
|
2,981 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
923 kbps
|
|
My Science Project (1985)
|
|
|
|
7.12
|
1:34:44
|
1,920 x 818
|
10,315 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
My Son (2021)
|
|
|
|
|
9.14
|
1:36:25
|
3,840 x 1,600
|
10,502 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,065 kbps
|
|
My Son, My Son, What Have Ye Done (2009)
|
|
|
|
4.34
|
1:31:07
|
1,920 x 1,036
|
3,791 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,380 kbps
|
|
My Spy (2020)
|
|
|
|
|
4.07
|
1:39:20
|
1,920 x 800
|
4,549 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,318 kbps
|
|
My Stepmother Is an Alien (1988)
|
|
|
|
|
6.76
|
1:47:56
|
1,920 x 1,036
|
7,799 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,170 kbps
|
|
My Super Ex-Girlfriend (2006)
|
|
|
|
|
6.09
|
1:36:34
|
1,920 x 800
|
5,859 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,171 kbps
|
|
My True Fairytale (2021)
|
|
|
|
1.87
|
1:25:40
|
1,920 x 792
|
2,996 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
My Tutor (1983)
|
|
|
|
11.89
|
1:36:53
|
1,904 x 1,080
|
16,534 kbps
|
|
2.0
|
|
21 bits / 48 kHz
|
1,037 kbps
|
|
My Week with Marilyn (2011)
|
|
|
|
3.86
|
1:38:55
|
1,920 x 816
|
2,722 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,870 kbps
|
|
Mysteria (2011)
|
|
|
|
2.70
|
1:33:56
|
1,920 x 820
|
2,694 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,422 kbps
|
|
Mysterious Island (1961)
|
|
|
|
13.84
|
1:40:45
|
1,800 x 1,080
|
18,673 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
990 kbps
|
|
Mysterious Island of Beautiful Women (1979)
|
|
|
|
4.63
|
1:35:52
|
1,436 x 1,080
|
6,633 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
284 kbps
|
|
Mysterious Skin (2005)
|
|
|
|
6.05
|
1:45:08
|
1,920 x 1,036
|
6,929 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,314 kbps
|
|
Mystery Men (1999)
|
|
|
|
|
|
20.07
|
2:01:31
|
3,840 x 2,064
|
20,015 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,628 kbps
|
|
Mystery Science Theater 3000: The Movie (1996)
|
|
|
|
2.73
|
1:14:10
|
1,920 x 1,040
|
4,346 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
922 kbps
|
|
Mystic Pizza (1988)
|
|
|
|
5.59
|
1:44:22
|
1,920 x 1,042
|
7,085 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
587 kbps
|
|
Mystic River (2003)
|
|
|
|
5.70
|
2:17:57
|
1,920 x 796
|
3,009 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,905 kbps
|
|
Mythica: A Quest for Heroes (2014)
|
|
|
|
4.01
|
1:32:35
|
1,920 x 1,080
|
4,788 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,413 kbps
|
|
Mythica: The Darkspore (2015)
|
|
|
|
6.40
|
1:48:52
|
1,920 x 1,080
|
5,200 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,221 kbps
|
|
Mythica: The Godslayer (2016)
|
|
|
|
1.87
|
1:58:15
|
1,920 x 1,080
|
2,129 kbps
|
|
2.0
|
|
48 kHz
|
129 kbps
|
|
Mythica: The Iron Crown (2016)
|
|
|
|
4.11
|
1:37:21
|
1,920 x 1,080
|
5,916 kbps
|
|
2.0
|
|
48 kHz
|
132 kbps
|
|
Mythica: The Necromancer (2015)
|
|
|
|
3.60
|
1:35:16
|
1,920 x 1,076
|
4,135 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,267 kbps
|
|
Nacho Libre (2006)
|
|
|
|
6.06
|
1:32:09
|
1,920 x 1,080
|
8,781 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Naked Fear (2007)
|
|
|
|
2.42
|
1:48:05
|
720 x 480
|
1,247 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,961 kbps
|
|
Naked Gun 33⅓: The Final Insult (1994)
|
|
|
|
|
7.39
|
1:22:36
|
1,920 x 1,080
|
11,345 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,458 kbps
|
|
Naked Singularity (2021)
|
|
|
|
3.32
|
1:33:28
|
1,920 x 1,036
|
2,059 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,028 kbps
|
|
Naked Weapon (2002)
|
|
|
|
6.45
|
1:31:37
|
1,920 x 1,056
|
8,038 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,046 kbps
|
|
Napoleon (2023)
|
|
|
|
|
|
6.47
|
2:37:40
|
3,840 x 1,608
|
5,101 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Napoleon and Samantha (1972)
|
|
|
|
5.73
|
1:31:22
|
1,920 x 1,038
|
8,752 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Napoleon Dynamite (2004)
|
|
|
|
|
7.44
|
1:34:54
|
1,920 x 1,040
|
7,648 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,567 kbps
|
|
Narrow Margin (1990)
|
|
|
|
12.36
|
1:37:17
|
1,920 x 814
|
17,281 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
910 kbps
|
|
National Lampoon's Animal House (1978)
|
|
|
|
|
46.66
|
1:48:40
|
3,840 x 2,076
|
57,714 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,749 kbps
|
|
National Lampoon's Christmas Vacation (1989)
|
|
|
|
|
|
18.55
|
1:37:04
|
3,840 x 2,076
|
24,980 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,376 kbps
|
|
National Lampoon's European Vacation (1985)
|
|
|
|
|
5.61
|
1:34:02
|
1,920 x 1,080
|
7,826 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
710 kbps
|
|
National Lampoon's Loaded Weapon 1 (1993)
|
|
|
|
2.58
|
1:22:29
|
1,920 x 1,032
|
4,244 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
National Lampoon's Vacation (1983)
|
|
|
|
|
|
21.63
|
1:38:16
|
3,840 x 2,076
|
30,911 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
600 kbps
|
|
National Security (2003)
|
|
|
|
|
5.02
|
1:28:20
|
1,920 x 1,040
|
6,866 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,262 kbps
|
|
National Treasure (2004)
|
|
|
|
9.08
|
2:11:02
|
3,840 x 1,608
|
9,155 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Natural Born Killers (1994)
|
|
|
|
|
22.01
|
2:01:56
|
3,840 x 2,076
|
22,195 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,354 kbps
|
|
Navy SEALs (1990)
|
|
|
|
9.06
|
1:53:35
|
1,920 x 1,040
|
8,260 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,154 kbps
|
|
Nazis at the Center of the Earth (2012)
|
|
|
|
2.76
|
1:29:39
|
1,920 x 1,080
|
3,965 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Nearly Departed (2020)
|
|
|
|
2.03
|
1:24:58
|
1,920 x 1,080
|
3,193 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Nebraska (2014)
|
|
|
|
|
4.59
|
1:54:44
|
1,920 x 800
|
4,337 kbps
|
|
3.0
|
|
24 bits / 48 kHz
|
1,388 kbps
|
|
Necessary Roughness (1991)
|
|
|
|
16.19
|
1:48:11
|
1,920 x 1,080
|
17,803 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,622 kbps
|
|
Necromancer (1988)
|
|
|
|
10.97
|
1:28:39
|
1,920 x 1,036
|
16,983 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
736 kbps
|
|
Necronomicon (1993)
|
|
|
|
9.65
|
1:36:40
|
1,888 x 1,080
|
12,759 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,531 kbps
|
|
Ned Rifle (2015)
|
|
|
|
3.26
|
1:24:52
|
1,920 x 1,080
|
5,048 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Need for Speed (2014)
|
|
|
|
|
7.44
|
2:10:43
|
1,920 x 804
|
3,672 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,472 kbps
|
|
Needful Things (1993)
|
|
|
|
|
|
48.95
|
2:00:44
|
3,840 x 2,076
|
56,340 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,960 kbps
|
|
Needle in a Timestack (2021)
|
|
|
|
|
2.83
|
1:51:35
|
1,920 x 804
|
1,197 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,430 kbps
|
|
Neighbors (2014)
|
|
|
|
|
4.19
|
1:36:42
|
1,920 x 800
|
3,228 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,969 kbps
|
|
Nemesis (1993)
|
|
|
|
5.51
|
1:36:17
|
1,920 x 816
|
7,470 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
722 kbps
|
|
Nerve (2016)
|
|
|
|
5.28
|
1:36:19
|
1,920 x 800
|
4,075 kbps
|
|
7.1
|
|
22 bits / 48 kHz
|
3,777 kbps
|
|
Network (1976)
|
|
|
|
10.46
|
2:01:20
|
1,916 x 1,080
|
11,649 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
697 kbps
|
|
Never Back Down (2008)
|
|
|
|
6.52
|
1:53:25
|
1,920 x 800
|
6,650 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,574 kbps
|
|
Never Been Kissed (1999)
|
|
|
|
5.74
|
1:47:28
|
1,920 x 784
|
4,283 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,364 kbps
|
|
Never Goin' Back (2018)
|
|
|
|
1.79
|
1:26:51
|
1,920 x 792
|
2,302 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Never Here (2017)
|
|
|
|
2.36
|
1:50:07
|
1,920 x 792
|
2,678 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Never Let Go (2016)
|
|
|
|
3.91
|
1:33:43
|
1,912 x 1,080
|
3,045 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,923 kbps
|
|
Never Let Me Go (2010)
|
|
|
|
5.09
|
1:43:46
|
1,920 x 816
|
4,359 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,661 kbps
|
|
Never Rarely Sometimes Always (2020)
|
|
|
|
|
12.70
|
1:40:56
|
3,840 x 2,074
|
17,624 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Never Say Never Again (1983)
|
|
|
|
16.26
|
2:14:02
|
3,840 x 1,632
|
14,328 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,041 kbps
|
|
Never Talk to Strangers (1995)
|
|
|
|
3.77
|
1:25:52
|
1,908 x 1,080
|
5,819 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
463 kbps
|
|
Never Too Young to Die (1986)
|
|
|
|
6.45
|
1:36:40
|
1,920 x 1,040
|
8,836 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
712 kbps
|
|
New in Town (2009)
|
|
|
|
6.06
|
1:36:49
|
1,920 x 1,080
|
5,251 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,712 kbps
|
|
New Jack City (1991)
|
|
|
|
8.74
|
1:40:29
|
1,920 x 1,080
|
9,224 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,232 kbps
|
|
New Year's Eve (2011)
|
|
|
|
6.47
|
1:57:54
|
1,920 x 1,080
|
4,752 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,097 kbps
|
|
New York Ninja (2021)
|
|
|
|
21.39
|
1:33:17
|
1,920 x 1,032
|
31,366 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,464 kbps
|
|
New York, I Love You (2009)
|
|
|
|
6.04
|
1:43:18
|
1,904 x 1,080
|
7,099 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,274 kbps
|
|
News of the World (2020)
|
|
|
|
|
14.09
|
1:58:16
|
3,840 x 1,608
|
14,217 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,829 kbps
|
|
Next (2007)
|
|
|
|
|
7.21
|
1:36:11
|
1,920 x 796
|
7,646 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,086 kbps
|
|
Next Exit (2022)
|
|
|
|
1.63
|
1:45:43
|
1,920 x 956
|
1,823 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Next Friday (2000)
|
|
|
|
10.89
|
1:38:07
|
1,920 x 1,080
|
12,126 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,759 kbps
|
|
Next of Kin (1982)
|
|
|
|
2.69
|
1:29:30
|
1,920 x 1,032
|
4,045 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
251 kbps
|
|
Nice Dreams (1981)
|
|
|
|
10.52
|
1:27:15
|
1,920 x 1,080
|
17,041 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Nick & Norah's Infinite Playlist (2008)
|
|
|
|
10.07
|
1:29:33
|
1,920 x 1,038
|
14,693 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,404 kbps
|
|
Nick of Time (1995)
|
|
|
|
7.10
|
1:28:53
|
1,920 x 1,080
|
10,788 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Night at the Museum (2006)
|
|
|
|
|
7.96
|
1:48:36
|
1,920 x 1,036
|
7,504 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,986 kbps
|
|
Night at the Museum: Battle of the Smithsonian (2009)
|
|
|
|
|
7.20
|
1:44:43
|
1,920 x 816
|
6,654 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,187 kbps
|
|
Night at the Museum: Secret of the Tomb (2014)
|
|
|
|
|
5.49
|
1:37:49
|
1,920 x 1,036
|
3,816 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,211 kbps
|
|
Night Crossing (1982)
|
|
|
|
2.38
|
1:47:13
|
1,920 x 1,036
|
2,978 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Night Drive (2021)
|
|
|
|
0.91
|
1:19:37
|
1,920 x 792
|
1,242 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Night Hunter (2018)
|
|
|
|
3.18
|
1:38:58
|
1,920 x 804
|
1,560 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,036 kbps
|
|
Night Moves (1975)
|
|
|
|
8.09
|
1:39:43
|
1,920 x 1,080
|
10,992 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
614 kbps
|
|
Night Moves (2013)
|
|
|
|
6.07
|
1:52:38
|
1,920 x 1,080
|
5,046 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,673 kbps
|
|
Night of the Comet (1984)
|
|
|
|
|
|
21.42
|
1:35:11
|
3,840 x 2,076
|
28,409 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Night of the Hunted (2023)
|
|
|
|
|
3.42
|
1:34:39
|
3,840 x 1,608
|
4,268 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
894 kbps
|
|
Night of the Lepus (1972)
|
|
|
|
7.80
|
1:28:28
|
1,920 x 1,036
|
11,902 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
721 kbps
|
|
Night of the Living Carrots (2011)
|
|
|
|
0.70
|
12:31
|
1,920 x 1,080
|
3,801 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,154 kbps
|
|
Night of the Living Dead (1968)
|
|
|
|
|
30.02
|
1:36:42
|
2,960 x 2,160
|
43,807 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
631 kbps
|
|
Night of the Sicario (2021)
|
|
|
|
2.70
|
1:23:30
|
1,920 x 1,056
|
3,987 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Night Raiders (2021)
|
|
|
|
5.53
|
1:41:10
|
1,920 x 1,034
|
4,446 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,385 kbps
|
|
Night School (2018)
|
|
|
|
|
|
11.17
|
1:56:02
|
3,840 x 1,604
|
9,753 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,024 kbps
|
|
Night Screams (1987)
|
|
|
|
|
46.43
|
1:25:00
|
3,840 x 2,076
|
76,845 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,354 kbps
|
|
Night Shift (1982)
|
|
|
|
6.20
|
1:46:23
|
1,920 x 1,036
|
7,012 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,329 kbps
|
|
Night Swim (2024)
|
|
|
|
|
3.13
|
1:38:22
|
3,840 x 1,604
|
3,787 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Night Tide (1963)
|
|
|
|
10.86
|
1:26:02
|
1,788 x 1,080
|
17,827 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
243 kbps
|
|
Night Walk (2019)
|
|
|
|
|
2.61
|
1:39:51
|
1,920 x 800
|
2,455 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,283 kbps
|
|
Nightbooks (2021)
|
|
|
|
|
4.30
|
1:40:34
|
3,840 x 1,600
|
5,325 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Nightbreed (1990)
|
|
|
|
|
18.86
|
1:41:38
|
3,840 x 2,076
|
25,476 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,082 kbps
|
|
Nightcrawler (2014)
|
|
|
|
5.72
|
1:58:05
|
1,920 x 800
|
4,050 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,886 kbps
|
|
Nighthawks (1981)
|
|
|
|
8.43
|
1:39:14
|
1,920 x 1,040
|
11,466 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
696 kbps
|
|
Nightmare Alley (2021)
|
|
|
|
|
8.07
|
2:30:08
|
3,840 x 2,076
|
6,317 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,373 kbps
|
|
Nightmare Sisters (1988)
|
|
|
|
5.07
|
1:21:57
|
1,920 x 1,036
|
7,590 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,275 kbps
|
|
Nightride (2022)
|
|
|
|
2.37
|
1:37:41
|
1,920 x 804
|
2,833 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Nightwish (1990)
|
|
|
|
11.61
|
1:31:44
|
1,920 x 1,080
|
17,451 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
658 kbps
|
|
Nightworld (2017)
|
|
|
|
2.02
|
1:35:07
|
1,920 x 800
|
1,844 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,194 kbps
|
|
Nina of the Woods (2020)
|
|
|
|
1.80
|
1:31:17
|
1,920 x 992
|
2,692 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
Nine Days (2020)
|
|
|
|
3.98
|
2:04:04
|
1,920 x 800
|
2,229 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,363 kbps
|
|
Nine Lives (2002)
|
|
|
|
3.73
|
1:25:35
|
1,920 x 1,080
|
6,011 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Nine Lives (2016)
|
|
|
|
3.97
|
1:26:51
|
1,920 x 1,038
|
4,122 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,417 kbps
|
|
Nine Months (1995)
|
|
|
|
6.60
|
1:43:18
|
1,920 x 812
|
5,913 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,230 kbps
|
|
No Country for Old Men (2007)
|
|
|
|
5.89
|
2:02:10
|
1,920 x 816
|
4,264 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,635 kbps
|
|
No Escape (1994)
|
|
|
|
|
39.08
|
1:58:13
|
3,840 x 1,600
|
45,375 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,942 kbps
|
|
No Escape (2015)
|
|
|
|
|
4.90
|
1:43:07
|
1,920 x 1,032
|
3,723 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,085 kbps
|
|
No Exit (2022)
|
|
|
|
|
4.27
|
1:35:18
|
3,840 x 1,920
|
6,159 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
No Future (2021)
|
|
|
|
1.43
|
1:28:41
|
1,920 x 804
|
1,663 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
No Good Deed (2014)
|
|
|
|
3.17
|
1:23:53
|
1,920 x 800
|
2,033 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,372 kbps
|
|
No Hard Feelings (2023)
|
|
|
|
|
|
3.63
|
1:43:23
|
3,840 x 2,072
|
4,378 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
No Man of God (2021)
|
|
|
|
4.03
|
1:40:14
|
1,920 x 792
|
3,372 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,378 kbps
|
|
No Mercy (1986)
|
|
|
|
7.45
|
1:48:00
|
1,920 x 1,080
|
8,601 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,275 kbps
|
|
No One Gets Out Alive (2021)
|
|
|
|
|
|
14.79
|
1:25:48
|
3,840 x 1,600
|
23,901 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
No Postage Necessary (2018)
|
|
|
|
6.03
|
1:44:37
|
1,920 x 800
|
5,196 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,055 kbps
|
|
No Reservations (2007)
|
|
|
|
2.94
|
1:44:19
|
1,920 x 798
|
3,394 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
No Sex Please, We're British (1973)
|
|
|
|
5.59
|
1:27:58
|
1,920 x 1,036
|
8,459 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
630 kbps
|
|
No Stranger Than Love (2016)
|
|
|
|
1.42
|
1:30:45
|
1,920 x 792
|
1,854 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
No Strings Attached (2011)
|
|
|
|
|
7.05
|
1:47:58
|
1,920 x 800
|
6,635 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,716 kbps
|
|
No Sudden Move (2021)
|
|
|
|
|
7.84
|
1:55:05
|
3,840 x 1,772
|
9,358 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
No Time to Die (2021)
|
|
|
|
|
|
16.34
|
2:43:34
|
3,840 x 1,608
|
12,492 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,805 kbps
|
|
No Way Home (1996)
|
|
|
|
6.90
|
1:41:11
|
1,920 x 1,036
|
8,476 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,284 kbps
|
|
No Way Out (1987)
|
|
|
|
11.03
|
1:54:23
|
1,920 x 1,036
|
12,580 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,222 kbps
|
|
Noah (2014)
|
|
|
|
|
11.20
|
2:17:53
|
1,920 x 1,040
|
7,206 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,422 kbps
|
|
Noah's Shark (2021)
|
|
|
|
4.13
|
1:11:54
|
1,920 x 1,076
|
7,997 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Nobel Son (2007)
|
|
|
|
5.56
|
1:50:17
|
1,920 x 816
|
6,044 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,169 kbps
|
|
Nobody (2021)
|
|
|
|
|
|
|
17.40
|
1:31:42
|
3,840 x 1,608
|
25,750 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,403 kbps
|
|
Nobody's Fool (1994)
|
|
|
|
|
24.80
|
1:50:12
|
3,840 x 2,076
|
28,986 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,233 kbps
|
|
Nocebo (2022)
|
|
|
|
2.51
|
1:37:20
|
1,792 x 1,080
|
2,733 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
954 kbps
|
|
Nocturnal Animals (2016)
|
|
|
|
4.74
|
1:56:08
|
1,920 x 792
|
3,209 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,632 kbps
|
|
Noel (2004)
|
|
|
|
4.47
|
1:36:37
|
1,920 x 808
|
5,382 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,236 kbps
|
|
Noel Next Door (2022)
|
|
|
|
2.18
|
1:24:39
|
1,920 x 1,080
|
3,036 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Noelle (2019)
|
|
|
|
|
4.90
|
1:39:56
|
3,840 x 1,604
|
6,768 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Noises Off... (1992)
|
|
|
|
5.14
|
1:43:29
|
1,920 x 1,040
|
6,888 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Nomadland (2021)
|
|
|
|
13.64
|
1:47:38
|
3,840 x 1,608
|
15,282 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,861 kbps
|
|
Nomads (1986)
|
|
|
|
8.52
|
1:32:45
|
1,920 x 1,040
|
12,396 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
746 kbps
|
|
Non-Stop (2014)
|
|
|
|
|
6.85
|
1:46:37
|
1,920 x 800
|
5,725 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,473 kbps
|
|
Non-Transferable (2017)
|
|
|
|
1.81
|
1:23:19
|
1,920 x 812
|
2,470 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Nope (2022)
|
|
|
|
|
4.94
|
2:10:31
|
3,840 x 2,160
|
3,906 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,509 kbps
|
|
Norbit (2007)
|
|
|
|
|
6.93
|
1:42:05
|
1,920 x 1,080
|
9,083 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Norma Rae (1979)
|
|
|
|
10.45
|
1:54:38
|
1,920 x 800
|
12,429 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
624 kbps
|
|
Normal Life (1996)
|
|
|
|
4.09
|
1:42:16
|
1,920 x 1,032
|
5,500 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Norman (2019)
|
|
|
|
2.05
|
1:45:16
|
1,920 x 796
|
2,140 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
North (1994)
|
|
|
|
|
4.65
|
1:27:08
|
1,920 x 1,038
|
7,027 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
618 kbps
|
|
North by Northwest (1959)
|
|
|
|
6.55
|
2:16:25
|
1,920 x 1,080
|
5,739 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,137 kbps
|
|
North Country (2005)
|
|
|
|
3.65
|
2:06:21
|
1,920 x 800
|
3,495 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
North Dallas Forty (1979)
|
|
|
|
|
52.64
|
1:58:15
|
3,840 x 1,604
|
62,642 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,079 kbps
|
|
North Sea Hijack (1980)
|
|
|
|
5.06
|
1:39:35
|
1,920 x 1,040
|
6,607 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
669 kbps
|
|
Northmen: A Viking Saga (2014)
|
|
|
|
6.59
|
1:37:49
|
1,920 x 804
|
7,871 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,772 kbps
|
|
Northpole (2014)
|
|
|
|
4.25
|
1:24:34
|
1,904 x 1,080
|
6,043 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,148 kbps
|
|
Northpole: Open for Christmas (2015)
|
|
|
|
3.19
|
1:26:16
|
1,920 x 1,080
|
4,242 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,055 kbps
|
|
Not Alone (2021)
|
|
|
|
0.93
|
1:27:33
|
1,920 x 808
|
1,291 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Not Another Teen Movie (2001)
|
|
|
|
|
9.07
|
1:39:46
|
1,920 x 1,080
|
9,308 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,705 kbps
|
|
Not for Publication (1984)
|
|
|
|
12.78
|
1:27:39
|
1,920 x 1,032
|
20,590 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
276 kbps
|
|
Not Forgotten (2009)
|
|
|
|
3.18
|
1:36:41
|
1,920 x 816
|
3,542 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,167 kbps
|
|
Not Okay (2022)
|
|
|
|
|
6.39
|
1:42:40
|
3,840 x 1,608
|
8,654 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Not Safe for Work (2014)
|
|
|
|
3.06
|
1:14:11
|
1,920 x 1,036
|
3,076 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,818 kbps
|
|
Not Wanted (1949)
|
|
|
|
5.42
|
1:31:29
|
1,462 x 1,080
|
8,267 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
219 kbps
|
|
Not Without My Daughter (1991)
|
|
|
|
13.46
|
1:55:53
|
1,920 x 1,038
|
15,282 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,342 kbps
|
|
Not Your Romeo & Juliet (2023)
|
|
|
|
1.65
|
1:10:34
|
1,920 x 1,076
|
2,696 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Notes on a Scandal (2006)
|
|
|
|
5.80
|
1:31:47
|
1,920 x 1,040
|
5,781 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,269 kbps
|
|
Nothing but the Truth (2009)
|
|
|
|
5.62
|
1:47:02
|
1,920 x 804
|
6,178 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,337 kbps
|
|
Nothing but Trouble (1991)
|
|
|
|
|
5.95
|
1:33:20
|
1,920 x 1,036
|
8,553 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
568 kbps
|
|
Nothing in Common (1986)
|
|
|
|
13.09
|
1:58:57
|
1,920 x 1,040
|
15,499 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
258 kbps
|
|
Nothing Like the Holidays (2008)
|
|
|
|
6.65
|
1:38:32
|
1,920 x 816
|
6,328 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,327 kbps
|
|
Nothing to Lose (1997)
|
|
|
|
3.92
|
1:37:56
|
1,920 x 1,040
|
5,345 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Notorious (2009)
|
|
|
|
|
10.37
|
2:08:58
|
1,920 x 800
|
8,219 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,292 kbps
|
|
Notting Hill (1999)
|
|
|
|
3.91
|
2:03:57
|
1,920 x 808
|
3,497 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,013 kbps
|
|
Nova (2021)
|
|
|
|
1.09
|
1:20:30
|
1,920 x 804
|
1,713 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
November Criminals (2017)
|
|
|
|
2.40
|
1:25:54
|
1,920 x 1,076
|
2,795 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,194 kbps
|
|
Novocaine (2001)
|
|
|
|
3.67
|
1:34:32
|
1,920 x 1,008
|
4,915 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Now Is Good (2012)
|
|
|
|
5.03
|
1:42:56
|
1,920 x 816
|
3,818 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,178 kbps
|
|
Now You See Him, Now You Don't (1972)
|
|
|
|
5.16
|
1:28:24
|
1,920 x 1,078
|
8,137 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Now You See Me (2013)
|
|
|
|
8.52
|
2:04:48
|
1,920 x 800
|
5,377 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,398 kbps
|
|
Now You See Me 2 (2016)
|
|
|
|
|
13.04
|
2:09:14
|
3,840 x 1,600
|
12,039 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,401 kbps
|
|
Nuclear Hurricane (2007)
|
|
|
|
|
3.96
|
1:27:45
|
1,920 x 1,078
|
6,234 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Nude Nuns with Big Guns (2010)
|
|
|
|
2.53
|
1:31:46
|
1,920 x 1,080
|
2,934 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,012 kbps
|
|
Numb (2008)
|
|
|
|
3.52
|
1:33:20
|
1,920 x 1,080
|
4,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,009 kbps
|
|
Nurse Betty (2000)
|
|
|
|
6.36
|
1:50:53
|
1,920 x 808
|
7,574 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Nutty Professor II: The Klumps (2000)
|
|
|
|
6.61
|
1:46:47
|
1,920 x 1,040
|
7,351 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,505 kbps
|
|
O Brother, Where Art Thou? (2001)
|
|
|
|
6.08
|
1:47:09
|
1,920 x 816
|
4,551 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,561 kbps
|
|
Oblivion (2013)
|
|
|
|
|
|
7.15
|
2:04:37
|
3,840 x 1,600
|
5,535 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,676 kbps
|
|
Obsessed (2009)
|
|
|
|
|
6.36
|
1:48:23
|
1,920 x 800
|
5,430 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,973 kbps
|
|
Occupation: Rainfall (2020)
|
|
|
|
5.35
|
2:08:17
|
1,920 x 802
|
2,603 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,362 kbps
|
|
Ocean's 11 (1960)
|
|
|
|
4.53
|
2:07:29
|
1,920 x 802
|
4,382 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
704 kbps
|
|
Ocean's 8 (2018)
|
|
|
|
|
12.01
|
1:50:10
|
3,840 x 1,608
|
14,175 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,431 kbps
|
|
Ocean's Eleven (2001)
|
|
|
|
5.86
|
1:56:34
|
1,920 x 800
|
6,556 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ocean's Thirteen (2007)
|
|
|
|
|
7.66
|
2:02:09
|
1,920 x 800
|
8,335 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ocean's Twelve (2004)
|
|
|
|
8.31
|
2:05:18
|
1,920 x 800
|
8,850 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Oceans: Our Blue Planet (2018)
|
|
|
|
|
4.73
|
41:53
|
3,840 x 2,156
|
14,745 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,420 kbps
|
|
October Baby (2012)
|
|
|
|
3.18
|
1:48:59
|
1,920 x 800
|
2,894 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,285 kbps
|
|
October Gale (2015)
|
|
|
|
1.90
|
1:31:09
|
1,920 x 804
|
1,732 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,256 kbps
|
|
Octopussy (1983)
|
|
|
|
22.41
|
2:10:50
|
3,840 x 1,632
|
20,919 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,596 kbps
|
|
Odd Thomas (2014)
|
|
|
|
4.48
|
1:36:41
|
1,920 x 800
|
3,276 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,361 kbps
|
|
Ode to Joy (2019)
|
|
|
|
2.65
|
1:37:39
|
1,920 x 800
|
3,250 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Of Mice and Men (1992)
|
|
|
|
5.52
|
1:50:46
|
1,920 x 1,040
|
5,844 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,289 kbps
|
|
Off Limits (1988)
|
|
|
|
3.84
|
1:42:01
|
1,920 x 1,036
|
5,008 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Office Christmas Party (2016)
|
|
|
|
5.15
|
1:50:48
|
1,920 x 804
|
2,445 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,205 kbps
|
|
Office Killer (1997)
|
|
|
|
3.59
|
1:23:27
|
1,920 x 1,036
|
5,609 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
553 kbps
|
|
Office Space (1999)
|
|
|
|
|
3.36
|
1:29:15
|
1,920 x 1,038
|
4,097 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,291 kbps
|
|
Official Secrets (2019)
|
|
|
|
3.11
|
1:51:57
|
1,920 x 804
|
1,322 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,649 kbps
|
|
Offseason (2022)
|
|
|
|
1.45
|
1:23:14
|
1,920 x 800
|
1,266 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,234 kbps
|
|
Oh Lucy! (2017)
|
|
|
|
|
4.13
|
1:35:43
|
1,920 x 1,040
|
3,197 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,976 kbps
|
|
Okja (2017)
|
|
|
|
|
|
6.64
|
2:00:57
|
3,840 x 1,600
|
5,083 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,772 kbps
|
|
Old (2021)
|
|
|
|
|
|
10.13
|
1:48:27
|
3,840 x 1,608
|
11,588 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,782 kbps
|
|
Old Man (2022)
|
|
|
|
|
16.77
|
1:37:27
|
3,840 x 2,064
|
23,497 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,143 kbps
|
|
Old School (2003)
|
|
|
|
|
5.47
|
1:31:51
|
1,920 x 812
|
7,355 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,167 kbps
|
|
Old Strangers (2022)
|
|
|
|
1.26
|
1:01:59
|
1,920 x 958
|
2,521 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Old Yeller (1957)
|
|
|
|
13.58
|
1:23:41
|
1,776 x 1,080
|
22,913 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Oldboy (2013)
|
|
|
|
7.02
|
1:43:46
|
1,920 x 800
|
6,898 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,791 kbps
|
|
Oleanna (1994)
|
|
|
|
3.40
|
1:29:56
|
1,800 x 1,080
|
4,747 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
659 kbps
|
|
Oliver & Company (1988)
|
|
|
|
4.43
|
1:13:33
|
1,920 x 1,036
|
5,414 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,202 kbps
|
|
Olivia (1983)
|
|
|
|
10.27
|
1:24:49
|
1,920 x 1,036
|
16,707 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
623 kbps
|
|
Olympus Has Fallen (2013)
|
|
|
|
|
|
8.58
|
1:59:49
|
3,840 x 1,608
|
7,003 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,243 kbps
|
|
Omega Syndrome (1987)
|
|
|
|
4.78
|
1:29:09
|
1,920 x 1,080
|
6,120 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,559 kbps
|
|
On Deadly Ground (1994)
|
|
|
|
|
3.11
|
1:41:44
|
1,920 x 800
|
2,760 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,618 kbps
|
|
On Golden Pond (1982)
|
|
|
|
8.11
|
1:49:22
|
1,920 x 1,076
|
10,410 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
203 kbps
|
|
On Her Majesty's Secret Service (1969)
|
|
|
|
19.09
|
2:22:15
|
3,840 x 1,632
|
15,628 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,575 kbps
|
|
On the Basis of Sex (2018)
|
|
|
|
5.75
|
2:00:15
|
1,920 x 1,036
|
3,816 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,025 kbps
|
|
On the Line (2022)
|
|
|
|
3.18
|
1:44:26
|
1,920 x 800
|
1,511 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,842 kbps
|
|
On the Rocks (2020)
|
|
|
|
|
5.35
|
1:36:50
|
3,840 x 2,076
|
5,203 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,706 kbps
|
|
On the Waterfront (1954)
|
|
|
|
16.08
|
1:47:55
|
1,792 x 1,080
|
18,581 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,756 kbps
|
|
On-Site (2019)
|
|
|
|
1.45
|
1:25:57
|
1,920 x 798
|
1,773 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Once Bitten (1985)
|
|
|
|
4.36
|
1:33:02
|
1,920 x 1,040
|
6,379 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
333 kbps
|
|
Once I Was a Beehive (2015)
|
|
|
|
4.46
|
1:58:07
|
1,920 x 1,080
|
4,954 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Once Upon A Crime... (1992)
|
|
|
|
3.65
|
1:34:28
|
1,920 x 1,032
|
4,920 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
615 kbps
|
|
Once Upon a Main Street (2020)
|
|
|
|
3.18
|
1:27:58
|
1,920 x 1,080
|
4,950 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Once Upon a Time in America (1984)
|
|
|
|
22.51
|
4:11:10
|
1,920 x 1,072
|
9,719 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,109 kbps
|
|
Once Upon a Time in Mexico (2003)
|
|
|
|
|
6.35
|
1:41:42
|
1,920 x 1,080
|
7,095 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,837 kbps
|
|
Once Upon a Time in Venice (2017)
|
|
|
|
|
3.77
|
1:33:53
|
1,920 x 800
|
4,275 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,469 kbps
|
|
Once Upon a Time... in Hollywood (2019)
|
|
|
|
|
|
13.35
|
2:41:30
|
3,840 x 1,600
|
10,207 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,625 kbps
|
|
Once Upon a Wintertime (1948)
|
|
|
|
0.24
|
08:23
|
1,440 x 1,080
|
3,768 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
One and the Same (2021)
|
|
|
|
2.62
|
1:50:32
|
1,920 x 954
|
3,010 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
One Crazy Summer (1986)
|
|
|
|
4.31
|
1:33:21
|
1,920 x 1,036
|
5,856 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
758 kbps
|
|
One Dark Night (1982)
|
|
|
|
5.33
|
1:29:01
|
1,904 x 1,080
|
7,963 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
610 kbps
|
|
One Day (2011)
|
|
|
|
6.08
|
1:47:25
|
1,920 x 816
|
5,143 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,962 kbps
|
|
One Day as a Lion (2023)
|
|
|
|
4.83
|
1:27:09
|
3,840 x 1,912
|
7,552 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
One Eight Seven (1997)
|
|
|
|
|
18.24
|
1:59:35
|
3,840 x 2,072
|
20,477 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,362 kbps
|
|
One False Move (1992)
|
|
|
|
7.35
|
1:45:33
|
1,920 x 1,072
|
8,693 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,380 kbps
|
|
One Flew Over the Cuckoo's Nest (1975)
|
|
|
|
6.31
|
2:13:42
|
1,916 x 1,080
|
6,119 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
One for the Money (2012)
|
|
|
|
4.60
|
1:31:13
|
1,920 x 800
|
6,038 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,179 kbps
|
|
One from the Heart (1982)
|
|
|
|
|
19.16
|
1:33:40
|
2,960 x 2,160
|
26,236 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,046 kbps
|
|
One Good Turn (1931)
|
|
|
|
0.60
|
20:50
|
1,418 x 1,080
|
3,890 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
240 kbps
|
|
One Hour Photo (2002)
|
|
|
|
8.22
|
1:36:01
|
1,920 x 1,040
|
9,067 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,188 kbps
|
|
One Hundred and One Dalmatians (1961)
|
|
|
|
3.70
|
1:19:17
|
1,440 x 1,080
|
3,723 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,951 kbps
|
|
One Last Night (2019)
|
|
|
|
|
1.15
|
1:16:57
|
1,920 x 804
|
1,747 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
One Last Thing... (2005)
|
|
|
|
4.18
|
1:35:54
|
1,904 x 1,080
|
4,723 kbps
|
|
5.1
|
|
48 kHz
|
1,509.75 kbps
|
|
One Life (2023)
|
|
|
|
4.34
|
1:49:09
|
1,920 x 868
|
2,991 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,695 kbps
|
|
One Million Years B.C. (1967)
|
|
|
|
12.39
|
1:40:23
|
1,800 x 1,080
|
17,050 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
623 kbps
|
|
One Night at McCool's (2001)
|
|
|
|
4.60
|
1:33:00
|
1,912 x 1,080
|
6,441 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
One Way (2022)
|
|
|
|
|
2.13
|
1:36:35
|
1,920 x 804
|
1,788 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,367 kbps
|
|
One-Eyed Monster (2008)
|
|
|
|
6.82
|
1:23:44
|
1,904 x 1,080
|
8,536 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,129 kbps
|
|
Only (2020)
|
|
|
|
3.14
|
1:37:24
|
1,920 x 804
|
1,875 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,741 kbps
|
|
Only God Forgives (2013)
|
|
|
|
2.42
|
1:29:30
|
1,920 x 1,036
|
2,841 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,032 kbps
|
|
Only One Way (2014)
|
|
|
|
2.09
|
1:35:50
|
1,920 x 756
|
2,891 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Only the Brave (2017)
|
|
|
|
|
10.33
|
2:14:08
|
3,840 x 1,604
|
9,592 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,431 kbps
|
|
Only You (1994)
|
|
|
|
8.31
|
1:48:28
|
1,920 x 1,036
|
9,446 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,429 kbps
|
|
Onward (2020)
|
|
|
|
|
8.38
|
1:42:21
|
3,840 x 1,608
|
9,073 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,639 kbps
|
|
Open (2021)
|
|
|
|
1.63
|
1:11:33
|
1,920 x 816
|
2,614 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Open Grave (2013)
|
|
|
|
6.89
|
1:41:39
|
1,920 x 792
|
6,675 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,026 kbps
|
|
Operation Avalanche (2016)
|
|
|
|
8.80
|
1:34:05
|
1,920 x 1,012
|
12,249 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,136 kbps
|
|
Operation Christmas Drop (2020)
|
|
|
|
|
9.23
|
1:35:10
|
3,840 x 2,160
|
13,101 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Operation Fortune: Ruse de Guerre (2023)
|
|
|
|
|
5.81
|
1:53:41
|
3,840 x 1,608
|
4,364 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,950 kbps
|
|
Operator (2015)
|
|
|
|
6.93
|
1:27:01
|
1,920 x 816
|
10,331 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,073 kbps
|
|
Operator (2016)
|
|
|
|
1.67
|
1:30:48
|
1,920 x 800
|
2,241 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ophelia (2018)
|
|
|
|
2.41
|
1:46:22
|
1,920 x 804
|
2,082 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,165 kbps
|
|
Oppenheimer (2023)
|
|
|
|
|
10.94
|
3:00:22
|
3,840 x 2,160
|
5,728 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,947 kbps
|
|
Opportunity Knocks (1990)
|
|
|
|
6.86
|
1:41:07
|
1,920 x 1,036
|
9,126 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
582 kbps
|
|
Opposing Force (1986)
|
|
|
|
10.16
|
1:37:40
|
1,920 x 1,080
|
14,184 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
712 kbps
|
|
Opposite Day (2009)
|
|
|
|
3.16
|
1:21:07
|
1,920 x 1,080
|
4,942 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Orange County (2002)
|
|
|
|
6.22
|
1:22:21
|
1,904 x 1,080
|
10,178 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ordeal by Innocence (1984)
|
|
|
|
7.01
|
1:30:19
|
1,920 x 1,028
|
10,702 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
414 kbps
|
|
Ordinary Love (2020)
|
|
|
|
3.42
|
1:31:24
|
1,920 x 800
|
2,773 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,582 kbps
|
|
Orgazmo (1998)
|
|
|
|
|
4.91
|
1:34:55
|
1,920 x 1,040
|
5,870 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,531 kbps
|
|
Original Gangster (2020)
|
|
|
|
3.66
|
1:50:03
|
1,920 x 800
|
4,113 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Original Sin (2001)
|
|
|
|
6.04
|
1:58:25
|
1,920 x 816
|
4,162 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,138 kbps
|
|
Orlando (1992)
|
|
|
|
|
19.22
|
1:33:50
|
3,840 x 2,076
|
28,798 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
527 kbps
|
|
Oscar (1991)
|
|
|
|
5.59
|
1:49:44
|
1,920 x 1,032
|
6,720 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
572 kbps
|
|
Osmosis Jones (2001)
|
|
|
|
2.34
|
1:35:21
|
1,920 x 812
|
3,131 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Other People (2016)
|
|
|
|
1.99
|
1:36:42
|
1,920 x 1,036
|
2,298 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Other People's Money (1991)
|
|
|
|
4.26
|
1:40:52
|
1,916 x 1,080
|
5,821 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Our Brand Is Crisis (2015)
|
|
|
|
|
9.41
|
1:47:31
|
1,920 x 1,080
|
9,420 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,106 kbps
|
|
Our Idiot Brother (2011)
|
|
|
|
|
3.17
|
1:29:51
|
1,920 x 1,080
|
2,650 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,399 kbps
|
|
Our Kind of Traitor (2016)
|
|
|
|
|
2.95
|
1:47:34
|
1,920 x 804
|
2,652 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,273 kbps
|
|
Our Man Flint (1966)
|
|
|
|
8.04
|
1:47:45
|
1,920 x 808
|
10,061 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
624 kbps
|
|
Out for Justice (1991)
|
|
|
|
|
2.82
|
1:31:24
|
1,920 x 790
|
3,771 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Out of Africa (1985)
|
|
|
|
12.06
|
2:40:56
|
1,920 x 1,040
|
7,171 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,561 kbps
|
|
Out of Death (2021)
|
|
|
|
5.75
|
1:35:43
|
1,920 x 796
|
5,470 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,135 kbps
|
|
Out of Office (2022)
|
|
|
|
|
1.74
|
1:26:48
|
1,920 x 948
|
2,226 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Out of Sight (1998)
|
|
|
|
|
63.41
|
2:02:51
|
3,840 x 2,076
|
70,663 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,227 kbps
|
|
Out of the Blue (1980)
|
|
|
|
|
17.79
|
1:35:57
|
3,840 x 2,064
|
25,877 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
Out of the Blue (2006)
|
|
|
|
5.66
|
1:43:21
|
1,920 x 1,036
|
6,924 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
913 kbps
|
|
Out of the Furnace (2013)
|
|
|
|
6.83
|
1:56:08
|
1,920 x 800
|
5,229 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,191 kbps
|
|
Out of Time (2003)
|
|
|
|
5.64
|
1:45:51
|
1,920 x 800
|
6,320 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,312 kbps
|
|
Out of Time (2021)
|
|
|
|
2.05
|
1:32:38
|
1,920 x 800
|
2,527 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Out to Sea (1997)
|
|
|
|
2.90
|
1:46:38
|
1,920 x 1,040
|
3,245 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Outbreak (1995)
|
|
|
|
|
6.44
|
2:08:12
|
1,920 x 1,080
|
5,696 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,490 kbps
|
|
Outcast (2015)
|
|
|
|
4.63
|
1:38:35
|
1,920 x 800
|
3,558 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,163 kbps
|
|
Outland (1981)
|
|
|
|
6.58
|
1:49:18
|
1,920 x 800
|
5,160 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,457 kbps
|
|
Outlander (2008)
|
|
|
|
7.28
|
1:55:08
|
1,920 x 818
|
5,553 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,496 kbps
|
|
Outlaw (2007)
|
|
|
|
8.45
|
1:45:07
|
1,920 x 816
|
7,919 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,561 kbps
|
|
Outlaw Prophet: Warren Jeffs (2014)
|
|
|
|
|
1.37
|
1:27:32
|
1,920 x 1,072
|
1,849 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Outrageous Fortune (1987)
|
|
|
|
4.68
|
1:39:02
|
1,920 x 1,034
|
6,376 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Outside the Wire (2021)
|
|
|
|
|
6.64
|
1:55:53
|
3,840 x 1,604
|
7,432 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Over Her Dead Body (2008)
|
|
|
|
2.89
|
1:34:38
|
1,920 x 806
|
3,734 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Over the Edge (1979)
|
|
|
|
5.25
|
1:34:40
|
1,920 x 1,080
|
7,249 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
689 kbps
|
|
Over the Top (1987)
|
|
|
|
9.16
|
1:33:44
|
1,920 x 820
|
12,557 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,436 kbps
|
|
Overboard (1987)
|
|
|
|
|
12.27
|
1:52:11
|
1,920 x 1,040
|
14,305 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,359 kbps
|
|
Overboard (2018)
|
|
|
|
|
8.45
|
1:52:18
|
3,840 x 1,608
|
7,888 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,879 kbps
|
|
Overcomer (2019)
|
|
|
|
3.40
|
1:59:06
|
1,920 x 800
|
2,734 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,354 kbps
|
|
Overdrive (2017)
|
|
|
|
4.79
|
1:33:30
|
1,920 x 796
|
3,451 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,879 kbps
|
|
Overlord (2018)
|
|
|
|
|
|
18.72
|
1:49:44
|
3,840 x 1,600
|
21,477 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,942 kbps
|
|
Overrun (2021)
|
|
|
|
1.53
|
1:48:11
|
1,920 x 792
|
1,643 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Oxygen (1999)
|
|
|
|
12.07
|
1:32:27
|
1,912 x 1,080
|
17,399 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,286 kbps
|
|
Oz the Great and Powerful (2013)
|
|
|
|
|
6.57
|
2:10:30
|
1,920 x 800
|
3,038 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,167 kbps
|
|
P.J. (1968)
|
|
|
|
8.18
|
1:48:26
|
1,920 x 816
|
10,488 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
304 kbps
|
|
P.S. I Love You (2007)
|
|
|
|
5.49
|
2:05:47
|
1,920 x 1,040
|
5,104 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,139 kbps
|
|
Pacific Rim (2013)
|
|
|
|
|
|
17.48
|
2:11:17
|
3,840 x 2,160
|
15,785 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,271 kbps
|
|
Pacific Rim: Uprising (2018)
|
|
|
|
|
17.22
|
1:50:44
|
3,840 x 1,600
|
19,433 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,825 kbps
|
|
Paddington (2014)
|
|
|
|
4.87
|
1:35:13
|
1,920 x 804
|
4,129 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,192 kbps
|
|
Paddington 2 (2017)
|
|
|
|
|
10.17
|
1:43:18
|
3,840 x 1,604
|
11,405 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,680 kbps
|
|
Pain & Gain (2013)
|
|
|
|
9.11
|
2:09:37
|
1,920 x 800
|
5,672 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,394 kbps
|
|
Paint (2023)
|
|
|
|
4.57
|
1:35:47
|
1,920 x 936
|
3,919 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,914 kbps
|
|
Paint Your Wagon (1969)
|
|
|
|
|
45.96
|
2:44:33
|
3,840 x 1,632
|
38,627 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,349 kbps
|
|
Paintball Massacre (2020)
|
|
|
|
5.07
|
1:32:29
|
1,920 x 816
|
4,546 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,307 kbps
|
|
Pale Blood (1990)
|
|
|
|
7.24
|
1:33:36
|
1,920 x 1,036
|
9,661 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,410 kbps
|
|
Palm Springs (2020)
|
|
|
|
3.20
|
1:30:19
|
1,920 x 800
|
2,845 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,228 kbps
|
|
Palmer (2021)
|
|
|
|
|
3.14
|
1:50:55
|
3,840 x 1,600
|
3,274 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Pan (2015)
|
|
|
|
|
10.21
|
1:51:32
|
3,840 x 1,600
|
9,615 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,442 kbps
|
|
Pan's Labyrinth (2006)
|
|
|
|
|
|
13.57
|
1:59:10
|
3,840 x 2,076
|
11,825 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,478 kbps
|
|
Panama (2022)
|
|
|
|
6.14
|
1:34:34
|
1,920 x 1,036
|
6,116 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,185 kbps
|
|
Pandas (2018)
|
|
|
|
|
26.85
|
42:18
|
3,840 x 2,160
|
87,562 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,311 kbps
|
|
Pandemic (2016)
|
|
|
|
|
2.67
|
1:31:59
|
1,920 x 816
|
3,700 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Pandemonium (1982)
|
|
|
|
5.59
|
1:20:46
|
1,920 x 1,036
|
9,154 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
755 kbps
|
|
Panic (2001)
|
|
|
|
1.39
|
1:27:53
|
1,920 x 796
|
2,043 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Panic in Year Zero! (1962)
|
|
|
|
7.52
|
1:31:46
|
1,920 x 818
|
11,472 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
254 kbps
|
|
Panic Room (2002)
|
|
|
|
|
2.20
|
1:51:56
|
1,920 x 800
|
1,385 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,434 kbps
|
|
Pants on Fire (2014)
|
|
|
|
4.50
|
1:27:03
|
1,920 x 1,080
|
6,764 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Paparazzi (2004)
|
|
|
|
3.15
|
1:24:39
|
1,912 x 1,080
|
4,679 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Paper Heart (2009)
|
|
|
|
4.44
|
1:27:56
|
1,920 x 1,080
|
4,208 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,021 kbps
|
|
Paper Man (2009)
|
|
|
|
4.65
|
1:50:45
|
1,920 x 1,040
|
3,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,935 kbps
|
|
Paper Mask (1991)
|
|
|
|
3.06
|
1:45:08
|
1,794 x 1,080
|
3,935 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Paper Moon (1973)
|
|
|
|
12.88
|
1:42:20
|
1,916 x 1,080
|
17,354 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
667 kbps
|
|
Paper Towns (2015)
|
|
|
|
3.58
|
1:49:06
|
1,920 x 800
|
1,391 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,301 kbps
|
|
Paper Year (2018)
|
|
|
|
1.78
|
1:29:09
|
1,920 x 784
|
2,209 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Papillon (1973)
|
|
|
|
11.28
|
2:30:47
|
1,920 x 800
|
7,291 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,416 kbps
|
|
Papillon (2017)
|
|
|
|
6.23
|
2:13:15
|
1,920 x 804
|
3,654 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,041 kbps
|
|
Paradise (1991)
|
|
|
|
5.59
|
1:51:22
|
1,920 x 1,032
|
6,696 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
487 kbps
|
|
Paradise City (2022)
|
|
|
|
3.99
|
1:33:03
|
1,920 x 804
|
3,096 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,035 kbps
|
|
Paradise Cove (2021)
|
|
|
|
2.31
|
1:43:39
|
1,920 x 798
|
2,804 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Paradise Hills (2019)
|
|
|
|
3.61
|
1:34:36
|
1,920 x 956
|
2,678 kbps
|
|
5.1
|
|
18 bits / 96 kHz
|
2,778 kbps
|
|
Paradox Lost (2021)
|
|
|
|
0.97
|
1:33:36
|
1,920 x 798
|
1,343 kbps
|
|
2.0
|
|
48 kHz
|
144 kbps
|
|
Parallel (2020)
|
|
|
|
2.96
|
1:43:58
|
1,920 x 800
|
1,213 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,857 kbps
|
|
Parallels (2015)
|
|
|
|
1.27
|
1:23:35
|
1,920 x 1,080
|
1,796 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Paranoia (1969)
|
|
|
|
4.50
|
1:37:01
|
1,920 x 816
|
6,049 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
589 kbps
|
|
Paranoia (2013)
|
|
|
|
4.30
|
1:46:06
|
1,920 x 800
|
2,535 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,271 kbps
|
|
Paranormal Activity (2007)
|
|
|
|
3.20
|
1:26:17
|
1,904 x 1,080
|
2,770 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,535 kbps
|
|
Paranormal Activity 2 (2010)
|
|
|
|
9.83
|
1:38:04
|
1,920 x 1,080
|
12,137 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,215 kbps
|
|
Paranormal Activity 3 (2011)
|
|
|
|
3.47
|
1:33:59
|
1,920 x 1,080
|
3,293 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,990 kbps
|
|
Paranormal Activity 4 (2012)
|
|
|
|
6.28
|
1:36:42
|
1,920 x 1,080
|
7,179 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,120 kbps
|
|
Paranormal Activity: Next of Kin (2021)
|
|
|
|
4.17
|
1:38:15
|
1,920 x 800
|
3,675 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,398 kbps
|
|
Paranormal Activity: The Ghost Dimension (2015)
|
|
|
|
9.11
|
1:37:23
|
1,920 x 1,080
|
11,350 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,043 kbps
|
|
Paranormal Activity: The Marked Ones (2014)
|
|
|
|
8.30
|
1:41:05
|
1,920 x 1,080
|
10,088 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,664 kbps
|
|
ParaNorman (2012)
|
|
|
|
|
4.22
|
1:32:11
|
3,840 x 1,600
|
3,879 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,667 kbps
|
|
Parental Guidance (2012)
|
|
|
|
|
9.53
|
1:44:38
|
1,920 x 1,036
|
10,008 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,026 kbps
|
|
Parenthood (1989)
|
|
|
|
7.24
|
2:03:37
|
1,920 x 1,036
|
5,398 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,983 kbps
|
|
Parker (2013)
|
|
|
|
5.70
|
1:58:40
|
1,920 x 796
|
3,643 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,231 kbps
|
|
Partners (1982)
|
|
|
|
8.68
|
1:32:19
|
1,920 x 1,076
|
12,828 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
632 kbps
|
|
Party Girl (1995)
|
|
|
|
12.25
|
1:34:12
|
1,920 x 1,036
|
18,417 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
193 kbps
|
|
Party Line (1988)
|
|
|
|
8.07
|
1:30:32
|
1,920 x 1,036
|
11,671 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,096 kbps
|
|
Passenger 57 (1992)
|
|
|
|
5.39
|
1:23:44
|
1,920 x 800
|
5,321 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,901 kbps
|
|
Passengers (2016)
|
|
|
|
|
|
8.38
|
1:56:11
|
3,840 x 1,604
|
7,870 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,445 kbps
|
|
Passing (2021)
|
|
|
|
|
2.59
|
1:38:16
|
1,436 x 1,080
|
2,987 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Passion (2013)
|
|
|
|
7.71
|
1:41:03
|
1,920 x 1,036
|
10,003 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
916 kbps
|
|
Passion Fish (1992)
|
|
|
|
6.25
|
2:15:06
|
1,920 x 1,072
|
6,397 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Passion of Mind (2000)
|
|
|
|
6.68
|
1:45:14
|
1,920 x 808
|
8,450 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Passion Play (2011)
|
|
|
|
8.11
|
1:33:56
|
1,920 x 800
|
11,037 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,319 kbps
|
|
Past Shadows (2021)
|
|
|
|
2.00
|
1:25:05
|
1,920 x 792
|
3,146 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Patch Adams (1998)
|
|
|
|
5.39
|
1:55:23
|
1,920 x 816
|
3,151 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,529 kbps
|
|
Pathfinder (2007)
|
|
|
|
|
8.43
|
1:47:10
|
1,920 x 800
|
7,751 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,514 kbps
|
|
Patient Zero (2018)
|
|
|
|
|
|
3.86
|
1:26:46
|
3,840 x 1,608
|
4,941 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,428 kbps
|
|
Patrick (1978)
|
|
|
|
|
48.25
|
1:52:34
|
3,840 x 2,076
|
61,119 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
240 kbps
|
|
Patrick (2018)
|
|
|
|
3.90
|
1:34:30
|
1,920 x 800
|
2,944 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,956 kbps
|
|
Patriot Games (1992)
|
|
|
|
|
|
22.03
|
1:56:44
|
3,840 x 1,604
|
23,562 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,456 kbps
|
|
Patti Cake$ (2017)
|
|
|
|
5.18
|
1:48:56
|
1,920 x 1,036
|
3,623 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,184 kbps
|
|
Patton (1970)
|
|
|
|
8.42
|
2:51:57
|
1,920 x 876
|
5,972 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,036 kbps
|
|
Paul (2011)
|
|
|
|
|
5.31
|
1:49:18
|
1,920 x 816
|
3,828 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,129 kbps
|
|
Paul Blart: Mall Cop (2009)
|
|
|
|
|
3.85
|
1:31:03
|
1,920 x 1,040
|
4,650 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,404 kbps
|
|
Paul Blart: Mall Cop 2 (2015)
|
|
|
|
|
4.74
|
1:34:01
|
1,920 x 1,036
|
4,294 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,926 kbps
|
|
Paulie (1998)
|
|
|
|
2.79
|
1:31:24
|
1,920 x 1,076
|
3,729 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Pavarotti in Hyde Park 1991 (2022)
|
|
|
|
3.55
|
1:34:05
|
720 x 480
|
1,881 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,526 kbps
|
|
Pay It Forward (2000)
|
|
|
|
3.61
|
2:03:22
|
1,920 x 1,076
|
3,806 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Pay the Ghost (2015)
|
|
|
|
3.87
|
1:34:07
|
1,920 x 786
|
2,816 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,076 kbps
|
|
Payback (1999)
|
|
|
|
5.89
|
1:30:18
|
1,920 x 800
|
8,061 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,274 kbps
|
|
Payback (2021)
|
|
|
|
|
2.39
|
1:31:18
|
1,920 x 1,080
|
2,811 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
936 kbps
|
|
Paycheck (2003)
|
|
|
|
7.96
|
1:58:46
|
1,920 x 814
|
6,248 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,346 kbps
|
|
Paydirt (2020)
|
|
|
|
4.11
|
1:25:26
|
1,920 x 792
|
3,727 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,150 kbps
|
|
PCU (1994)
|
|
|
|
3.87
|
1:20:46
|
1,916 x 1,080
|
6,633 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Peacock (2010)
|
|
|
|
4.96
|
1:30:41
|
1,912 x 1,080
|
3,411 kbps
|
|
5.1
|
|
24 bits / 96 kHz
|
4,417 kbps
|
|
Pearl (2022)
|
|
|
|
|
3.15
|
1:42:05
|
3,840 x 1,600
|
3,650 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Pearl Harbor (2001)
|
|
|
|
|
14.32
|
3:03:05
|
1,920 x 804
|
9,608 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,588 kbps
|
|
Pecker (1998)
|
|
|
|
3.00
|
1:26:20
|
1,920 x 1,032
|
4,752 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Pee-wee's Big Adventure (1985)
|
|
|
|
|
8.89
|
1:31:27
|
1,904 x 1,080
|
10,390 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,531 kbps
|
|
Pee-wee's Big Holiday (2016)
|
|
|
|
10.23
|
1:30:10
|
3,840 x 2,076
|
15,860 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Peel (2019)
|
|
|
|
1.51
|
1:41:16
|
1,920 x 800
|
1,754 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Peep World (2010)
|
|
|
|
3.00
|
1:19:22
|
1,920 x 816
|
2,327 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,076 kbps
|
|
Peeping Tom (1960)
|
|
|
|
|
31.17
|
1:42:02
|
3,584 x 2,160
|
43,123 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
608 kbps
|
|
Peggy Sue Got Married (1986)
|
|
|
|
6.63
|
1:43:08
|
1,920 x 1,040
|
8,075 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,128 kbps
|
|
Penguin Bloom (2021)
|
|
|
|
3.03
|
1:35:03
|
1,920 x 804
|
1,947 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,621 kbps
|
|
Penguins of Madagascar (2014)
|
|
|
|
5.33
|
1:31:50
|
1,920 x 1,040
|
3,721 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,589 kbps
|
|
People You May Know (2017)
|
|
|
|
1.44
|
1:31:45
|
1,920 x 796
|
1,862 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Peppermint (2018)
|
|
|
|
3.85
|
1:42:02
|
1,920 x 804
|
1,585 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,812 kbps
|
|
Percy (2021)
|
|
|
|
1.41
|
1:39:39
|
1,920 x 800
|
1,636 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Percy Jackson & the Olympians: The Lightning Thief (2010)
|
|
|
|
6.40
|
1:58:38
|
1,920 x 816
|
4,434 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,284 kbps
|
|
Percy Jackson: Sea of Monsters (2013)
|
|
|
|
6.65
|
1:46:07
|
1,920 x 816
|
4,118 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,850 kbps
|
|
Perdita Durango (1997)
|
|
|
|
|
|
21.56
|
2:09:58
|
3,840 x 1,632
|
22,751 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
994 kbps
|
|
Perfect Addiction (2023)
|
|
|
|
|
3.71
|
1:37:16
|
3,840 x 1,600
|
5,006 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Perfect Friday (1970)
|
|
|
|
7.68
|
1:34:23
|
1,794 x 1,080
|
11,052 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
599 kbps
|
|
Perfect Sense (2011)
|
|
|
|
6.34
|
1:32:26
|
1,920 x 816
|
8,666 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,153 kbps
|
|
Perfect Skin (2018)
|
|
|
|
4.18
|
1:42:23
|
1,920 x 804
|
3,868 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,974 kbps
|
|
Performance (1970)
|
|
|
|
5.60
|
1:45:40
|
1,904 x 1,080
|
7,330 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
257 kbps
|
|
Perfume: The Story of a Murderer (2007)
|
|
|
|
|
10.39
|
2:27:31
|
3,840 x 1,632
|
8,543 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,532 kbps
|
|
Personal Effects (2009)
|
|
|
|
6.25
|
1:50:11
|
1,912 x 1,080
|
5,273 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,852 kbps
|
|
Personal Shopper (2017)
|
|
|
|
|
4.07
|
1:45:32
|
1,920 x 800
|
3,084 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,431 kbps
|
|
Persuasion (2022)
|
|
|
|
|
|
6.77
|
1:47:44
|
3,840 x 1,828
|
8,205 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Pet Sematary (1989)
|
|
|
|
|
31.55
|
1:42:40
|
3,840 x 2,160
|
40,925 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,068 kbps
|
|
Pet Sematary: Bloodlines (2023)
|
|
|
|
|
|
3.30
|
1:27:22
|
3,840 x 1,592
|
3,880 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,528 kbps
|
|
Pet Shop (1994)
|
|
|
|
6.72
|
1:27:54
|
1,920 x 1,080
|
10,723 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Pete's Christmas (2013)
|
|
|
|
3.61
|
1:29:06
|
1,920 x 1,080
|
4,783 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,007 kbps
|
|
Pete's Dragon (1977)
|
|
|
|
10.61
|
2:08:46
|
1,800 x 1,080
|
8,878 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,914 kbps
|
|
Pete's Dragon (2016)
|
|
|
|
4.24
|
1:42:45
|
1,920 x 800
|
2,096 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,805 kbps
|
|
Peter Pan & Wendy (2023)
|
|
|
|
|
5.05
|
1:43:21
|
3,840 x 1,828
|
6,227 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Peter Pan (1953)
|
|
|
|
3.03
|
1:16:46
|
1,440 x 1,080
|
2,308 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,343 kbps
|
|
Peter Pan (2003)
|
|
|
|
4.21
|
1:53:22
|
1,920 x 796
|
3,883 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,434 kbps
|
|
Peter Rabbit (2018)
|
|
|
|
|
7.81
|
1:34:43
|
3,840 x 1,606
|
9,036 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,755 kbps
|
|
Peter Rabbit 2: The Runaway (2021)
|
|
|
|
|
6.54
|
1:33:23
|
3,840 x 1,608
|
7,041 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,981 kbps
|
|
Phantasm (1979)
|
|
|
|
|
18.29
|
1:29:03
|
3,840 x 2,160
|
28,193 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,211 kbps
|
|
Phantasm II (1988)
|
|
|
|
9.47
|
1:36:45
|
1,920 x 1,036
|
10,327 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,676 kbps
|
|
Phantasm III: Lord of the Dead (1994)
|
|
|
|
12.69
|
1:31:15
|
1,920 x 1,080
|
16,447 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,455 kbps
|
|
Phantasm IV: Oblivion (1998)
|
|
|
|
5.70
|
1:30:07
|
1,920 x 1,080
|
7,522 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,539 kbps
|
|
Phantasm: Ravager (2016)
|
|
|
|
3.49
|
1:25:26
|
1,920 x 1,080
|
4,541 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,308 kbps
|
|
Phantom (2013)
|
|
|
|
5.94
|
1:38:29
|
1,920 x 816
|
5,249 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,378 kbps
|
|
Phantoms (1998)
|
|
|
|
2.73
|
1:36:05
|
1,916 x 1,080
|
2,622 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
Phase IV (1974)
|
|
|
|
|
31.77
|
1:23:48
|
3,840 x 2,076
|
53,559 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
722 kbps
|
|
Phenomena (1985)
|
|
|
|
|
|
50.99
|
1:55:55
|
3,600 x 2,160
|
60,279 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,695 kbps
|
|
Phenomenon (1996)
|
|
|
|
7.02
|
2:03:26
|
1,920 x 802
|
4,653 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,489 kbps
|
|
Phil (2019)
|
|
|
|
2.43
|
1:41:08
|
1,920 x 796
|
3,057 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Philadelphia (1994)
|
|
|
|
|
32.22
|
2:05:29
|
3,840 x 2,076
|
34,306 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,451 kbps
|
|
Philomena (2013)
|
|
|
|
4.87
|
1:37:44
|
1,920 x 1,036
|
4,575 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,559 kbps
|
|
Phobias (2021)
|
|
|
|
1.38
|
1:25:49
|
1,920 x 952
|
1,917 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Phoenix (1998)
|
|
|
|
2.30
|
1:47:33
|
1,920 x 816
|
2,606 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Phone Booth (2003)
|
|
|
|
7.10
|
1:21:00
|
1,920 x 812
|
9,004 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,542 kbps
|
|
Pi (1998)
|
|
|
|
5.26
|
1:24:15
|
1,788 x 1,080
|
8,362 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
580 kbps
|
|
Picasso Trigger (1988)
|
|
|
|
15.03
|
1:38:28
|
1,920 x 1,080
|
21,487 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
356 kbps
|
|
Pick-Up (1975)
|
|
|
|
8.82
|
1:19:26
|
1,920 x 1,036
|
14,600 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,293 kbps
|
|
Pickled (2022)
|
|
|
|
3.13
|
1:28:14
|
1,920 x 1,064
|
4,435 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Picture Perfect (1997)
|
|
|
|
2.49
|
1:41:47
|
1,920 x 1,024
|
2,866 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Pieces of a Woman (2020)
|
|
|
|
|
8.36
|
2:06:53
|
3,840 x 2,072
|
8,783 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Pieces of April (2003)
|
|
|
|
0.64
|
1:19:57
|
720 x 462
|
754 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Pig (2021)
|
|
|
|
2.92
|
1:31:18
|
1,920 x 800
|
1,936 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,637 kbps
|
|
Pimped (2018)
|
|
|
|
1.94
|
1:19:02
|
1,920 x 800
|
616 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,893 kbps
|
|
Pin Cushion (2017)
|
|
|
|
2.82
|
1:21:41
|
1,920 x 1,036
|
2,298 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,650 kbps
|
|
Pineapple Express (2008)
|
|
|
|
|
5.18
|
1:57:27
|
1,920 x 800
|
5,007 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,300 kbps
|
|
Ping Pong (1990)
|
|
|
|
4.67
|
1:40:14
|
1,404 x 1,080
|
6,444 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Pink Floyd - Animals (2018)
|
|
|
|
|
3.75
|
42:04
|
1,920 x 1,080
|
587 kbps
|
|
5.1
|
|
24 bits / 96 kHz
|
7,050 kbps
|
|
Pink Floyd – The Wall (1982)
|
|
|
|
3.96
|
1:35:08
|
1,920 x 792
|
2,498 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,466 kbps
|
|
Pink Skies Ahead (2020)
|
|
|
|
1.75
|
1:34:18
|
1,920 x 796
|
2,429 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Pinocchio (1940)
|
|
|
|
4.67
|
1:27:45
|
1,448 x 1,080
|
4,668 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,956 kbps
|
|
Pinocchio (2022)
|
|
|
|
|
7.49
|
1:45:09
|
3,840 x 2,068
|
9,426 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Pinocchio: A True Story (2022)
|
|
|
|
3.19
|
1:33:55
|
1,920 x 808
|
4,472 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Piranha (1978)
|
|
|
|
|
26.69
|
1:33:46
|
3,840 x 2,064
|
40,190 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
549 kbps
|
|
Piranha 3D (2010)
|
|
|
|
5.93
|
1:28:21
|
1,920 x 800
|
5,917 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,691 kbps
|
|
Piranha 3DD (2012)
|
|
|
|
6.28
|
1:22:41
|
1,920 x 1,080
|
7,244 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,630 kbps
|
|
Pirate Radio (2009)
|
|
|
|
8.32
|
2:15:09
|
1,920 x 814
|
5,635 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,181 kbps
|
|
Pirates (1986)
|
|
|
|
7.23
|
2:01:19
|
1,920 x 812
|
7,221 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,309 kbps
|
|
Pirates of the Caribbean: At World's End (2007)
|
|
|
|
|
|
18.81
|
2:48:28
|
3,840 x 1,600
|
14,283 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,692 kbps
|
|
Pirates of the Caribbean: Dead Man's Chest (2006)
|
|
|
|
|
|
15.09
|
2:30:39
|
3,840 x 1,600
|
12,630 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,704 kbps
|
|
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
|
|
|
|
|
|
14.98
|
2:09:06
|
3,840 x 1,600
|
13,288 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,319 kbps
|
|
Pirates of the Caribbean: On Stranger Tides (2011)
|
|
|
|
|
|
9.44
|
2:16:24
|
3,840 x 1,600
|
8,144 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,756 kbps
|
|
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
|
|
|
|
|
|
9.48
|
2:23:09
|
3,840 x 1,632
|
7,825 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,644 kbps
|
|
Pistolera (2020)
|
|
|
|
|
3.38
|
1:30:39
|
1,920 x 1,012
|
3,784 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,551 kbps
|
|
Pit Stop (1969)
|
|
|
|
10.90
|
1:30:51
|
1,916 x 1,080
|
16,579 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
603 kbps
|
|
Pitch Black (2000)
|
|
|
|
|
27.07
|
1:51:46
|
3,840 x 1,632
|
30,912 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,756 kbps
|
|
Pitch Perfect (2012)
|
|
|
|
|
9.70
|
1:52:02
|
3,840 x 2,076
|
8,343 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,050 kbps
|
|
Pitch Perfect 2 (2015)
|
|
|
|
|
11.23
|
1:54:41
|
3,840 x 2,076
|
9,459 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,549 kbps
|
|
Pitch Perfect 3 (2017)
|
|
|
|
|
23.43
|
1:33:03
|
3,840 x 2,076
|
32,083 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,960 kbps
|
|
Pittsburgh (1942)
|
|
|
|
5.88
|
1:31:30
|
1,456 x 1,080
|
8,990 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
213 kbps
|
|
Pixels (2015)
|
|
|
|
|
|
|
6.72
|
1:45:50
|
3,840 x 1,604
|
6,237 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,851 kbps
|
|
Pixie (2020)
|
|
|
|
3.28
|
1:32:51
|
1,920 x 796
|
2,309 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,742 kbps
|
|
Plain Clothes (1988)
|
|
|
|
5.19
|
1:38:09
|
1,920 x 1,080
|
6,973 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
592 kbps
|
|
Plan A (2021)
|
|
|
|
1.95
|
1:49:53
|
1,920 x 804
|
1,590 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
954 kbps
|
|
Plane (2023)
|
|
|
|
|
4.89
|
1:47:29
|
3,840 x 1,604
|
3,758 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,756 kbps
|
|
Planes, Trains and Automobiles (1987)
|
|
|
|
|
|
9.23
|
1:32:29
|
3,840 x 2,076
|
10,858 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,430 kbps
|
|
Planet of the Apes (1968)
|
|
|
|
8.18
|
1:52:03
|
1,920 x 812
|
7,646 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,802 kbps
|
|
Planet of the Apes (2001) (2001)
|
|
|
|
5.31
|
1:59:58
|
1,920 x 800
|
3,038 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,296 kbps
|
|
Planet Terror (2007)
|
|
|
|
16.01
|
1:45:33
|
1,920 x 1,080
|
18,269 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,448 kbps
|
|
Plastic (2014)
|
|
|
|
2.94
|
1:41:57
|
1,920 x 800
|
2,933 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,195 kbps
|
|
Platoon (1987)
|
|
|
|
|
14.14
|
1:59:54
|
3,840 x 2,076
|
15,616 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,267 kbps
|
|
Play Dead (2022)
|
|
|
|
2.25
|
1:46:04
|
1,920 x 796
|
1,725 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,305 kbps
|
|
Play Dirty (1969)
|
|
|
|
6.99
|
1:58:14
|
1,920 x 816
|
8,246 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
218 kbps
|
|
Play It Again, Charlie Brown (1971)
|
|
|
|
|
1.33
|
25:18
|
2,880 x 2,160
|
6,625 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
871 kbps
|
|
Play It to the Bone (2000)
|
|
|
|
6.38
|
2:03:57
|
1,920 x 808
|
6,592 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
773 kbps
|
|
Play Misty for Me (1971)
|
|
|
|
6.40
|
1:42:05
|
1,920 x 1,040
|
8,358 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
617 kbps
|
|
Playing by Heart (1999)
|
|
|
|
4.57
|
2:01:03
|
1,920 x 972
|
4,151 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,251 kbps
|
|
Playing for Keeps (2012)
|
|
|
|
5.70
|
1:45:37
|
1,920 x 800
|
4,605 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,113 kbps
|
|
Playing God (1997)
|
|
|
|
6.01
|
1:34:06
|
1,920 x 1,076
|
8,602 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
547 kbps
|
|
Playing God (2021)
|
|
|
|
1.63
|
1:35:26
|
1,920 x 792
|
2,057 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Playing with Fire (2019)
|
|
|
|
7.38
|
1:36:00
|
3,840 x 2,160
|
8,002 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,997 kbps
|
|
Playmobil: The Movie (2019)
|
|
|
|
2.82
|
1:39:22
|
1,920 x 802
|
2,865 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,202 kbps
|
|
Pleasantville (1998)
|
|
|
|
|
8.84
|
2:04:31
|
1,920 x 1,080
|
6,690 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,468 kbps
|
|
Please Kill Mr. Know It All (2012)
|
|
|
|
1.12
|
1:26:01
|
1,920 x 800
|
1,602 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Please Stand By (2018)
|
|
|
|
3.64
|
1:32:46
|
1,920 x 800
|
2,763 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,858 kbps
|
|
Pledge Night (1990)
|
|
|
|
6.70
|
1:25:57
|
1,920 x 1,036
|
9,886 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,270 kbps
|
|
Plus One (2019)
|
|
|
|
3.43
|
1:38:32
|
1,920 x 800
|
2,068 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,914 kbps
|
|
Pluto's Christmas Tree (1952)
|
|
|
|
|
0.15
|
06:43
|
1,432 x 1,080
|
2,949 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Pocahontas (1995)
|
|
|
|
3.09
|
1:21:09
|
1,920 x 1,080
|
2,280 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,172 kbps
|
|
Pocahontas II: Journey to a New World (1998)
|
|
|
|
2.46
|
1:13:10
|
1,916 x 1,080
|
3,143 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,670 kbps
|
|
Pocket Dial Murder (2023)
|
|
|
|
2.87
|
1:26:30
|
1,920 x 1,080
|
4,520 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Poetic Justice (1993)
|
|
|
|
5.24
|
1:49:08
|
1,920 x 1,036
|
5,400 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,474 kbps
|
|
Point Break (1991)
|
|
|
|
6.29
|
2:02:06
|
1,920 x 812
|
5,926 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
Point Break (2015)
|
|
|
|
|
10.16
|
1:53:51
|
3,840 x 1,600
|
8,394 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,374 kbps
|
|
Point Doom (2001)
|
|
|
|
2.45
|
1:39:08
|
1,908 x 1,080
|
3,309 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Point of No Return (1993)
|
|
|
|
7.61
|
1:48:20
|
1,920 x 786
|
8,605 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,444 kbps
|
|
Poison Ivy (1992)
|
|
|
|
4.48
|
1:34:07
|
1,920 x 1,036
|
6,081 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
736 kbps
|
|
Poison Ivy II: Lily (1996)
|
|
|
|
2.83
|
1:47:14
|
1,920 x 1,036
|
3,217 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
563 kbps
|
|
Poison Ivy: The New Seduction (1997)
|
|
|
|
3.30
|
1:34:17
|
1,920 x 1,036
|
4,384 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
629 kbps
|
|
Pokémon: Detective Pikachu (2019)
|
|
|
|
|
|
13.35
|
1:44:28
|
3,840 x 1,610
|
16,717 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,569 kbps
|
|
Polar (2019)
|
|
|
|
|
|
15.39
|
1:58:17
|
3,840 x 1,920
|
18,177 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Police Academy (1984)
|
|
|
|
|
6.89
|
1:36:25
|
1,912 x 1,080
|
9,508 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
716 kbps
|
|
Police Academy 2: Their First Assignment (1985)
|
|
|
|
|
5.85
|
1:27:09
|
1,904 x 1,080
|
8,914 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
692 kbps
|
|
Police Academy 3: Back in Training (1986)
|
|
|
|
|
3.94
|
1:23:44
|
1,908 x 1,080
|
6,335 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
395 kbps
|
|
Police Academy 4: Citizens on Patrol (1987)
|
|
|
|
5.19
|
1:27:17
|
1,896 x 1,080
|
8,140 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
373 kbps
|
|
Police Academy 5: Assignment Miami Beach (1988)
|
|
|
|
5.25
|
1:29:51
|
1,916 x 1,080
|
7,601 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
759 kbps
|
|
Police Academy 6: City Under Siege (1989)
|
|
|
|
5.94
|
1:23:55
|
1,920 x 1,080
|
9,434 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
695 kbps
|
|
Police Academy 7: Mission to Moscow (1994)
|
|
|
|
5.59
|
1:22:41
|
1,916 x 1,080
|
8,390 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,279 kbps
|
|
Polite Society (2023)
|
|
|
|
5.35
|
1:44:00
|
1,920 x 800
|
4,279 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,077 kbps
|
|
Poltergeist (1982)
|
|
|
|
|
25.31
|
1:54:26
|
3,840 x 1,604
|
28,828 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,833 kbps
|
|
Poltergeist (2015)
|
|
|
|
4.57
|
1:40:53
|
1,920 x 800
|
2,068 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,420 kbps
|
|
Poltergeist II: The Other Side (1986)
|
|
|
|
8.01
|
1:30:38
|
1,920 x 816
|
9,178 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,469 kbps
|
|
Poltergeist III (1988)
|
|
|
|
10.08
|
1:37:44
|
1,920 x 1,036
|
11,842 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,916 kbps
|
|
Pompeii (2014)
|
|
|
|
5.92
|
1:44:59
|
1,920 x 800
|
4,582 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,492 kbps
|
|
Pooh's Grand Adventure: The Search for Christopher Robin (1997)
|
|
|
|
5.80
|
1:16:00
|
1,780 x 1,080
|
7,109 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,815 kbps
|
|
Poor Things (2023)
|
|
|
|
|
10.65
|
2:21:37
|
3,582 x 2,160
|
9,993 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Pootie Tang (2001)
|
|
|
|
6.63
|
1:21:21
|
1,920 x 1,080
|
10,412 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,259 kbps
|
|
Popeye (1980)
|
|
|
|
7.55
|
1:53:57
|
1,920 x 816
|
6,371 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,111 kbps
|
|
Popstar: Never Stop Never Stopping (2016)
|
|
|
|
5.36
|
1:26:30
|
1,920 x 796
|
5,842 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,036 kbps
|
|
Population 436 (2006)
|
|
|
|
2.33
|
1:32:27
|
1,912 x 1,080
|
3,387 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Pork Chop Hill (1959)
|
|
|
|
10.83
|
1:37:38
|
1,790 x 1,080
|
15,656 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
228 kbps
|
|
Porky's (1982)
|
|
|
|
8.77
|
1:38:26
|
1,920 x 1,040
|
12,494 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
261 kbps
|
|
Porky's II: The Next Day (1983)
|
|
|
|
6.19
|
1:37:38
|
1,920 x 1,040
|
8,734 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
343 kbps
|
|
Porky's Revenge! (1985)
|
|
|
|
5.11
|
1:32:34
|
1,920 x 1,040
|
7,168 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
736 kbps
|
|
Porno (2019)
|
|
|
|
2.72
|
1:39:00
|
1,920 x 800
|
2,995 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
941 kbps
|
|
Portals (2019)
|
|
|
|
1.72
|
1:28:46
|
1,920 x 814
|
2,128 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Poseidon (2006)
|
|
|
|
|
4.47
|
1:38:15
|
1,920 x 794
|
4,745 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,771 kbps
|
|
Positive I.D. (1986)
|
|
|
|
12.74
|
1:35:23
|
1,784 x 1,080
|
18,886 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
238 kbps
|
|
Possessor (2020)
|
|
|
|
|
11.99
|
1:43:56
|
3,840 x 2,160
|
15,095 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
Pottersville (2017)
|
|
|
|
1.94
|
1:25:37
|
1,920 x 804
|
2,858 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Pound of Flesh (2015)
|
|
|
|
5.41
|
1:44:25
|
1,920 x 1,080
|
3,879 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,538 kbps
|
|
Powder (1995)
|
|
|
|
1.89
|
1:51:41
|
1,920 x 1,032
|
2,292 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Powder Blue (2009)
|
|
|
|
6.57
|
1:46:11
|
1,920 x 792
|
7,717 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,145 kbps
|
|
Power Rangers (2017)
|
|
|
|
|
|
11.05
|
2:03:59
|
3,840 x 1,600
|
10,315 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,444 kbps
|
|
Prancer: A Christmas Tale (2022)
|
|
|
|
3.98
|
1:45:39
|
1,920 x 960
|
2,655 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,738 kbps
|
|
Pray for Death (1985)
|
|
|
|
7.12
|
1:38:28
|
1,920 x 816
|
9,788 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
569 kbps
|
|
Precious (2009)
|
|
|
|
10.82
|
1:49:50
|
1,920 x 1,036
|
11,566 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,532 kbps
|
|
Precious Cargo (2016)
|
|
|
|
5.61
|
1:29:56
|
1,920 x 800
|
5,655 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,272 kbps
|
|
Predator (1987)
|
|
|
|
|
38.12
|
1:46:34
|
3,840 x 2,072
|
47,273 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,926 kbps
|
|
Predator 2 (1990)
|
|
|
|
|
32.22
|
1:48:01
|
3,840 x 2,072
|
38,890 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,813 kbps
|
|
Predators (2010)
|
|
|
|
|
16.40
|
1:46:54
|
3,840 x 1,604
|
18,515 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,439 kbps
|
|
Predestination (2015)
|
|
|
|
|
2.29
|
1:37:49
|
1,920 x 800
|
2,183 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,160 kbps
|
|
Prehysteria! (1993)
|
|
|
|
8.78
|
1:23:20
|
1,920 x 1,080
|
14,641 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Prehysteria! 2 (1994)
|
|
|
|
7.55
|
1:20:40
|
1,920 x 1,080
|
12,764 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Premium Rush (2012)
|
|
|
|
|
5.60
|
1:30:57
|
1,920 x 800
|
7,240 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,575 kbps
|
|
Premonition (2007)
|
|
|
|
|
3.35
|
1:36:28
|
1,920 x 800
|
3,755 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,221 kbps
|
|
Presumed Innocent (1990)
|
|
|
|
7.46
|
2:06:57
|
1,904 x 1,080
|
7,085 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,326 kbps
|
|
Pretty in Pink (1986)
|
|
|
|
12.18
|
1:36:42
|
1,920 x 1,080
|
14,818 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,213 kbps
|
|
Pretty Persuasion (2005)
|
|
|
|
7.53
|
1:48:53
|
1,920 x 816
|
9,681 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Pretty Ugly People (2008)
|
|
|
|
4.93
|
1:38:47
|
1,920 x 1,080
|
6,498 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Pretty Woman (1990)
|
|
|
|
|
6.17
|
1:59:37
|
1,920 x 1,040
|
6,210 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,175 kbps
|
|
Prey (1977)
|
|
|
|
3.89
|
1:25:01
|
1,800 x 1,080
|
6,266 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
290 kbps
|
|
Prey (2007)
|
|
|
|
8.83
|
1:28:17
|
1,920 x 816
|
11,133 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,182 kbps
|
|
Prey (2022)
|
|
|
|
|
4.64
|
1:39:36
|
3,840 x 1,608
|
5,160 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,506 kbps
|
|
Priceless (2016)
|
|
|
|
3.06
|
1:39:28
|
1,920 x 804
|
1,592 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,816 kbps
|
|
Pride and Glory (2008)
|
|
|
|
12.54
|
2:10:09
|
1,920 x 1,080
|
12,526 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,270 kbps
|
|
Primal (2019)
|
|
|
|
3.78
|
1:36:51
|
1,920 x 804
|
2,374 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,207 kbps
|
|
Primal Fear (1996)
|
|
|
|
|
21.37
|
2:10:27
|
3,840 x 2,160
|
20,506 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,940 kbps
|
|
Primal Rage (1988)
|
|
|
|
|
39.90
|
1:32:09
|
3,840 x 2,076
|
61,195 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
798 kbps
|
|
Primal Scream (1988)
|
|
|
|
6.51
|
1:29:32
|
1,908 x 1,080
|
9,704 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
702 kbps
|
|
Primary Colors (1998)
|
|
|
|
9.25
|
2:23:14
|
1,920 x 816
|
5,783 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,463 kbps
|
|
Prime Cut (1972)
|
|
|
|
4.90
|
1:26:52
|
1,920 x 808
|
7,589 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
487 kbps
|
|
Primer (2004)
|
|
|
|
13.98
|
1:17:22
|
1,920 x 1,072
|
24,604 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,266 kbps
|
|
Prince Avalanche (2013)
|
|
|
|
3.77
|
1:33:22
|
1,920 x 800
|
4,769 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,017 kbps
|
|
Prince Harming (2019)
|
|
|
|
6.40
|
1:55:07
|
1,920 x 1,080
|
7,735 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Prince of Jutland (1994)
|
|
|
|
5.32
|
1:47:53
|
1,904 x 1,080
|
6,566 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
485 kbps
|
|
Prince of the City (1981)
|
|
|
|
8.01
|
2:47:26
|
1,920 x 1,036
|
6,172 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
677 kbps
|
|
Prince Valiant (1997)
|
|
|
|
6.11
|
1:31:27
|
1,920 x 1,034
|
8,926 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Princess of Thieves (2001)
|
|
|
|
6.40
|
1:27:47
|
1,920 x 1,040
|
9,051 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,383 kbps
|
|
Prisoner X (2016)
|
|
|
|
2.03
|
1:28:22
|
1,920 x 1,080
|
2,649 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Prisoners (2013)
|
|
|
|
5.29
|
2:33:11
|
1,920 x 1,072
|
2,210 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,731 kbps
|
|
Prisoners of the Ghostland (2021)
|
|
|
|
|
11.34
|
1:42:33
|
3,840 x 1,604
|
12,692 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,133 kbps
|
|
Prisoners of the Lost Universe (1983)
|
|
|
|
9.39
|
1:31:06
|
1,796 x 1,080
|
14,021 kbps
|
|
1.0
|
|
48 kHz
|
730 kbps
|
|
Private Benjamin (1980)
|
|
|
|
6.59
|
1:49:47
|
1,908 x 1,080
|
8,370 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Private Lessons (1981)
|
|
|
|
1.92
|
1:27:05
|
1,920 x 1,078
|
2,417 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
739 kbps
|
|
Private Parts (1972)
|
|
|
|
5.28
|
1:26:00
|
1,920 x 1,036
|
8,165 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
630 kbps
|
|
Private Parts (1997)
|
|
|
|
10.60
|
1:49:30
|
1,920 x 1,080
|
12,648 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,211 kbps
|
|
Private Resort (1985)
|
|
|
|
11.30
|
1:21:53
|
1,920 x 1,040
|
19,302 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Private School (1983)
|
|
|
|
7.41
|
1:28:49
|
1,920 x 1,040
|
11,608 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
341 kbps
|
|
Prizzi's Honor (1985)
|
|
|
|
6.60
|
2:09:09
|
1,920 x 1,036
|
6,859 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
460 kbps
|
|
Problem Child (1990)
|
|
|
|
|
7.64
|
1:20:47
|
1,920 x 1,040
|
12,136 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,395 kbps
|
|
Problem Child 2 (1991)
|
|
|
|
|
7.17
|
1:30:41
|
1,920 x 1,040
|
9,968 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,357 kbps
|
|
Problem Child 3: Junior in Love (1995)
|
|
|
|
|
7.57
|
1:28:06
|
1,920 x 1,080
|
12,066 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Professor Marston and the Wonder Women (2017)
|
|
|
|
3.46
|
1:48:27
|
1,920 x 800
|
2,050 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,520 kbps
|
|
Profile (2021)
|
|
|
|
3.13
|
1:45:51
|
1,920 x 1,080
|
1,214 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,022 kbps
|
|
Project 'Gemini' (2022)
|
|
|
|
1.98
|
1:38:16
|
1,920 x 800
|
1,398 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,488 kbps
|
|
Project Almanac (2015)
|
|
|
|
6.88
|
1:46:13
|
1,920 x 796
|
6,371 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,898 kbps
|
|
Project Pay Day (2021)
|
|
|
|
1.95
|
1:30:51
|
1,920 x 804
|
2,693 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Project Power (2020)
|
|
|
|
|
|
12.34
|
1:51:48
|
3,840 x 1,920
|
15,026 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Project X (1968)
|
|
|
|
10.03
|
1:37:05
|
1,916 x 1,080
|
14,412 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
375 kbps
|
|
Project X (1987)
|
|
|
|
5.99
|
1:47:40
|
1,920 x 1,040
|
4,828 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,134 kbps
|
|
Project: ALF (1996)
|
|
|
|
12.30
|
1:31:16
|
1,920 x 1,080
|
18,619 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
672 kbps
|
|
Prom Night (1980)
|
|
|
|
8.54
|
1:33:01
|
1,920 x 1,080
|
11,875 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,251 kbps
|
|
Prometheus (2012)
|
|
|
|
|
14.63
|
2:03:47
|
3,840 x 1,600
|
12,651 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,268 kbps
|
|
Promising Young Woman (2020)
|
|
|
|
|
6.42
|
1:53:28
|
3,840 x 1,596
|
3,918 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,428 kbps
|
|
Proof (2005)
|
|
|
|
9.55
|
1:40:20
|
1,920 x 818
|
10,746 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,886 kbps
|
|
Proof of Life (2000)
|
|
|
|
4.73
|
2:15:20
|
1,904 x 1,080
|
4,621 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Prospect (2018)
|
|
|
|
|
8.76
|
1:39:46
|
3,840 x 2,024
|
11,552 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,014 kbps
|
|
Prospero's Books (1991)
|
|
|
|
2.85
|
2:06:38
|
720 x 480
|
1,817 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,399 kbps
|
|
Protocol (1984)
|
|
|
|
3.75
|
1:35:12
|
1,904 x 1,080
|
5,417 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Proud Mary (2018)
|
|
|
|
1.83
|
1:29:02
|
1,920 x 800
|
1,528 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,420 kbps
|
|
Proximity (2020)
|
|
|
|
3.60
|
1:59:23
|
1,920 x 812
|
3,083 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,226 kbps
|
|
Proxy (2013)
|
|
|
|
2.93
|
2:02:13
|
1,920 x 812
|
2,481 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
946 kbps
|
|
Psych 2: Lassie Come Home (2020)
|
|
|
|
3.98
|
1:28:30
|
1,920 x 1,080
|
3,374 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,069 kbps
|
|
Psych 3: This Is Gus (2021)
|
|
|
|
3.14
|
1:36:23
|
1,920 x 1,080
|
3,535 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,120 kbps
|
|
Psych 9 (2010)
|
|
|
|
6.68
|
1:38:02
|
1,920 x 816
|
6,756 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,000 kbps
|
|
Psych: The Movie (2017)
|
|
|
|
3.82
|
1:28:11
|
1,920 x 1,080
|
2,837 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,360 kbps
|
|
Psycho (1960)
|
|
|
|
|
32.07
|
1:49:04
|
3,840 x 2,076
|
40,052 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,042 kbps
|
|
Psycho Beach Party (2001)
|
|
|
|
7.61
|
1:36:02
|
1,912 x 1,080
|
7,726 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,612 kbps
|
|
Psycho Goreman (2020)
|
|
|
|
2.12
|
1:34:39
|
1,920 x 800
|
2,038 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,173 kbps
|
|
Psycho II (1983)
|
|
|
|
11.01
|
1:52:46
|
1,920 x 1,040
|
10,800 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,179 kbps
|
|
Psycho III (1986)
|
|
|
|
|
51.18
|
1:33:05
|
3,840 x 2,076
|
75,168 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,545 kbps
|
|
Psycho Intern (2021)
|
|
|
|
1.50
|
1:27:41
|
1,920 x 1,080
|
2,216 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Psycho Storm Chaser (2021)
|
|
|
|
3.24
|
1:29:12
|
1,920 x 1,076
|
1,809 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,390 kbps
|
|
Psychos in Love (1987)
|
|
|
|
18.83
|
1:26:26
|
1,440 x 1,080
|
30,010 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,182 kbps
|
|
Public Enemies (2009)
|
|
|
|
|
10.89
|
2:20:04
|
1,920 x 800
|
8,057 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,069 kbps
|
|
Pufnstuf (1970)
|
|
|
|
10.08
|
1:34:05
|
1,920 x 1,040
|
14,580 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
751 kbps
|
|
Pulp Fiction (1994)
|
|
|
|
|
|
15.59
|
2:34:31
|
3,840 x 1,632
|
11,165 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,273 kbps
|
|
Pulse (1988)
|
|
|
|
8.14
|
1:31:02
|
1,920 x 1,072
|
12,224 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
580 kbps
|
|
Pump Up the Volume (1990)
|
|
|
|
5.44
|
1:41:43
|
1,920 x 1,036
|
6,421 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
Pumpkinhead (1988)
|
|
|
|
|
33.95
|
1:26:40
|
3,840 x 2,076
|
52,277 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,801 kbps
|
|
Punch-Drunk Love (2002)
|
|
|
|
|
6.78
|
1:35:08
|
3,840 x 1,632
|
7,706 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,496 kbps
|
|
Puncture (2012)
|
|
|
|
1.82
|
1:39:35
|
1,920 x 800
|
1,431 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,177 kbps
|
|
Puppet on a Chain (1970)
|
|
|
|
6.27
|
1:38:02
|
1,904 x 1,080
|
8,405 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
743 kbps
|
|
Puppy Love (2023)
|
|
|
|
|
3.06
|
1:46:25
|
3,840 x 1,600
|
3,343 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Pups Alone (2021)
|
|
|
|
3.96
|
1:47:01
|
1,920 x 1,080
|
4,660 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Pure Country (1992)
|
|
|
|
8.00
|
1:52:29
|
1,920 x 1,080
|
6,493 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,687 kbps
|
|
Purple Rain (1984)
|
|
|
|
8.98
|
1:51:14
|
1,920 x 1,080
|
7,778 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,784 kbps
|
|
Push (2009)
|
|
|
|
|
19.19
|
1:51:27
|
3,840 x 1,632
|
21,652 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,077 kbps
|
|
Pushing Tin (1999)
|
|
|
|
3.45
|
2:03:48
|
1,920 x 816
|
3,348 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Puss in Boots (2011)
|
|
|
|
|
4.89
|
1:30:35
|
3,840 x 1,600
|
3,998 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,722 kbps
|
|
Puss in Boots: The Last Wish (2022)
|
|
|
|
|
5.16
|
1:42:21
|
3,840 x 1,608
|
5,428 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,778 kbps
|
|
PVT CHAT (2021)
|
|
|
|
2.16
|
1:25:58
|
1,920 x 960
|
3,203 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Q (1982)
|
|
|
|
4.47
|
1:32:47
|
1,920 x 1,072
|
6,435 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
467 kbps
|
|
Quadrophenia (1979)
|
|
|
|
21.70
|
2:00:03
|
1,920 x 1,036
|
22,718 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,157 kbps
|
|
Quantum Apocalypse (2010)
|
|
|
|
0.89
|
1:34:49
|
720 x 480
|
1,115 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Quantum of Solace (2008)
|
|
|
|
|
|
8.24
|
1:46:13
|
3,840 x 1,600
|
7,644 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,458 kbps
|
|
Quarantine (2008)
|
|
|
|
|
2.07
|
1:29:15
|
1,920 x 1,036
|
1,998 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,314 kbps
|
|
Quarantine L.A. (2016)
|
|
|
|
1.56
|
1:15:03
|
1,920 x 1,076
|
2,491 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
492 kbps
|
|
Quarries (2016)
|
|
|
|
3.01
|
1:23:05
|
1,920 x 960
|
4,261 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
928 kbps
|
|
Queen & Slim (2019)
|
|
|
|
|
8.57
|
2:12:23
|
3,840 x 1,608
|
6,970 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,294 kbps
|
|
Queen of Hearts (1989)
|
|
|
|
2.88
|
1:52:27
|
1,920 x 1,024
|
3,543 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
Queen of the Damned (2002)
|
|
|
|
4.24
|
1:41:29
|
1,920 x 800
|
2,529 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,454 kbps
|
|
Queenpins (2021)
|
|
|
|
|
|
5.79
|
1:50:25
|
3,840 x 1,828
|
6,257 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,239 kbps
|
|
Quick Change (1990)
|
|
|
|
7.66
|
1:28:32
|
1,920 x 1,036
|
11,041 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,338 kbps
|
|
Quicksand (2023)
|
|
|
|
|
1.96
|
1:25:47
|
1,920 x 784
|
2,628 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Quigley Down Under (1990)
|
|
|
|
|
40.98
|
2:00:00
|
3,840 x 1,604
|
47,447 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,444 kbps
|
|
Quills (2000)
|
|
|
|
3.18
|
2:04:05
|
1,920 x 1,036
|
3,284 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Quitters (2016)
|
|
|
|
2.20
|
1:35:49
|
1,920 x 1,080
|
3,031 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Quiz Show (1994)
|
|
|
|
15.40
|
2:12:43
|
1,920 x 1,036
|
13,367 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,239 kbps
|
|
R.E.G.I.N.A. I Am (2020)
|
|
|
|
4.40
|
1:46:49
|
1,920 x 1,080
|
5,668 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
R.I.P.D. (2013)
|
|
|
|
|
7.16
|
1:35:56
|
3,840 x 1,632
|
6,188 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,499 kbps
|
|
R.S.V.P. (2002)
|
|
|
|
3.45
|
1:40:08
|
1,920 x 1,080
|
4,700 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Rabbit Hole (2010)
|
|
|
|
4.78
|
1:31:29
|
1,904 x 1,080
|
4,107 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,366 kbps
|
|
Rabbit-Proof Fence (2002)
|
|
|
|
19.26
|
1:33:41
|
1,920 x 812
|
25,998 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,434 kbps
|
|
Rabid (2019)
|
|
|
|
4.83
|
1:47:49
|
1,920 x 1,080
|
5,316 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,102 kbps
|
|
Race for Your Life, Charlie Brown (1977)
|
|
|
|
13.28
|
1:15:47
|
1,920 x 1,080
|
24,869 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Race to Witch Mountain (2009)
|
|
|
|
6.41
|
1:38:18
|
1,920 x 800
|
6,063 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,276 kbps
|
|
Rachel Getting Married (2008)
|
|
|
|
10.27
|
1:52:44
|
1,920 x 1,036
|
10,421 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,620 kbps
|
|
Rad (1986)
|
|
|
|
|
25.74
|
1:33:08
|
3,840 x 2,076
|
36,482 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,075 kbps
|
|
Radio (2003)
|
|
|
|
5.42
|
1:49:15
|
1,920 x 1,040
|
6,456 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Radio Days (1987)
|
|
|
|
8.15
|
1:28:31
|
1,920 x 1,038
|
12,481 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
692 kbps
|
|
Radio Flyer (1992)
|
|
|
|
4.01
|
1:54:07
|
1,920 x 804
|
3,726 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,301 kbps
|
|
Radioactive (2020)
|
|
|
|
|
4.57
|
1:49:46
|
3,840 x 1,600
|
3,155 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,795 kbps
|
|
Radioflash (2019)
|
|
|
|
2.69
|
1:42:34
|
1,920 x 804
|
2,615 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,134 kbps
|
|
Radium Girls (2020)
|
|
|
|
|
2.38
|
1:43:02
|
1,920 x 1,080
|
2,659 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Rag Doll (2020)
|
|
|
|
2.49
|
1:43:50
|
1,920 x 1,010
|
3,046 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Rage (2021)
|
|
|
|
1.53
|
2:23:39
|
1,920 x 848
|
1,143 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Raging Bull (1980)
|
|
|
|
|
34.73
|
2:09:19
|
3,840 x 2,072
|
37,359 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,084 kbps
|
|
Rain Man (1988)
|
|
|
|
|
|
44.24
|
2:13:49
|
3,840 x 2,076
|
44,122 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,201 kbps
|
|
Raise the Titanic (1980)
|
|
|
|
10.61
|
1:53:53
|
1,920 x 816
|
12,190 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,143 kbps
|
|
Raising Arizona (1987)
|
|
|
|
12.22
|
1:34:06
|
1,920 x 1,040
|
15,443 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,148 kbps
|
|
Raising Cain (1992)
|
|
|
|
6.30
|
1:31:58
|
1,920 x 1,040
|
6,656 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,156 kbps
|
|
Rambo (2008)
|
|
|
|
|
12.17
|
1:39:17
|
3,840 x 1,632
|
13,771 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,767 kbps
|
|
Rambo III (1988)
|
|
|
|
|
25.19
|
1:41:26
|
3,840 x 1,632
|
31,886 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,667 kbps
|
|
Rambo: First Blood Part II (1985)
|
|
|
|
|
21.01
|
1:35:50
|
3,840 x 1,624
|
27,798 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,579 kbps
|
|
Rambo: Last Blood (2019)
|
|
|
|
|
11.48
|
1:41:05
|
3,840 x 1,608
|
12,738 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,515 kbps
|
|
Ramona and Beezus (2010)
|
|
|
|
5.34
|
1:43:29
|
1,920 x 800
|
4,604 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,785 kbps
|
|
Rampage (2009)
|
|
|
|
5.85
|
1:24:40
|
1,920 x 800
|
6,938 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,953 kbps
|
|
Rampage (2018)
|
|
|
|
|
14.39
|
1:47:16
|
3,840 x 1,600
|
17,374 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,825 kbps
|
|
Rancho Deluxe (1975)
|
|
|
|
9.44
|
1:33:19
|
1,920 x 1,032
|
14,222 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
256 kbps
|
|
Random Acts of Violence (2020)
|
|
|
|
2.49
|
1:20:58
|
1,920 x 800
|
3,066 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,328 kbps
|
|
Random Hearts (1999)
|
|
|
|
5.11
|
2:12:39
|
1,920 x 1,038
|
4,323 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,185 kbps
|
|
Rango (2011)
|
|
|
|
|
8.22
|
1:51:50
|
1,920 x 788
|
7,172 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,344 kbps
|
|
Ransom (1996)
|
|
|
|
6.58
|
2:01:28
|
1,920 x 1,036
|
4,174 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,580 kbps
|
|
Rapture (2014)
|
|
|
|
3.64
|
1:24:12
|
1,920 x 1,080
|
5,958 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Rapture-Palooza (2013)
|
|
|
|
|
5.26
|
1:24:52
|
1,920 x 816
|
5,945 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,921 kbps
|
|
Rare Beasts (2019)
|
|
|
|
2.25
|
1:32:06
|
1,920 x 804
|
2,855 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Rascal (1969)
|
|
|
|
4.06
|
1:24:44
|
1,796 x 1,080
|
6,632 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Rat Race (2001)
|
|
|
|
8.94
|
1:52:05
|
1,920 x 800
|
10,109 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,307 kbps
|
|
Ratatouille (2007)
|
|
|
|
|
5.18
|
1:51:06
|
3,840 x 1,604
|
3,143 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,532 kbps
|
|
Ratter (2016)
|
|
|
|
2.91
|
1:20:20
|
1,920 x 1,040
|
3,989 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,187 kbps
|
|
Rattle-Can (2021)
|
|
|
|
2.20
|
1:29:59
|
1,920 x 1,080
|
3,279 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Ravage (2020)
|
|
|
|
3.34
|
1:24:09
|
1,920 x 800
|
4,524 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,164 kbps
|
|
Raven's Hollow (2022)
|
|
|
|
2.16
|
1:38:24
|
1,920 x 1,036
|
2,042 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,099 kbps
|
|
Raw Courage (1984)
|
|
|
|
6.68
|
1:30:14
|
1,920 x 1,080
|
9,857 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
735 kbps
|
|
Raw Deal (1986)
|
|
|
|
|
25.63
|
1:45:46
|
3,840 x 1,632
|
31,310 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,381 kbps
|
|
Rawhead Rex (1986)
|
|
|
|
|
64.84
|
1:29:55
|
3,840 x 2,076
|
100,142 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,090 kbps
|
|
Ray (2004)
|
|
|
|
9.32
|
2:32:25
|
1,920 x 1,040
|
5,623 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,130 kbps
|
|
Ray Romano: Right Here, Around the Corner (2019)
|
|
|
|
|
2.13
|
58:47
|
1,920 x 1,080
|
4,533 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Raya and the Last Dragon (2021)
|
|
|
|
|
7.76
|
1:47:29
|
3,840 x 1,608
|
7,258 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,073 kbps
|
|
Re-Animator (1985)
|
|
|
|
15.44
|
1:44:56
|
1,920 x 1,080
|
18,625 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,434 kbps
|
|
Reach (2018)
|
|
|
|
1.60
|
1:32:40
|
1,920 x 812
|
1,822 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Ready or Not (2019)
|
|
|
|
|
11.37
|
1:35:22
|
3,840 x 1,604
|
13,947 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,115 kbps
|
|
Ready Player One (2018)
|
|
|
|
|
|
15.58
|
2:19:58
|
3,840 x 1,604
|
14,205 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,731 kbps
|
|
Ready to Rumble (2000)
|
|
|
|
4.45
|
1:46:29
|
1,912 x 1,080
|
5,335 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Real Genius (1985)
|
|
|
|
|
25.44
|
1:45:55
|
3,840 x 1,604
|
31,577 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,799 kbps
|
|
Real Life (1979)
|
|
|
|
4.21
|
1:38:43
|
1,908 x 1,080
|
5,883 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Real Men (1987)
|
|
|
|
4.48
|
1:25:41
|
1,920 x 1,032
|
6,937 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
539 kbps
|
|
Real Steel (2011)
|
|
|
|
8.22
|
2:06:51
|
1,920 x 816
|
4,501 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,777 kbps
|
|
Real Women Have Curves (2002)
|
|
|
|
2.56
|
1:26:22
|
1,904 x 1,080
|
3,858 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Reality (2023)
|
|
|
|
|
4.27
|
1:22:19
|
3,840 x 1,920
|
6,782 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Reality Bites (1994)
|
|
|
|
4.85
|
1:38:24
|
1,920 x 1,040
|
5,803 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,246 kbps
|
|
Rear Window (1954)
|
|
|
|
|
20.27
|
1:52:27
|
3,588 x 2,160
|
25,281 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
522 kbps
|
|
Reasonable Doubt (2014)
|
|
|
|
2.71
|
1:31:18
|
1,920 x 800
|
1,337 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,909 kbps
|
|
Rebel Moon – Part One: A Child of Fire (2023)
|
|
|
|
|
6.60
|
2:15:59
|
3,840 x 1,600
|
6,176 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Rebel Without a Cause (1955)
|
|
|
|
|
11.53
|
1:50:55
|
3,840 x 1,504
|
13,774 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,099 kbps
|
|
Reclaim (2014)
|
|
|
|
|
4.74
|
1:36:03
|
1,920 x 1,036
|
3,641 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,420 kbps
|
|
RED (2010)
|
|
|
|
|
|
17.45
|
1:51:10
|
3,840 x 1,600
|
19,556 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,911 kbps
|
|
RED 2 (2013)
|
|
|
|
|
|
19.49
|
1:55:50
|
3,840 x 1,604
|
21,412 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,676 kbps
|
|
Red Dawn (1984)
|
|
|
|
|
|
62.29
|
1:53:51
|
3,840 x 2,076
|
75,092 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,237 kbps
|
|
Red Dragon (2002)
|
|
|
|
|
17.05
|
2:04:40
|
3,840 x 1,608
|
17,752 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,819 kbps
|
|
Red Dust (2004)
|
|
|
|
4.92
|
1:50:41
|
1,904 x 1,080
|
5,721 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Red Eye (2005)
|
|
|
|
|
7.50
|
1:25:12
|
3,840 x 1,632
|
9,204 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,395 kbps
|
|
Red Heat (1988)
|
|
|
|
|
|
|
34.14
|
1:44:02
|
3,840 x 2,076
|
43,286 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,695 kbps
|
|
Red Lights (2012)
|
|
|
|
5.24
|
1:54:20
|
1,920 x 816
|
2,974 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,587 kbps
|
|
Red Notice (2021)
|
|
|
|
|
|
|
6.99
|
1:55:41
|
3,840 x 1,604
|
7,865 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Red Planet (2000)
|
|
|
|
4.80
|
1:46:29
|
1,920 x 800
|
3,120 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,329 kbps
|
|
Red Riding Hood (2011)
|
|
|
|
|
4.14
|
1:40:24
|
1,920 x 800
|
2,644 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,257 kbps
|
|
Red Rock West (1993)
|
|
|
|
6.63
|
1:38:39
|
1,920 x 1,074
|
8,958 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
659 kbps
|
|
Red Rocket (2021)
|
|
|
|
23.58
|
2:10:07
|
3,840 x 1,604
|
23,285 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,658 kbps
|
|
Red Scorpion (1988)
|
|
|
|
11.84
|
1:45:14
|
1,916 x 1,080
|
14,968 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,145 kbps
|
|
Red Sky (2014)
|
|
|
|
4.69
|
1:47:46
|
1,920 x 800
|
5,197 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,035 kbps
|
|
Red Sonja (1985)
|
|
|
|
4.02
|
1:28:52
|
1,920 x 808
|
5,329 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,143 kbps
|
|
Red Sparrow (2018)
|
|
|
|
|
|
|
8.33
|
2:20:14
|
3,840 x 1,600
|
6,060 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,442 kbps
|
|
Red State (2011)
|
|
|
|
2.42
|
1:28:25
|
1,920 x 1,036
|
2,865 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,056 kbps
|
|
Redeeming Love (2022)
|
|
|
|
4.29
|
2:14:06
|
1,920 x 804
|
1,722 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,852 kbps
|
|
Redemption (2013)
|
|
|
|
2.80
|
1:40:03
|
1,912 x 1,080
|
2,865 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,134 kbps
|
|
Redemption Day (2021)
|
|
|
|
3.17
|
1:39:49
|
1,920 x 796
|
1,666 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,880 kbps
|
|
Redline (2007)
|
|
|
|
4.27
|
1:33:25
|
1,920 x 800
|
5,114 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,433 kbps
|
|
Reefer Madness (1938)
|
|
|
|
|
3.65
|
1:05:28
|
1,460 x 1,080
|
7,701 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
271 kbps
|
|
Reel Monsters (2022)
|
|
|
|
3.58
|
1:15:18
|
1,920 x 1,076
|
6,633 kbps
|
|
2.0
|
|
48 kHz
|
163 kbps
|
|
Reflections (2008)
|
|
|
|
7.61
|
1:39:02
|
1,912 x 1,080
|
10,521 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
482 kbps
|
|
Reform School Girls (1986)
|
|
|
|
8.92
|
1:34:29
|
1,920 x 1,028
|
12,081 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,434 kbps
|
|
Reg (2016)
|
|
|
|
1.29
|
1:29:42
|
1,920 x 1,080
|
1,825 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Regarding Henry (1991)
|
|
|
|
14.61
|
1:47:27
|
1,920 x 1,072
|
16,705 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,757 kbps
|
|
Reggie (2023)
|
|
|
|
|
7.60
|
1:44:05
|
3,840 x 2,160
|
9,804 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Regression (2015)
|
|
|
|
3.06
|
1:45:59
|
1,920 x 800
|
1,620 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,503 kbps
|
|
Reign of Fire (2002)
|
|
|
|
4.82
|
1:41:56
|
1,920 x 820
|
5,143 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,629 kbps
|
|
Reign of the Supermen (2019)
|
|
|
|
|
2.08
|
1:27:11
|
3,840 x 2,156
|
1,957 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,458 kbps
|
|
Reign Over Me (2007)
|
|
|
|
|
4.53
|
2:04:33
|
1,920 x 800
|
4,036 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,170 kbps
|
|
Relic (2020)
|
|
|
|
2.21
|
1:29:36
|
1,920 x 802
|
1,058 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,467 kbps
|
|
Reloaded (2021)
|
|
|
|
1.18
|
43:01
|
1,920 x 816
|
3,726 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Remarkable Power (2008)
|
|
|
|
1.81
|
1:41:00
|
1,920 x 798
|
2,343 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Remember (2015)
|
|
|
|
|
3.02
|
1:34:22
|
1,920 x 1,080
|
3,627 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
952 kbps
|
|
Remember Me (2010)
|
|
|
|
3.04
|
1:52:10
|
1,920 x 1,038
|
2,896 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
986 kbps
|
|
Remember the Titans (2000)
|
|
|
|
4.50
|
1:53:27
|
1,920 x 816
|
4,318 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,357 kbps
|
|
Remembering (2022)
|
|
|
|
0.16
|
08:31
|
1,920 x 956
|
2,513 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Rememory (2017)
|
|
|
|
3.70
|
1:51:57
|
1,920 x 800
|
1,621 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,105 kbps
|
|
Reminiscence (2021)
|
|
|
|
|
|
6.26
|
1:55:59
|
3,840 x 1,604
|
6,125 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,599 kbps
|
|
Remote (1993)
|
|
|
|
9.28
|
1:19:51
|
1,920 x 1,080
|
16,190 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Remote Control (1988)
|
|
|
|
6.95
|
1:28:07
|
1,920 x 1,028
|
10,705 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
583 kbps
|
|
Renaissance (2007)
|
|
|
|
4.45
|
1:45:32
|
1,920 x 812
|
2,808 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,230 kbps
|
|
Renaissance Man (1994)
|
|
|
|
4.85
|
2:08:31
|
1,920 x 1,054
|
5,174 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Rendition (2007)
|
|
|
|
|
4.99
|
2:02:21
|
1,920 x 816
|
2,508 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,326 kbps
|
|
Renfeld (2023)
|
|
|
|
|
6.33
|
1:33:35
|
3,840 x 1,608
|
8,140 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,542 kbps
|
|
Reno 911!: It's a Wonderful Heist (2022)
|
|
|
|
3.55
|
1:18:22
|
1,920 x 1,080
|
6,267 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Reno 911!: Miami (2007)
|
|
|
|
|
2.78
|
1:20:40
|
1,920 x 1,080
|
4,287 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Reno 911!: The Hunt for QAnon (2021)
|
|
|
|
|
8.82
|
1:24:56
|
3,840 x 2,160
|
14,671 kbps
|
|
5.1
|
|
48 kHz
|
192 kbps
|
|
Rent-A-Pal (2020)
|
|
|
|
5.31
|
1:48:13
|
1,920 x 800
|
6,056 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
960 kbps
|
|
Rentadick (1972)
|
|
|
|
4.89
|
1:33:44
|
1,800 x 1,080
|
7,150 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
313 kbps
|
|
Repeat (2021)
|
|
|
|
1.23
|
1:35:09
|
1,920 x 800
|
1,463 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Repeaters (2021)
|
|
|
|
3.92
|
1:29:28
|
1,920 x 1,080
|
3,162 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,116 kbps
|
|
Replicant (2001)
|
|
|
|
5.39
|
1:46:22
|
1,912 x 1,080
|
3,653 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,793 kbps
|
|
Replicas (2019)
|
|
|
|
3.92
|
1:48:00
|
1,920 x 804
|
2,400 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,791 kbps
|
|
Repo Man (1984)
|
|
|
|
6.06
|
1:32:22
|
1,920 x 1,080
|
9,053 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
340 kbps
|
|
Repo Men (2010)
|
|
|
|
5.84
|
1:59:37
|
1,920 x 816
|
3,642 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,343 kbps
|
|
Repossessed (1990)
|
|
|
|
8.78
|
1:24:27
|
1,920 x 1,040
|
11,448 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,436 kbps
|
|
Requiem for a Dream (2000)
|
|
|
|
|
18.83
|
1:41:31
|
3,840 x 2,076
|
25,205 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,351 kbps
|
|
Rescue Dawn (2006)
|
|
|
|
7.90
|
2:05:23
|
1,920 x 1,040
|
5,556 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,459 kbps
|
|
Reservoir Dogs (1992)
|
|
|
|
|
|
10.89
|
1:39:08
|
3,840 x 1,632
|
12,725 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,006 kbps
|
|
Resident Evil (2002)
|
|
|
|
|
21.42
|
1:40:31
|
3,840 x 2,076
|
28,558 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,944 kbps
|
|
Resident Evil: Afterlife (2010)
|
|
|
|
|
|
11.26
|
1:36:53
|
3,840 x 1,600
|
13,423 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,203 kbps
|
|
Resident Evil: Apocalypse (2004)
|
|
|
|
|
11.23
|
1:37:48
|
3,840 x 1,600
|
13,038 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,400 kbps
|
|
Resident Evil: Extinction (2007)
|
|
|
|
|
9.97
|
1:34:06
|
3,840 x 1,600
|
13,329 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,836 kbps
|
|
Resident Evil: Retribution (2012)
|
|
|
|
|
9.60
|
1:35:38
|
3,840 x 1,600
|
12,184 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,185 kbps
|
|
Resident Evil: The Final Chapter (2017)
|
|
|
|
|
8.56
|
1:46:33
|
3,840 x 1,600
|
8,195 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,303 kbps
|
|
Resident Evil: Welcome to Raccoon City (2021)
|
|
|
|
|
7.74
|
1:47:29
|
3,840 x 1,588
|
7,535 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,773 kbps
|
|
Respite (2021)
|
|
|
|
1.63
|
1:17:43
|
1,920 x 792
|
2,610 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Results (2015)
|
|
|
|
4.14
|
1:44:48
|
1,920 x 1,036
|
3,051 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,608 kbps
|
|
Resurrection (1999)
|
|
|
|
9.32
|
1:47:38
|
1,920 x 1,036
|
10,990 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,410 kbps
|
|
Resurrection (2022)
|
|
|
|
4.15
|
1:44:18
|
1,792 x 1,080
|
3,119 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,570 kbps
|
|
Retribution (1987)
|
|
|
|
14.46
|
1:49:06
|
1,920 x 1,038
|
17,762 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,209 kbps
|
|
Retribution (2023)
|
|
|
|
|
|
3.63
|
1:30:42
|
3,840 x 1,604
|
4,330 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,393 kbps
|
|
Retroactive (1997)
|
|
|
|
3.66
|
1:30:59
|
1,920 x 804
|
4,210 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,550 kbps
|
|
Return of the Killer Tomatoes! (1988)
|
|
|
|
|
11.75
|
1:38:10
|
1,920 x 1,038
|
16,766 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
363 kbps
|
|
Return of the Living Dead 3 (1993)
|
|
|
|
6.32
|
1:36:57
|
1,920 x 1,036
|
7,840 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,442 kbps
|
|
Return of the Living Dead Part II (1988)
|
|
|
|
6.59
|
1:29:16
|
1,920 x 1,036
|
9,267 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,292 kbps
|
|
Return to Christmas Creek (2018)
|
|
|
|
2.45
|
1:26:18
|
1,920 x 1,080
|
3,417 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Return to Mayberry (1986)
|
|
|
|
7.92
|
1:35:26
|
1,480 x 1,080
|
11,510 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
377 kbps
|
|
Return to Me (2000)
|
|
|
|
8.51
|
1:55:56
|
1,920 x 1,040
|
6,882 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,631 kbps
|
|
Return to Never Land (2002)
|
|
|
|
3.24
|
1:12:32
|
1,828 x 1,080
|
2,954 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,443 kbps
|
|
Return to Oz (1985)
|
|
|
|
10.02
|
1:49:49
|
1,920 x 1,032
|
9,742 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,312 kbps
|
|
Return to Sender (2015)
|
|
|
|
4.37
|
1:35:38
|
1,920 x 1,036
|
3,807 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,736 kbps
|
|
Reunion (2020)
|
|
|
|
2.25
|
1:34:57
|
1,920 x 1,032
|
2,289 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,098 kbps
|
|
Revenge (1990)
|
|
|
|
4.41
|
1:40:21
|
1,920 x 798
|
4,966 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,322 kbps
|
|
Revenge of Lady Street Fighter (1990)
|
|
|
|
9.57
|
1:29:40
|
1,920 x 1,080
|
14,891 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
390 kbps
|
|
Revenge of the Cheerleaders (1976)
|
|
|
|
5.21
|
1:26:56
|
1,792 x 1,080
|
8,500 kbps
|
|
1.0
|
|
12 bits / 16 kHz
|
74 kbps
|
|
Revenge of the Nerds (1984)
|
|
|
|
|
9.46
|
1:30:08
|
1,920 x 1,042
|
14,289 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
741 kbps
|
|
Revenge of the Nerds II: Nerds in Paradise (1987)
|
|
|
|
4.55
|
1:29:04
|
1,904 x 1,080
|
7,084 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Revenge of the Pink Panther (1978)
|
|
|
|
10.81
|
1:38:58
|
1,920 x 816
|
14,602 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,034 kbps
|
|
Reversal of Fortune (1990)
|
|
|
|
6.20
|
1:51:36
|
1,920 x 1,036
|
6,651 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,299 kbps
|
|
Revolver (2005)
|
|
|
|
5.13
|
1:51:21
|
1,920 x 816
|
3,475 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,113 kbps
|
|
Rich and Famous (1981)
|
|
|
|
7.12
|
1:56:43
|
1,920 x 1,072
|
8,513 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Richard Jewell (2019)
|
|
|
|
|
|
5.72
|
2:11:19
|
3,840 x 1,608
|
5,038 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,197 kbps
|
|
Ricki and the Flash (2015)
|
|
|
|
2.98
|
1:41:27
|
1,920 x 804
|
2,678 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,520 kbps
|
|
Ricky Gervais: Armageddon (2023)
|
|
|
|
3.59
|
1:02:37
|
3,840 x 2,160
|
7,428 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Ricky Gervais: Live IV - Science (2010)
|
|
|
|
8.20
|
1:18:59
|
1,904 x 1,080
|
13,488 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,380 kbps
|
|
Ricky Gervais: SuperNature (2022)
|
|
|
|
|
6.05
|
1:04:46
|
3,840 x 2,160
|
12,611 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Ricochet (1991)
|
|
|
|
4.19
|
1:42:37
|
1,920 x 1,080
|
5,613 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Riddick (2013)
|
|
|
|
6.06
|
2:06:48
|
1,920 x 800
|
3,567 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,273 kbps
|
|
Ride (2018)
|
|
|
|
4.06
|
1:16:20
|
1,920 x 792
|
4,578 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,033 kbps
|
|
Ride Along (2014)
|
|
|
|
4.09
|
1:39:31
|
1,920 x 800
|
2,745 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,133 kbps
|
|
Ride Along 2 (2016)
|
|
|
|
4.55
|
1:41:30
|
1,920 x 800
|
3,148 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,263 kbps
|
|
Ride the Eagle (2021)
|
|
|
|
4.69
|
1:28:25
|
3,840 x 1,596
|
7,206 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Riding in Cars with Boys (2001)
|
|
|
|
9.40
|
2:11:16
|
1,920 x 1,072
|
6,656 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,595 kbps
|
|
Riding the Bullet (2004)
|
|
|
|
3.64
|
1:39:07
|
1,912 x 1,080
|
4,814 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Riff-Raff (1991)
|
|
|
|
9.69
|
1:36:00
|
1,436 x 1,080
|
14,094 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
358 kbps
|
|
Right at Your Door (2006)
|
|
|
|
5.59
|
1:35:27
|
1,920 x 1,036
|
7,311 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,078 kbps
|
|
Righteous Kill (2008)
|
|
|
|
6.94
|
1:40:48
|
1,920 x 816
|
6,780 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,080 kbps
|
|
Righteous Thieves (2023)
|
|
|
|
3.52
|
1:31:37
|
1,920 x 804
|
2,461 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,036 kbps
|
|
Rim of the World (2019)
|
|
|
|
|
2.99
|
1:39:08
|
1,920 x 956
|
3,552 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Rings (2017)
|
|
|
|
|
11.89
|
1:42:11
|
3,840 x 2,072
|
13,026 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,631 kbps
|
|
Rio (2011)
|
|
|
|
4.56
|
1:35:58
|
1,920 x 800
|
3,468 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,335 kbps
|
|
Rio 2 (2014)
|
|
|
|
|
5.81
|
1:41:11
|
1,920 x 800
|
4,359 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,859 kbps
|
|
Rio Sex Comedy (2010)
|
|
|
|
6.58
|
1:52:23
|
1,920 x 1,038
|
6,823 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,563 kbps
|
|
Riot Girls (2019)
|
|
|
|
1.67
|
1:22:00
|
1,920 x 796
|
2,279 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Rise of the Planet of the Apes (2011)
|
|
|
|
|
|
11.53
|
1:44:56
|
3,840 x 1,632
|
12,292 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,437 kbps
|
|
Risen (2016)
|
|
|
|
|
13.13
|
1:47:36
|
3,840 x 1,604
|
14,931 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,530 kbps
|
|
Risen (2021)
|
|
|
|
1.92
|
1:49:26
|
1,920 x 796
|
1,392 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,123 kbps
|
|
Rising Sun (1993)
|
|
|
|
8.35
|
2:09:26
|
1,920 x 1,038
|
6,177 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,059 kbps
|
|
Rising Wolf (2021)
|
|
|
|
3.60
|
1:41:34
|
1,920 x 868
|
1,802 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,265 kbps
|
|
Risky Business (1983)
|
|
|
|
4.47
|
1:39:09
|
1,920 x 1,080
|
5,336 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,119 kbps
|
|
River (2021)
|
|
|
|
2.28
|
1:33:02
|
1,920 x 802
|
3,122 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
River's Edge (1986)
|
|
|
|
9.44
|
1:39:44
|
1,920 x 1,036
|
13,233 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
310 kbps
|
|
Ri¢hie Ri¢h (1994)
|
|
|
|
3.62
|
1:34:28
|
1,920 x 1,072
|
5,263 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Road Games (1981)
|
|
|
|
5.03
|
1:40:38
|
1,920 x 804
|
6,810 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
345 kbps
|
|
Road House (1989)
|
|
|
|
|
38.22
|
1:54:12
|
3,840 x 1,600
|
46,626 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,280 kbps
|
|
Road House (2024)
|
|
|
|
|
6.79
|
2:03:25
|
3,840 x 1,596
|
7,227 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Road to Damascus (2021)
|
|
|
|
1.92
|
1:38:47
|
1,920 x 800
|
2,588 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Road to Nowhere (2011)
|
|
|
|
2.95
|
2:01:26
|
1,920 x 1,080
|
2,238 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,189 kbps
|
|
Road to Paloma (2014)
|
|
|
|
2.27
|
1:30:28
|
1,920 x 800
|
2,352 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,245 kbps
|
|
Road to Perdition (2002)
|
|
|
|
8.44
|
1:56:59
|
1,920 x 816
|
7,161 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,168 kbps
|
|
Road Trip (2000)
|
|
|
|
7.84
|
1:34:13
|
1,920 x 1,080
|
8,414 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,497 kbps
|
|
Road Trip Hostage (2023)
|
|
|
|
1.78
|
1:24:46
|
1,920 x 1,080
|
2,774 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Rob Roy (1995)
|
|
|
|
6.74
|
2:19:18
|
1,920 x 816
|
5,637 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,293 kbps
|
|
Rob the Mob (2014)
|
|
|
|
|
4.83
|
1:44:11
|
1,920 x 1,080
|
5,624 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,008 kbps
|
|
Robin Hood (1991)
|
|
|
|
6.77
|
1:43:50
|
1,920 x 1,036
|
8,855 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
477 kbps
|
|
Robin Hood: Men in Tights (1993)
|
|
|
|
|
8.56
|
1:44:22
|
1,920 x 1,036
|
8,263 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,478 kbps
|
|
Robin Hood: Prince of Thieves (1991)
|
|
|
|
|
69.01
|
2:35:02
|
3,840 x 2,076
|
62,136 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,587 kbps
|
|
Robinson Crusoe (1997)
|
|
|
|
4.01
|
1:30:43
|
1,920 x 1,036
|
5,694 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Robinson Crusoe on Mars (1964)
|
|
|
|
9.24
|
1:49:56
|
1,920 x 810
|
11,361 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
677 kbps
|
|
RoboCop (1987)
|
|
|
|
|
|
42.86
|
1:43:15
|
3,840 x 2,064
|
56,300 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,127 kbps
|
|
RoboCop (2014)
|
|
|
|
|
|
5.16
|
1:57:29
|
1,920 x 800
|
2,963 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,321 kbps
|
|
RoboCop 2 (1990)
|
|
|
|
|
8.53
|
1:56:30
|
1,920 x 1,036
|
7,229 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,250 kbps
|
|
RoboCop 3 (1993)
|
|
|
|
|
7.66
|
1:44:51
|
1,920 x 1,040
|
6,904 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,556 kbps
|
|
Robot & Frank (2012)
|
|
|
|
2.67
|
1:29:00
|
1,920 x 800
|
1,476 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,814 kbps
|
|
Robot Apocalypse (2021)
|
|
|
|
2.47
|
1:27:30
|
1,920 x 800
|
3,405 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Robot Jox (1989)
|
|
|
|
5.90
|
1:24:44
|
1,920 x 1,040
|
8,627 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,339 kbps
|
|
Robot Ninja (1989)
|
|
|
|
7.09
|
1:18:40
|
1,440 x 1,080
|
9,254 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,642 kbps
|
|
Robot Riot (2020)
|
|
|
|
2.40
|
1:27:53
|
1,920 x 800
|
3,679 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Robot Wars (1993)
|
|
|
|
5.78
|
1:11:45
|
1,916 x 1,080
|
11,189 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
350 kbps
|
|
Robots (2023)
|
|
|
|
1.95
|
1:33:04
|
1,920 x 788
|
2,350 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Robowar (1988)
|
|
|
|
8.77
|
1:30:47
|
1,920 x 1,036
|
13,494 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
334 kbps
|
|
Rock My World (2002)
|
|
|
|
11.48
|
1:46:12
|
1,920 x 1,080
|
15,252 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Rock Star (2001)
|
|
|
|
6.44
|
1:46:06
|
1,920 x 800
|
5,374 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,318 kbps
|
|
Rock-a-Doodle (1991)
|
|
|
|
5.53
|
1:14:24
|
1,920 x 1,036
|
9,213 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,430 kbps
|
|
RocketMan (1997)
|
|
|
|
6.18
|
1:33:59
|
1,920 x 1,016
|
5,724 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,681 kbps
|
|
Rocketman (2019)
|
|
|
|
|
6.73
|
2:01:17
|
3,840 x 1,604
|
5,181 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,755 kbps
|
|
Rocketman: Mad Mike's Mission to Prove the Flat Earth (2019)
|
|
|
|
3.47
|
1:25:44
|
1,920 x 1,080
|
5,575 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Rocko's Modern Life: Static Cling (2019)
|
|
|
|
1.79
|
45:56
|
1,920 x 1,080
|
5,184 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Rockula (1990)
|
|
|
|
4.74
|
1:30:30
|
1,920 x 1,036
|
6,805 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
694 kbps
|
|
Rocky (1976)
|
|
|
|
|
52.10
|
1:59:36
|
3,840 x 2,072
|
59,493 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,877 kbps
|
|
Rocky Balboa (2006)
|
|
|
|
7.13
|
1:41:47
|
1,920 x 1,040
|
8,625 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,400 kbps
|
|
Rocky II (1979)
|
|
|
|
|
75.92
|
1:59:10
|
3,840 x 2,072
|
88,386 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,816 kbps
|
|
Rocky III (1982)
|
|
|
|
|
69.98
|
1:39:35
|
3,840 x 2,072
|
99,303 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,295 kbps
|
|
Rocky IV (1985)
|
|
|
|
|
17.92
|
1:33:53
|
3,840 x 1,604
|
25,704 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,615 kbps
|
|
Rocky Mountain Express (2011)
|
|
|
|
|
13.96
|
46:55
|
3,840 x 2,160
|
39,996 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,595 kbps
|
|
Rocky V (1990)
|
|
|
|
5.79
|
1:44:10
|
1,920 x 1,038
|
6,563 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,393 kbps
|
|
Rogue (2020)
|
|
|
|
5.82
|
1:45:59
|
1,920 x 800
|
4,494 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,360 kbps
|
|
Rogue Hostage (2021)
|
|
|
|
|
4.23
|
1:33:32
|
3,840 x 1,608
|
3,751 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,722 kbps
|
|
Rogue Male (1976)
|
|
|
|
20.22
|
1:42:50
|
1,440 x 1,080
|
27,387 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
763 kbps
|
|
Rogue One: A Star Wars Story (2016)
|
|
|
|
|
24.72
|
2:13:58
|
3,840 x 1,608
|
24,853 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,559 kbps
|
|
Role Models (2008)
|
|
|
|
|
5.85
|
1:41:07
|
1,920 x 1,040
|
5,255 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,031 kbps
|
|
Role Play (2023)
|
|
|
|
|
3.58
|
1:41:48
|
3,840 x 1,600
|
4,451 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Roller Squad (2021)
|
|
|
|
2.14
|
1:26:48
|
1,920 x 808
|
2,889 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Rollerball (1975)
|
|
|
|
|
54.02
|
2:05:42
|
3,780 x 2,160
|
60,218 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,309 kbps
|
|
Rollerball (2002)
|
|
|
|
3.65
|
1:38:09
|
1,920 x 822
|
3,600 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,723 kbps
|
|
Rollercoaster (1977)
|
|
|
|
10.15
|
1:58:20
|
1,920 x 816
|
11,986 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
294 kbps
|
|
Rolling Thunder (1977)
|
|
|
|
10.76
|
1:39:42
|
1,920 x 1,032
|
15,216 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
236 kbps
|
|
Rolling Vengeance (1987)
|
|
|
|
7.68
|
1:31:59
|
1,920 x 1,040
|
11,683 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
265 kbps
|
|
Roman Holiday (1953)
|
|
|
|
|
11.27
|
1:58:10
|
2,960 x 2,160
|
13,130 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,941 kbps
|
|
Roman J. Israel, Esq. (2017)
|
|
|
|
7.38
|
2:02:20
|
1,920 x 1,036
|
5,526 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,113 kbps
|
|
Romancing the Stone (1984)
|
|
|
|
|
6.55
|
1:45:46
|
1,920 x 810
|
5,972 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,890 kbps
|
|
Romeo & Juliet (2013)
|
|
|
|
4.69
|
1:58:32
|
1,920 x 800
|
2,512 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,156 kbps
|
|
Romeo + Juliet (1996)
|
|
|
|
11.64
|
2:00:11
|
1,920 x 800
|
10,247 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,620 kbps
|
|
Romeo Is Bleeding (1994)
|
|
|
|
4.56
|
1:49:59
|
1,920 x 1,036
|
5,257 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
681 kbps
|
|
Romper Stomper (1992)
|
|
|
|
|
7.01
|
1:32:40
|
1,920 x 1,036
|
9,233 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,589 kbps
|
|
Romy and Michele's High School Reunion (1997)
|
|
|
|
|
10.92
|
1:31:55
|
3,840 x 2,076
|
13,133 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,875 kbps
|
|
Ronin (1998)
|
|
|
|
|
|
19.50
|
2:01:20
|
3,840 x 1,604
|
21,029 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,495 kbps
|
|
Rookie of the Year (1993)
|
|
|
|
8.38
|
1:43:37
|
1,920 x 1,076
|
10,931 kbps
|
|
2.0
|
|
48 kHz
|
640 kbps
|
|
Room (2015)
|
|
|
|
2.88
|
1:57:38
|
1,920 x 800
|
2,524 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
975 kbps
|
|
Room for Rent (2019)
|
|
|
|
1.92
|
1:21:41
|
1,920 x 1,080
|
2,727 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Root Cause (2019)
|
|
|
|
|
2.07
|
1:15:38
|
1,920 x 896
|
2,657 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,265 kbps
|
|
Rope (1948)
|
|
|
|
|
20.90
|
1:20:41
|
2,916 x 2,160
|
36,544 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
539 kbps
|
|
Rose Plays Julie (2021)
|
|
|
|
2.26
|
1:40:43
|
1,920 x 804
|
791 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,415 kbps
|
|
Rosebud (1975)
|
|
|
|
6.37
|
2:06:35
|
1,920 x 804
|
6,962 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
244 kbps
|
|
Rosemary's Baby (1968)
|
|
|
|
|
14.61
|
2:16:46
|
3,840 x 2,076
|
14,676 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
614 kbps
|
|
Rough Night (2017)
|
|
|
|
|
5.23
|
1:40:50
|
3,840 x 1,604
|
4,849 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,564 kbps
|
|
Rounders (1998)
|
|
|
|
6.74
|
2:00:46
|
1,920 x 816
|
4,401 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,581 kbps
|
|
Rover Dangerfield (1991)
|
|
|
|
4.73
|
1:14:02
|
1,920 x 1,028
|
7,685 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,463 kbps
|
|
Roxanne (1987)
|
|
|
|
5.34
|
1:46:50
|
1,920 x 800
|
5,950 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,203 kbps
|
|
Roy Orbison and Friends: A Black and White Night (1988)
|
|
|
|
7.14
|
1:04:45
|
1,920 x 1,080
|
11,282 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,498 kbps
|
|
Rubber (2010)
|
|
|
|
3.35
|
1:25:42
|
1,920 x 1,080
|
3,216 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,379 kbps
|
|
Rubikon (2022)
|
|
|
|
|
3.19
|
1:49:30
|
1,920 x 804
|
2,842 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,324 kbps
|
|
Ruby Sparks (2012)
|
|
|
|
6.65
|
1:44:06
|
1,920 x 1,040
|
6,388 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,758 kbps
|
|
Rudolph and Frosty's Christmas in July (1979)
|
|
|
|
5.00
|
1:37:20
|
1,440 x 1,080
|
7,130 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Rudolph the Red-Nosed Reindeer (1964)
|
|
|
|
|
4.68
|
52:09
|
2,912 x 2,160
|
10,071 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,769 kbps
|
|
Rudy (1993)
|
|
|
|
13.61
|
1:54:00
|
1,920 x 1,040
|
15,641 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,451 kbps
|
|
Rugrats Go Wild (2003)
|
|
|
|
6.49
|
1:20:51
|
1,920 x 796
|
7,813 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,684 kbps
|
|
Rugrats in Paris: The Movie (2000)
|
|
|
|
3.98
|
1:18:37
|
1,920 x 1,036
|
6,002 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,242 kbps
|
|
Rules Don't Apply (2016)
|
|
|
|
4.00
|
2:06:22
|
1,920 x 1,040
|
1,686 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,840 kbps
|
|
Rules of Engagement (2000)
|
|
|
|
6.73
|
2:07:19
|
1,920 x 726
|
6,268 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,298 kbps
|
|
Rumor Has It... (2005)
|
|
|
|
4.93
|
1:36:46
|
1,916 x 1,080
|
6,655 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Run (2020)
|
|
|
|
7.58
|
1:29:21
|
3,840 x 1,608
|
11,269 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
872 kbps
|
|
Run All Night (2015)
|
|
|
|
|
7.44
|
1:54:22
|
1,920 x 800
|
5,374 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,936 kbps
|
|
Run Hide Fight (2021)
|
|
|
|
|
2.35
|
1:49:27
|
1,920 x 800
|
1,918 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,153 kbps
|
|
Run Lola Run (1998)
|
|
|
|
|
|
31.76
|
1:20:11
|
3,840 x 2,072
|
55,259 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,440 kbps
|
|
Runaway (1984)
|
|
|
|
7.26
|
1:40:08
|
1,920 x 812
|
9,692 kbps
|
|
3.0
|
|
16 bits / 48 kHz
|
687 kbps
|
|
Runaway Bride (1999)
|
|
|
|
6.83
|
1:56:21
|
1,920 x 802
|
5,004 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,403 kbps
|
|
Runaway Jury (2003)
|
|
|
|
4.43
|
2:07:33
|
1,920 x 816
|
3,724 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,252 kbps
|
|
Runaway Nightmare (1982)
|
|
|
|
11.42
|
1:34:09
|
1,920 x 1,036
|
16,700 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
660 kbps
|
|
Runaway Train (1986)
|
|
|
|
8.44
|
1:50:51
|
1,920 x 1,032
|
10,266 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
637 kbps
|
|
Runner Runner (2013)
|
|
|
|
|
6.99
|
1:31:32
|
1,920 x 800
|
7,984 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,949 kbps
|
|
Running on Empty (1988)
|
|
|
|
7.57
|
1:56:16
|
1,920 x 1,080
|
8,648 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
667 kbps
|
|
Running Out of Time (2018)
|
|
|
|
2.04
|
1:27:46
|
1,920 x 856
|
2,681 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Running Scared (1986)
|
|
|
|
6.61
|
1:46:44
|
1,920 x 816
|
8,235 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
628 kbps
|
|
Running Scared (2006)
|
|
|
|
|
10.23
|
2:02:03
|
1,920 x 816
|
9,299 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,696 kbps
|
|
Running the Bases (2022)
|
|
|
|
17.93
|
2:07:34
|
3,840 x 2,160
|
17,565 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,554 kbps
|
|
Running Time (1997)
|
|
|
|
14.03
|
1:08:38
|
1,536 x 1,080
|
27,869 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,375 kbps
|
|
Runt (2021)
|
|
|
|
1.96
|
1:37:22
|
1,920 x 816
|
2,491 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Rush (1991)
|
|
|
|
4.79
|
2:00:19
|
1,920 x 1,038
|
4,641 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,062 kbps
|
|
Rush (2013)
|
|
|
|
6.25
|
2:02:42
|
1,920 x 800
|
3,713 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,582 kbps
|
|
Rush Hour (1998)
|
|
|
|
6.27
|
1:37:50
|
1,920 x 784
|
4,521 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,650 kbps
|
|
Rush Hour 2 (2001)
|
|
|
|
6.17
|
1:30:07
|
1,920 x 800
|
8,465 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,339 kbps
|
|
Rush Hour 3 (2007)
|
|
|
|
7.09
|
1:30:48
|
1,920 x 800
|
6,571 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,599 kbps
|
|
Rushed (2021)
|
|
|
|
1.56
|
1:41:09
|
1,920 x 796
|
1,818 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Rushmore (1999)
|
|
|
|
|
9.14
|
1:32:46
|
3,840 x 1,632
|
10,404 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,700 kbps
|
|
Rust Creek (2019)
|
|
|
|
3.51
|
1:48:08
|
1,920 x 800
|
3,850 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
791 kbps
|
|
Ruthless People (1986)
|
|
|
|
5.65
|
1:33:59
|
1,920 x 1,034
|
7,962 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
RV (2006)
|
|
|
|
|
5.30
|
1:38:48
|
1,920 x 800
|
6,383 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,301 kbps
|
|
RZ-9 (2015)
|
|
|
|
2.44
|
1:32:26
|
1,920 x 808
|
3,392 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
S.O.S. Titanic (1979)
|
|
|
|
8.07
|
2:24:22
|
1,788 x 1,080
|
7,785 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
215 kbps
|
|
S.W.A.T. (2003)
|
|
|
|
4.89
|
1:57:17
|
1,920 x 792
|
4,422 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,545 kbps
|
|
S1m0ne (2002)
|
|
|
|
|
4.73
|
1:57:30
|
1,916 x 1,080
|
5,119 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Sabotage (2014)
|
|
|
|
5.40
|
1:49:40
|
1,920 x 1,040
|
4,442 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,604 kbps
|
|
Saboteur (1942)
|
|
|
|
|
34.84
|
1:48:49
|
2,912 x 2,160
|
45,279 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
558 kbps
|
|
Sabrina (1954)
|
|
|
|
11.69
|
1:53:35
|
1,920 x 1,080
|
14,516 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
213 kbps
|
|
Sacrifice (2021)
|
|
|
|
0.98
|
1:27:27
|
1,920 x 802
|
1,212 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Safe (1995)
|
|
|
|
9.57
|
1:58:55
|
1,920 x 1,036
|
10,933 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
587 kbps
|
|
Safe (2012)
|
|
|
|
|
5.57
|
1:34:17
|
1,920 x 816
|
5,642 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,822 kbps
|
|
Safe Haven (2013)
|
|
|
|
3.75
|
1:55:39
|
1,920 x 800
|
2,612 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,026 kbps
|
|
Safe Inside (2019)
|
|
|
|
2.31
|
1:41:32
|
1,920 x 1,028
|
2,876 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Safe Men (1998)
|
|
|
|
5.55
|
1:27:51
|
1,920 x 1,040
|
5,470 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,580 kbps
|
|
Safehouse (2023)
|
|
|
|
|
1.84
|
1:27:20
|
1,920 x 800
|
1,724 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,283 kbps
|
|
Safer at Home (2021)
|
|
|
|
2.47
|
1:24:45
|
1,920 x 1,008
|
3,160 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,002 kbps
|
|
Safety Not Guaranteed (2012)
|
|
|
|
|
3.90
|
1:25:47
|
1,920 x 816
|
3,634 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,878 kbps
|
|
Sahara (1983)
|
|
|
|
11.20
|
1:46:11
|
1,920 x 816
|
14,605 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
496 kbps
|
|
Sahara (2005)
|
|
|
|
7.01
|
2:04:24
|
1,920 x 800
|
6,593 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,469 kbps
|
|
Saint Jack (1979)
|
|
|
|
8.14
|
1:54:57
|
1,904 x 1,080
|
8,852 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,290 kbps
|
|
Salt (2010)
|
|
|
|
|
5.99
|
1:44:04
|
1,920 x 800
|
5,830 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,409 kbps
|
|
Saltburn (2023)
|
|
|
|
|
7.16
|
2:11:46
|
2,880 x 2,160
|
7,194 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Salvador (1986)
|
|
|
|
|
9.39
|
2:02:44
|
1,920 x 1,040
|
7,854 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,095 kbps
|
|
Salvage (2006)
|
|
|
|
2.86
|
1:18:44
|
1,920 x 1,080
|
4,360 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
847 kbps
|
|
Sam (2017)
|
|
|
|
2.18
|
1:43:24
|
1,920 x 1,032
|
2,636 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Same Boat (2019)
|
|
|
|
2.10
|
1:22:25
|
1,920 x 1,080
|
3,446 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Samsara (2011)
|
|
|
|
9.87
|
1:42:06
|
1,920 x 800
|
7,551 kbps
|
|
7.1
|
|
24 bits / 96 kHz
|
6,292 kbps
|
|
Samurai Cop (2016)
|
|
|
|
3.09
|
1:36:33
|
1,920 x 1,080
|
4,395 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
San Andreas (2015)
|
|
|
|
|
|
11.61
|
1:54:28
|
3,840 x 1,604
|
11,189 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,323 kbps
|
|
Sands of Oblivion (2007)
|
|
|
|
4.69
|
1:36:26
|
1,920 x 1,072
|
5,564 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,400 kbps
|
|
Sandy Wexler (2017)
|
|
|
|
|
4.21
|
2:06:38
|
1,920 x 1,032
|
4,358 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Santa Claus Conquers the Martians (1964)
|
|
|
|
3.56
|
1:21:18
|
1,472 x 1,080
|
6,013 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
246 kbps
|
|
Santa Claus Is Comin' to Town (1970)
|
|
|
|
|
4.80
|
51:06
|
2,912 x 2,160
|
10,608 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,843 kbps
|
|
Santa Claus: The Movie (1985)
|
|
|
|
|
69.90
|
1:48:42
|
3,840 x 1,632
|
91,447 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
608 kbps
|
|
Santa with Muscles (1996)
|
|
|
|
|
5.64
|
1:37:40
|
1,920 x 1,036
|
7,650 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
617 kbps
|
|
Santa's Little Helpers (2019)
|
|
|
|
|
0.15
|
03:51
|
3,840 x 1,604
|
5,094 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
SAS: Red Notice (2021)
|
|
|
|
|
|
9.68
|
2:04:00
|
3,840 x 1,600
|
8,208 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,957 kbps
|
|
Saturday Night Fever (1977)
|
|
|
|
8.98
|
2:02:15
|
1,920 x 1,036
|
7,187 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,331 kbps
|
|
Saturday the 14th (1981)
|
|
|
|
3.49
|
1:15:55
|
1,920 x 1,036
|
6,317 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
254 kbps
|
|
Saturn 3 (1980)
|
|
|
|
6.16
|
1:27:28
|
1,920 x 1,036
|
8,759 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,320 kbps
|
|
Sausage Party (2016)
|
|
|
|
|
7.20
|
1:28:45
|
3,840 x 2,076
|
8,458 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,145 kbps
|
|
Savage Dog (2017)
|
|
|
|
4.88
|
1:35:11
|
1,920 x 864
|
4,216 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,126 kbps
|
|
Savage Salvation (2022)
|
|
|
|
|
34.62
|
1:41:06
|
3,840 x 1,608
|
46,172 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,846 kbps
|
|
Savage Streets (1984)
|
|
|
|
7.13
|
1:32:48
|
1,920 x 1,080
|
7,741 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,252 kbps
|
|
Savaged (2015)
|
|
|
|
10.15
|
1:34:40
|
1,920 x 1,008
|
13,746 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,608 kbps
|
|
Save the Cinema (2022)
|
|
|
|
3.87
|
1:49:27
|
1,920 x 804
|
2,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,983 kbps
|
|
Save the Date (2012)
|
|
|
|
3.38
|
1:36:37
|
1,920 x 1,036
|
2,026 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,980 kbps
|
|
Saving Mr. Banks (2013)
|
|
|
|
|
6.05
|
2:05:40
|
1,920 x 800
|
4,191 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,696 kbps
|
|
Saving Private Ryan (1998)
|
|
|
|
|
|
65.72
|
2:49:27
|
3,840 x 2,160
|
52,118 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,405 kbps
|
|
Saving Silverman (2001)
|
|
|
|
|
3.48
|
1:36:21
|
1,920 x 1,036
|
4,665 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
501 kbps
|
|
Saw (2004)
|
|
|
|
|
19.59
|
1:42:52
|
3,840 x 2,076
|
25,656 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,609 kbps
|
|
Saw II (2005)
|
|
|
|
9.45
|
1:34:33
|
1,920 x 1,080
|
10,540 kbps
|
|
6.1
|
|
24 bits / 48 kHz
|
3,762 kbps
|
|
Saw III (2006)
|
|
|
|
8.12
|
1:53:45
|
1,912 x 1,080
|
6,163 kbps
|
|
6.1
|
|
24 bits / 48 kHz
|
4,059 kbps
|
|
Saw IV (2007)
|
|
|
|
7.46
|
1:35:32
|
1,920 x 1,080
|
6,419 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,757 kbps
|
|
Saw V (2008)
|
|
|
|
6.81
|
1:35:04
|
1,920 x 1,080
|
5,908 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,353 kbps
|
|
Saw VI (2009)
|
|
|
|
6.74
|
1:31:39
|
1,920 x 1,080
|
5,976 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,555 kbps
|
|
Saw X (2023)
|
|
|
|
|
15.63
|
1:58:24
|
3,840 x 2,072
|
16,141 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,750 kbps
|
|
Saw: The Final Chapter (2010)
|
|
|
|
9.28
|
1:30:11
|
1,920 x 1,080
|
10,016 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,712 kbps
|
|
Say Anything... (1989)
|
|
|
|
6.40
|
1:40:20
|
1,920 x 1,038
|
7,936 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,189 kbps
|
|
Scandal (1989)
|
|
|
|
14.80
|
1:54:22
|
1,920 x 1,036
|
17,332 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,197 kbps
|
|
Scanner Cop (1994)
|
|
|
|
|
33.81
|
1:34:33
|
3,840 x 2,076
|
49,643 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,548 kbps
|
|
Scanner Cop II (1995)
|
|
|
|
|
37.80
|
1:34:51
|
3,840 x 2,076
|
55,511 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,544 kbps
|
|
Scanners (1981)
|
|
|
|
8.41
|
1:43:05
|
1,920 x 1,040
|
10,116 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,558 kbps
|
|
Scanners II: The New Order (1991)
|
|
|
|
10.13
|
1:44:10
|
1,916 x 1,080
|
12,626 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,291 kbps
|
|
Scanners III: The Takeover (1992)
|
|
|
|
10.99
|
1:39:39
|
1,916 x 1,080
|
14,333 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
Scared Shrekless (2010)
|
|
|
|
1.24
|
25:33
|
1,920 x 1,080
|
2,942 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,033 kbps
|
|
Scarface (1983)
|
|
|
|
|
62.53
|
2:49:51
|
3,840 x 1,632
|
48,470 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,231 kbps
|
|
Scarlett (2021)
|
|
|
|
2.59
|
1:43:07
|
1,920 x 1,080
|
2,952 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Scary Movie (2000)
|
|
|
|
|
3.23
|
1:28:17
|
1,920 x 800
|
3,872 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,367 kbps
|
|
Scary Movie 2 (2001)
|
|
|
|
|
3.58
|
1:22:27
|
1,920 x 1,080
|
4,967 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,253 kbps
|
|
Scary Movie 3 (2003)
|
|
|
|
|
4.26
|
1:25:40
|
1,916 x 1,080
|
5,610 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,510 kbps
|
|
Scary Movie 4 (2006)
|
|
|
|
|
4.36
|
1:29:32
|
1,920 x 1,040
|
5,487 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,489 kbps
|
|
Scary Movie 5 (2013)
|
|
|
|
|
4.52
|
1:28:07
|
1,920 x 1,080
|
4,441 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,899 kbps
|
|
Scary Stories to Tell in the Dark (2019)
|
|
|
|
|
5.24
|
1:47:56
|
3,840 x 1,600
|
5,793 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,147 kbps
|
|
Scavengers (2013)
|
|
|
|
3.21
|
1:33:26
|
1,920 x 800
|
3,563 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
Scavengers (2021)
|
|
|
|
0.83
|
45:34
|
1,920 x 800
|
2,369 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Scenes of the Crime (2001)
|
|
|
|
3.72
|
1:30:51
|
1,920 x 1,076
|
5,642 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Scent of a Woman (1993)
|
|
|
|
12.53
|
2:36:24
|
1,920 x 1,040
|
8,862 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,609 kbps
|
|
School Dance (2014)
|
|
|
|
3.64
|
1:26:09
|
1,912 x 1,080
|
5,412 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
School for Scoundrels (2006)
|
|
|
|
|
2.87
|
1:47:43
|
1,920 x 796
|
3,592 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
School of Rock (2003)
|
|
|
|
14.91
|
1:49:16
|
1,920 x 1,072
|
16,024 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,504 kbps
|
|
School's Out Forever (2021)
|
|
|
|
1.56
|
1:44:55
|
1,920 x 800
|
1,491 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Scissors (1991)
|
|
|
|
10.19
|
1:45:50
|
1,920 x 1,036
|
13,292 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
487 kbps
|
|
Scoob! (2020)
|
|
|
|
|
4.43
|
1:33:47
|
3,840 x 1,608
|
5,164 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,599 kbps
|
|
Scooby-Doo (2002)
|
|
|
|
7.36
|
1:26:35
|
1,904 x 1,080
|
11,532 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Scorn (2020)
|
|
|
|
1.06
|
1:11:47
|
1,920 x 802
|
1,980 kbps
|
|
2.0
|
|
48 kHz
|
133 kbps
|
|
Scorned (1994)
|
|
|
|
3.53
|
1:42:32
|
1,916 x 1,080
|
4,642 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
291 kbps
|
|
Scorned (2013)
|
|
|
|
4.22
|
1:26:22
|
1,920 x 1,080
|
5,666 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,327 kbps
|
|
Scott Pilgrim vs. the World (2010)
|
|
|
|
|
|
14.19
|
1:52:15
|
3,840 x 2,076
|
16,280 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,809 kbps
|
|
Scram! (1932)
|
|
|
|
0.48
|
20:56
|
1,418 x 1,080
|
2,986 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
280 kbps
|
|
Scramble (2017)
|
|
|
|
10.33
|
1:42:13
|
1,920 x 1,008
|
13,203 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,257 kbps
|
|
Scream (1981)
|
|
|
|
21.26
|
1:21:58
|
3,840 x 2,072
|
36,435 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
697 kbps
|
|
Scream (1996)
|
|
|
|
|
8.36
|
1:51:02
|
3,840 x 1,632
|
7,652 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,128 kbps
|
|
Scream (2022)
|
|
|
|
|
10.39
|
1:54:19
|
3,840 x 1,608
|
9,311 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,695 kbps
|
|
Scream 2 (1997)
|
|
|
|
|
13.37
|
2:00:19
|
3,840 x 1,604
|
12,719 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,184 kbps
|
|
Scream 3 (2000)
|
|
|
|
|
13.57
|
1:56:40
|
3,840 x 1,604
|
13,484 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,160 kbps
|
|
Scream 4 (2011)
|
|
|
|
4.66
|
1:51:04
|
1,920 x 800
|
4,796 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,208 kbps
|
|
Scream of Fear (1961)
|
|
|
|
5.40
|
1:21:24
|
1,800 x 1,080
|
9,282 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
215 kbps
|
|
Scream VI (2023)
|
|
|
|
|
8.81
|
2:02:32
|
3,840 x 1,608
|
7,690 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Screamers (1995)
|
|
|
|
9.39
|
1:48:23
|
1,920 x 1,072
|
11,770 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
632 kbps
|
|
Screwballs (1983)
|
|
|
|
2.97
|
1:19:38
|
1,770 x 1,080
|
5,087 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Screwballs II (1985)
|
|
|
|
5.00
|
1:16:42
|
1,916 x 1,080
|
8,636 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
698 kbps
|
|
Screwed (2000)
|
|
|
|
4.37
|
1:22:02
|
1,908 x 1,080
|
6,986 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Scrooged (1988)
|
|
|
|
|
|
15.44
|
1:40:56
|
3,840 x 2,076
|
18,596 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,549 kbps
|
|
Se7en (1995)
|
|
|
|
8.14
|
2:06:50
|
1,920 x 800
|
4,523 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,666 kbps
|
|
Sea Fever (2019)
|
|
|
|
2.10
|
1:34:14
|
1,920 x 804
|
1,843 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,352 kbps
|
|
Sea of Love (1989)
|
|
|
|
4.12
|
1:52:47
|
1,920 x 1,048
|
2,645 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,587 kbps
|
|
Search Party (2016)
|
|
|
|
4.61
|
1:33:05
|
1,920 x 800
|
4,035 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,058 kbps
|
|
Searching (2018)
|
|
|
|
3.27
|
1:42:23
|
1,920 x 1,080
|
3,471 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,094 kbps
|
|
Season of the Witch (2011)
|
|
|
|
5.41
|
1:34:42
|
1,912 x 1,080
|
6,863 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,320 kbps
|
|
Seberg (2019)
|
|
|
|
|
5.04
|
1:42:34
|
3,840 x 1,600
|
6,392 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Second Act (2018)
|
|
|
|
5.32
|
1:44:01
|
1,920 x 804
|
4,436 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,880 kbps
|
|
Secret Headquarters (2022)
|
|
|
|
3.76
|
1:43:45
|
1,920 x 796
|
2,488 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,700 kbps
|
|
Secret of the Incas (1954)
|
|
|
|
7.29
|
1:41:27
|
1,916 x 1,080
|
9,732 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
558 kbps
|
|
Secret Window (2004)
|
|
|
|
3.14
|
1:29:09
|
1,920 x 800
|
3,646 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,297 kbps
|
|
Secretary (2002)
|
|
|
|
|
13.95
|
1:51:25
|
1,920 x 1,078
|
13,733 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,185 kbps
|
|
Secrets of a Celebrity Nanny (2023)
|
|
|
|
1.50
|
1:30:14
|
1,920 x 1,080
|
2,317 kbps
|
|
2.0
|
|
48 kHz
|
64 kbps
|
|
Secrets of Deception (2017)
|
|
|
|
1.40
|
1:14:16
|
1,920 x 1,080
|
2,583 kbps
|
|
2.0
|
|
48 kHz
|
113 kbps
|
|
Security (2017)
|
|
|
|
3.19
|
1:31:53
|
1,920 x 804
|
1,694 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,272 kbps
|
|
See for Me (2021)
|
|
|
|
2.45
|
1:32:57
|
1,920 x 804
|
919 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,857 kbps
|
|
See No Evil, Hear No Evil (1989)
|
|
|
|
11.89
|
1:42:04
|
1,920 x 1,040
|
16,082 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
589 kbps
|
|
See You in September (2010)
|
|
|
|
4.57
|
1:30:36
|
1,920 x 816
|
6,259 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
964 kbps
|
|
See You Next Christmas (2021)
|
|
|
|
9.94
|
1:39:24
|
3,840 x 1,914
|
14,155 kbps
|
|
2.0
|
|
48 kHz
|
163 kbps
|
|
Seed of Chucky (2004)
|
|
|
|
|
10.80
|
1:26:12
|
3,840 x 2,076
|
15,357 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,755 kbps
|
|
Seeking a Friend for the End of the World (2012)
|
|
|
|
|
3.40
|
1:41:02
|
1,920 x 818
|
2,189 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,620 kbps
|
|
Seeking Justice (2011)
|
|
|
|
4.37
|
1:45:01
|
1,920 x 816
|
4,571 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,379 kbps
|
|
Segfault (2018)
|
|
|
|
2.16
|
1:24:33
|
1,920 x 956
|
3,269 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Selena (1997)
|
|
|
|
6.75
|
2:13:54
|
1,920 x 800
|
3,614 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,605 kbps
|
|
Self/less (2015)
|
|
|
|
4.37
|
1:56:55
|
1,920 x 816
|
2,499 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,846 kbps
|
|
Semi-Pro (2008)
|
|
|
|
|
7.82
|
1:38:28
|
1,920 x 816
|
7,078 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,294 kbps
|
|
Semi-Tough (1978)
|
|
|
|
6.87
|
1:47:48
|
1,920 x 1,032
|
8,904 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
220 kbps
|
|
Senior Moment (2021)
|
|
|
|
2.90
|
1:32:09
|
1,920 x 812
|
4,118 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Senior Year (2022)
|
|
|
|
|
|
9.57
|
1:51:51
|
3,840 x 2,160
|
11,460 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Senseless (1998)
|
|
|
|
7.40
|
1:33:22
|
1,920 x 1,072
|
9,975 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,375 kbps
|
|
Separate Tables (1958)
|
|
|
|
7.97
|
1:39:43
|
1,784 x 1,080
|
10,848 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
590 kbps
|
|
Septic Man (2013)
|
|
|
|
1.14
|
1:25:58
|
1,920 x 808
|
1,442 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Sequoia (2015)
|
|
|
|
2.33
|
1:27:02
|
1,920 x 1,040
|
3,191 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Serendipity (2001)
|
|
|
|
4.92
|
1:30:58
|
1,916 x 1,080
|
6,502 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,237 kbps
|
|
Serenity (2005)
|
|
|
|
|
14.46
|
1:58:56
|
3,840 x 1,636
|
12,856 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,546 kbps
|
|
Serenity (2019)
|
|
|
|
4.49
|
1:46:01
|
1,920 x 804
|
3,092 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,972 kbps
|
|
Serial Mom (1994)
|
|
|
|
6.21
|
1:33:55
|
1,920 x 1,036
|
8,254 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,211 kbps
|
|
Serious Moonlight (2009)
|
|
|
|
3.69
|
1:24:03
|
1,920 x 1,080
|
5,476 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
816 kbps
|
|
Serpent (2017)
|
|
|
|
1.80
|
1:25:48
|
1,920 x 804
|
1,674 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,329 kbps
|
|
Serpico (1973)
|
|
|
|
|
22.06
|
2:10:12
|
3,840 x 2,072
|
23,071 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,176 kbps
|
|
Serving Sara (2002)
|
|
|
|
3.41
|
1:39:42
|
1,912 x 1,080
|
4,450 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Set It Off (1996)
|
|
|
|
9.73
|
2:03:54
|
1,920 x 800
|
9,337 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,906 kbps
|
|
Settlers (2021)
|
|
|
|
|
5.06
|
1:43:20
|
3,840 x 1,600
|
3,979 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,020 kbps
|
|
Setup (2011)
|
|
|
|
2.32
|
1:24:55
|
1,920 x 800
|
2,772 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,131 kbps
|
|
Seven (1979)
|
|
|
|
5.64
|
1:40:51
|
1,920 x 1,028
|
7,289 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
719 kbps
|
|
Seven Days in May (1964)
|
|
|
|
19.36
|
1:57:33
|
1,920 x 1,080
|
23,018 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
553 kbps
|
|
Seven Pounds (2008)
|
|
|
|
4.78
|
2:03:05
|
1,920 x 800
|
4,421 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,138 kbps
|
|
Seven Wonders of the World (1956)
|
|
|
|
8.40
|
2:01:46
|
1,920 x 1,044
|
9,424 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Seven Years in Tibet (1997)
|
|
|
|
|
6.39
|
2:16:08
|
1,920 x 796
|
5,664 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,049 kbps
|
|
Seventh Son (2014)
|
|
|
|
5.91
|
1:42:00
|
1,920 x 800
|
3,674 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,622 kbps
|
|
Severance (2006)
|
|
|
|
5.53
|
1:35:45
|
1,912 x 1,080
|
5,080 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,190 kbps
|
|
Sex Tape (2014)
|
|
|
|
|
3.60
|
1:34:35
|
1,920 x 1,036
|
4,228 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,223 kbps
|
|
Sexy Beast (2001)
|
|
|
|
4.04
|
1:28:29
|
1,904 x 1,080
|
5,214 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,318 kbps
|
|
Sgt. Bilko (1996)
|
|
|
|
5.54
|
1:34:08
|
1,920 x 820
|
7,050 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,369 kbps
|
|
Shade (2003)
|
|
|
|
5.10
|
1:42:04
|
1,920 x 812
|
5,912 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,237 kbps
|
|
Shadow Conspiracy (1997)
|
|
|
|
5.04
|
1:42:59
|
1,920 x 818
|
6,779 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Shadow in the Cloud (2021)
|
|
|
|
|
6.18
|
1:23:15
|
3,840 x 1,600
|
9,268 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
Shadow Master (2022)
|
|
|
|
2.65
|
1:29:47
|
1,920 x 1,080
|
2,913 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,311 kbps
|
|
Shadow of a Doubt (1943)
|
|
|
|
|
32.75
|
1:47:50
|
2,912 x 2,160
|
42,964 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
516 kbps
|
|
Shadowzone (1990)
|
|
|
|
0.60
|
1:28:07
|
676 x 480
|
634 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
341 kbps
|
|
Shaft (2019)
|
|
|
|
|
9.48
|
1:51:30
|
3,840 x 1,608
|
10,588 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,578 kbps
|
|
Shag (1989)
|
|
|
|
10.84
|
1:39:07
|
1,920 x 1,040
|
14,450 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,200 kbps
|
|
Shakes the Clown (1992)
|
|
|
|
8.85
|
1:26:59
|
1,920 x 1,076
|
14,034 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
527 kbps
|
|
Shakespeare in Love (1998)
|
|
|
|
4.80
|
2:03:37
|
1,920 x 808
|
4,271 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,284 kbps
|
|
Shall We Play? (2021)
|
|
|
|
1.06
|
1:26:38
|
1,920 x 792
|
1,368 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Shallow Hal (2001)
|
|
|
|
|
6.57
|
1:53:44
|
1,920 x 1,040
|
6,835 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,432 kbps
|
|
Shame (2011)
|
|
|
|
4.31
|
1:41:08
|
1,920 x 812
|
3,439 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,663 kbps
|
|
Shampoo (1975)
|
|
|
|
18.34
|
1:50:15
|
1,920 x 1,036
|
20,794 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,019 kbps
|
|
Shang-Chi and the Legend of the Ten Rings (2021)
|
|
|
|
|
|
6.59
|
2:12:21
|
3,840 x 1,608
|
5,619 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,501 kbps
|
|
Shanghai Knights (2003)
|
|
|
|
10.45
|
1:54:21
|
1,920 x 816
|
12,435 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Shanghai Noon (2000)
|
|
|
|
9.99
|
1:50:18
|
1,920 x 816
|
12,322 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Shaolin Soccer (2001)
|
|
|
|
|
|
7.95
|
1:52:22
|
1,920 x 1,080
|
8,596 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,531 kbps
|
|
Shark Huntress (2021)
|
|
|
|
2.38
|
1:22:56
|
1,920 x 1,080
|
3,879 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Shark Season (2020)
|
|
|
|
5.79
|
1:27:26
|
1,920 x 800
|
6,100 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,377 kbps
|
|
Sharkenstein (2016)
|
|
|
|
3.55
|
1:13:04
|
1,920 x 1,080
|
6,728 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Sharknado (2013)
|
|
|
|
|
9.60
|
1:30:30
|
3,840 x 2,160
|
13,564 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
798 kbps
|
|
Sharknado 2: The Second One (2014)
|
|
|
|
5.82
|
1:35:02
|
1,920 x 1,080
|
5,317 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,449 kbps
|
|
Sharknado 3: Oh Hell No! (2015)
|
|
|
|
5.27
|
1:32:59
|
1,920 x 1,080
|
4,257 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,856 kbps
|
|
Sharknado 5: Global Swarming (2017)
|
|
|
|
5.97
|
1:33:26
|
1,920 x 1,080
|
5,078 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,067 kbps
|
|
Sharknado: The 4th Awakens (2016)
|
|
|
|
6.27
|
1:35:16
|
1,920 x 1,080
|
5,368 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,048 kbps
|
|
Sharper (2023)
|
|
|
|
|
|
3.46
|
1:56:18
|
3,840 x 1,608
|
3,491 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Shattered (1991)
|
|
|
|
7.55
|
1:38:20
|
1,904 x 1,080
|
9,821 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,170 kbps
|
|
Shattered (2022)
|
|
|
|
2.72
|
1:31:50
|
1,920 x 800
|
1,555 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,684 kbps
|
|
Shaun of the Dead (2004)
|
|
|
|
|
16.79
|
1:39:25
|
3,840 x 1,632
|
19,578 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,589 kbps
|
|
Shaun the Sheep Movie (2015)
|
|
|
|
3.87
|
1:24:58
|
1,920 x 1,040
|
3,167 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,358 kbps
|
|
Shazam! (2019)
|
|
|
|
|
28.64
|
2:11:43
|
3,840 x 1,608
|
29,564 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,557 kbps
|
|
Shazam! Fury of the Gods (2023)
|
|
|
|
|
8.07
|
2:10:16
|
3,840 x 1,608
|
7,427 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,436 kbps
|
|
She (1985)
|
|
|
|
5.91
|
1:45:05
|
1,920 x 1,032
|
7,574 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
476 kbps
|
|
She Dies Tomorrow (2020)
|
|
|
|
2.93
|
1:24:52
|
1,920 x 1,080
|
4,163 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
777 kbps
|
|
She Hate Me (2004)
|
|
|
|
9.19
|
2:18:21
|
1,920 x 1,036
|
8,336 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,175 kbps
|
|
She's a Good Skate, Charlie Brown (1980)
|
|
|
|
|
1.08
|
24:16
|
2,880 x 2,160
|
5,986 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
She's All That (1999)
|
|
|
|
5.48
|
1:35:40
|
1,920 x 1,040
|
5,090 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,113 kbps
|
|
She's Back (1989)
|
|
|
|
6.94
|
1:30:24
|
1,920 x 1,080
|
10,762 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
She's Funny That Way (2015)
|
|
|
|
3.88
|
1:33:45
|
1,920 x 1,036
|
3,569 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,350 kbps
|
|
She's Having a Baby (1988)
|
|
|
|
14.49
|
1:45:53
|
1,920 x 1,080
|
18,593 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
997 kbps
|
|
She's Out of Control (1989)
|
|
|
|
7.63
|
1:34:20
|
1,916 x 1,080
|
11,350 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
She's Out of My League (2010)
|
|
|
|
|
4.88
|
1:44:32
|
1,920 x 808
|
3,506 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,171 kbps
|
|
She's So Lovely (1997)
|
|
|
|
5.00
|
1:36:24
|
1,920 x 816
|
3,740 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,680 kbps
|
|
She's the Man (2006)
|
|
|
|
7.38
|
1:45:14
|
1,920 x 1,080
|
6,418 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,618 kbps
|
|
Shenandoah (1965)
|
|
|
|
3.74
|
1:45:12
|
1,920 x 1,040
|
4,726 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
366 kbps
|
|
Sherlock Holmes (2009)
|
|
|
|
|
11.71
|
2:08:30
|
3,840 x 2,160
|
11,553 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,491 kbps
|
|
Sherlock Holmes: A Game of Shadows (2011)
|
|
|
|
|
16.99
|
2:08:45
|
3,840 x 1,600
|
17,284 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,599 kbps
|
|
Sheroes (2023)
|
|
|
|
5.07
|
1:31:31
|
3,840 x 1,600
|
7,284 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Shirley (2020)
|
|
|
|
3.49
|
1:47:11
|
1,920 x 1,036
|
3,427 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,228 kbps
|
|
Shithouse (2020)
|
|
|
|
2.03
|
1:41:30
|
1,920 x 1,032
|
1,571 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,290 kbps
|
|
Shivers (1975)
|
|
|
|
|
3.70
|
1:28:21
|
3,824 x 2,160
|
5,727 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
264 kbps
|
|
Shock and Awe (2017)
|
|
|
|
2.70
|
1:30:50
|
1,920 x 1,036
|
3,134 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,115 kbps
|
|
Shock Waves (1977)
|
|
|
|
15.60
|
1:24:41
|
1,920 x 1,036
|
25,792 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
582 kbps
|
|
Shocker (1989)
|
|
|
|
5.40
|
1:49:35
|
1,920 x 1,040
|
3,815 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,245 kbps
|
|
Shockwave: Countdown to Disaster (2017)
|
|
|
|
|
2.97
|
1:27:40
|
1,920 x 1,080
|
4,205 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Shoot 'Em Up (2007)
|
|
|
|
8.32
|
1:26:32
|
1,920 x 818
|
8,838 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,928 kbps
|
|
Shoot the Duke (2009)
|
|
|
|
3.73
|
1:20:04
|
1,904 x 1,080
|
6,272 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
397 kbps
|
|
Shooter (2007)
|
|
|
|
|
|
17.30
|
2:05:40
|
3,840 x 1,600
|
16,709 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,987 kbps
|
|
Shooting Gallery (2005)
|
|
|
|
3.99
|
1:42:01
|
1,920 x 808
|
4,953 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Shoplifters of the World (2021)
|
|
|
|
4.14
|
1:30:40
|
1,920 x 792
|
3,071 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,468 kbps
|
|
Short Circuit (1986)
|
|
|
|
|
5.28
|
1:38:34
|
1,920 x 792
|
6,140 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,528 kbps
|
|
Short Circuit 2 (1988)
|
|
|
|
|
7.53
|
1:50:26
|
1,920 x 1,040
|
9,168 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
595 kbps
|
|
Short Cuts (1993)
|
|
|
|
27.56
|
3:08:12
|
1,920 x 816
|
17,816 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,146 kbps
|
|
Short Term 12 (2013)
|
|
|
|
3.02
|
1:36:59
|
1,920 x 1,024
|
1,894 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,559 kbps
|
|
Short Time (1990)
|
|
|
|
4.76
|
1:37:06
|
1,912 x 1,080
|
6,792 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Shortcut to Happiness (2003)
|
|
|
|
4.34
|
1:42:37
|
1,920 x 1,076
|
5,557 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
499 kbps
|
|
Shotgun Wedding (2022)
|
|
|
|
|
6.84
|
1:41:20
|
3,840 x 1,604
|
7,967 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,690 kbps
|
|
Showdown in Little Tokyo (1991)
|
|
|
|
|
7.37
|
1:18:21
|
1,920 x 1,080
|
12,042 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,418 kbps
|
|
Showgirls (1995)
|
|
|
|
|
16.22
|
2:11:21
|
3,840 x 1,632
|
16,285 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,387 kbps
|
|
Showing Up (2022)
|
|
|
|
|
36.10
|
1:47:07
|
3,840 x 2,160
|
45,594 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,646 kbps
|
|
Showtime (2002)
|
|
|
|
5.75
|
1:35:19
|
1,904 x 1,080
|
8,405 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Shrek (2001)
|
|
|
|
|
7.27
|
1:30:32
|
3,840 x 2,076
|
7,364 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,121 kbps
|
|
Shrek 2 (2004)
|
|
|
|
|
7.80
|
1:32:51
|
3,840 x 2,076
|
7,932 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,345 kbps
|
|
Shrek Forever After (2010)
|
|
|
|
3.95
|
1:33:11
|
1,920 x 816
|
3,341 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,733 kbps
|
|
Shrek the Halls (2007)
|
|
|
|
0.93
|
28:01
|
1,888 x 1,080
|
2,597 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,156 kbps
|
|
Shrek the Third (2007)
|
|
|
|
|
6.13
|
1:33:07
|
3,840 x 2,076
|
5,167 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,345 kbps
|
|
Shrek: The Ghost of Lord Farquaad (2003)
|
|
|
|
0.79
|
12:33
|
1,920 x 864
|
5,153 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,814 kbps
|
|
Shrek: Thriller Night (2011)
|
|
|
|
0.34
|
06:10
|
1,888 x 1,080
|
3,701 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,133 kbps
|
|
Shrink (2009)
|
|
|
|
3.20
|
1:44:43
|
1,920 x 1,080
|
3,304 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,073 kbps
|
|
Shrooms (2007)
|
|
|
|
3.95
|
1:27:36
|
1,920 x 808
|
3,448 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,013 kbps
|
|
Shut In (2016)
|
|
|
|
2.65
|
1:31:01
|
1,920 x 804
|
1,385 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,787 kbps
|
|
Shut In (2022)
|
|
|
|
1.51
|
1:29:05
|
1,920 x 804
|
1,548 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
875 kbps
|
|
Shutter Island (2010)
|
|
|
|
|
|
22.68
|
2:18:05
|
3,840 x 1,632
|
19,922 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,586 kbps
|
|
Siberia (2021)
|
|
|
|
2.49
|
1:31:13
|
1,920 x 804
|
1,826 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,081 kbps
|
|
Sicario (2015)
|
|
|
|
|
5.83
|
2:01:20
|
3,840 x 1,600
|
4,548 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,326 kbps
|
|
Sicario: Day of the Soldado (2018)
|
|
|
|
|
|
9.23
|
2:02:24
|
3,840 x 1,600
|
9,291 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,500 kbps
|
|
Side Effects (2013)
|
|
|
|
3.72
|
1:46:22
|
1,920 x 1,040
|
1,998 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,013 kbps
|
|
Sidekicks (1992)
|
|
|
|
|
67.32
|
1:41:15
|
3,840 x 2,076
|
93,711 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,468 kbps
|
|
Sideways (2004)
|
|
|
|
9.94
|
2:07:01
|
1,920 x 1,036
|
8,219 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,987 kbps
|
|
Signs (2002)
|
|
|
|
3.28
|
1:46:31
|
1,920 x 1,036
|
3,091 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,320 kbps
|
|
Silent Hill (2006)
|
|
|
|
8.48
|
2:05:32
|
1,920 x 816
|
8,206 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,460 kbps
|
|
Silent Hill: Revelation (2012)
|
|
|
|
4.19
|
1:34:47
|
1,920 x 800
|
3,059 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,264 kbps
|
|
Silent Hours (2021)
|
|
|
|
2.75
|
2:42:31
|
1,920 x 812
|
2,036 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Silent House (2011)
|
|
|
|
2.63
|
1:25:53
|
1,920 x 1,040
|
1,425 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
Silent Movie (1976)
|
|
|
|
8.79
|
1:27:22
|
1,920 x 1,040
|
10,986 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,424 kbps
|
|
Silent Night (2021)
|
|
|
|
|
2.53
|
1:30:29
|
3,840 x 1,604
|
3,131 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
869 kbps
|
|
Silent Night (2023)
|
|
|
|
|
9.08
|
1:44:04
|
3,840 x 1,904
|
9,599 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,884 kbps
|
|
Silent Running (1972)
|
|
|
|
|
66.21
|
1:29:32
|
3,840 x 2,076
|
105,195 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,345 kbps
|
|
Silk Road (2021)
|
|
|
|
3.59
|
1:56:45
|
1,920 x 800
|
3,288 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,110 kbps
|
|
Silkwood (1983)
|
|
|
|
6.34
|
2:11:17
|
1,920 x 1,040
|
6,608 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
307 kbps
|
|
Silver and the Book of Dreams (2023)
|
|
|
|
|
|
4.70
|
1:33:22
|
3,840 x 1,600
|
6,566 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Silver Linings Playbook (2012)
|
|
|
|
5.91
|
2:02:05
|
1,920 x 800
|
4,394 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,534 kbps
|
|
Silver Streak (1976)
|
|
|
|
12.32
|
1:53:37
|
1,920 x 1,040
|
12,451 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,072 kbps
|
|
Simon Birch (1998)
|
|
|
|
3.96
|
1:54:10
|
1,904 x 1,080
|
4,319 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Simulant (2023)
|
|
|
|
3.20
|
1:36:00
|
1,920 x 800
|
1,892 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,881 kbps
|
|
Sin City (2005)
|
|
|
|
|
10.16
|
2:21:45
|
1,920 x 1,040
|
6,573 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,685 kbps
|
|
Sin City: A Dame to Kill For (2014)
|
|
|
|
|
5.47
|
1:42:08
|
1,920 x 1,036
|
4,104 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,567 kbps
|
|
Singapore Sling (1990)
|
|
|
|
|
9.50
|
1:51:44
|
1,480 x 1,080
|
11,414 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
757 kbps
|
|
Singin' in the Rain (1952)
|
|
|
|
|
12.87
|
1:42:47
|
2,960 x 2,160
|
15,284 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,641 kbps
|
|
Single White Female (1992)
|
|
|
|
6.27
|
1:47:57
|
1,920 x 1,036
|
7,813 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
494 kbps
|
|
Singularity (2017)
|
|
|
|
3.80
|
1:32:28
|
1,920 x 804
|
2,525 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,364 kbps
|
|
Sioux City (1994)
|
|
|
|
2.70
|
1:42:13
|
1,920 x 1,076
|
3,554 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Sirens (1994)
|
|
|
|
6.37
|
1:34:04
|
1,920 x 1,032
|
9,054 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
642 kbps
|
|
Sissy (2022)
|
|
|
|
3.63
|
1:41:44
|
1,920 x 800
|
3,569 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,533 kbps
|
|
Sister Act (1992)
|
|
|
|
10.53
|
1:40:10
|
1,920 x 1,040
|
11,997 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,044 kbps
|
|
Sister Act 2: Back in the Habit (1993)
|
|
|
|
9.51
|
1:47:04
|
1,920 x 1,036
|
9,339 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,374 kbps
|
|
Sister of the Groom (2020)
|
|
|
|
3.73
|
1:32:12
|
1,920 x 1,034
|
4,621 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,176 kbps
|
|
Sister, Sister (1987)
|
|
|
|
6.49
|
1:29:53
|
1,920 x 804
|
8,817 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,524 kbps
|
|
Sisters (2015)
|
|
|
|
|
5.59
|
2:02:24
|
1,920 x 800
|
3,526 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,007 kbps
|
|
Six Days, Seven Nights (1998)
|
|
|
|
2.90
|
1:41:55
|
1,920 x 800
|
3,621 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Six Degrees of Separation (1993)
|
|
|
|
5.70
|
1:51:53
|
1,920 x 822
|
6,103 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,188 kbps
|
|
Six Minutes to Midnight (2021)
|
|
|
|
3.37
|
1:39:22
|
1,920 x 804
|
1,893 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,955 kbps
|
|
Sixteen Candles (1984)
|
|
|
|
18.47
|
1:34:02
|
1,920 x 1,036
|
25,546 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,567 kbps
|
|
Sk8 Dawg (2018)
|
|
|
|
3.56
|
1:30:16
|
1,920 x 1,068
|
5,267 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Sketch Artist (1992)
|
|
|
|
4.70
|
1:29:13
|
1,912 x 1,080
|
7,316 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Ski Patrol (1990)
|
|
|
|
7.95
|
1:32:03
|
1,920 x 1,040
|
10,822 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,536 kbps
|
|
Skin Deep (1989)
|
|
|
|
4.47
|
1:41:20
|
1,920 x 800
|
4,943 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,375 kbps
|
|
Skin in the Game (2019)
|
|
|
|
1.38
|
1:30:11
|
1,920 x 804
|
1,807 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Skinwalker Ranch (2013)
|
|
|
|
2.71
|
1:20:50
|
1,920 x 1,080
|
3,822 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
977 kbps
|
|
Skipping Stones (2020)
|
|
|
|
1.54
|
1:59:55
|
1,920 x 1,012
|
1,650 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Skiptrace (2016)
|
|
|
|
6.19
|
1:47:42
|
1,920 x 800
|
4,654 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,577 kbps
|
|
Sky High (2005)
|
|
|
|
3.65
|
1:39:29
|
1,920 x 800
|
3,777 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,476 kbps
|
|
Sky Sharks (2021)
|
|
|
|
5.36
|
1:42:36
|
1,920 x 804
|
2,915 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,558 kbps
|
|
Skyfall (2012)
|
|
|
|
|
|
7.86
|
2:23:10
|
3,840 x 1,600
|
4,624 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,231 kbps
|
|
Skyline (2010)
|
|
|
|
|
12.52
|
1:33:42
|
3,840 x 1,600
|
15,662 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,457 kbps
|
|
Skylines (2020)
|
|
|
|
2.83
|
1:53:20
|
1,920 x 800
|
2,229 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,345 kbps
|
|
Skyscraper (2018)
|
|
|
|
|
|
11.03
|
1:42:24
|
3,840 x 1,600
|
13,844 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,574 kbps
|
|
Slam Dunk Ernest (1995)
|
|
|
|
0.79
|
1:32:55
|
720 x 480
|
1,082 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Slappy and the Stinkers (1998)
|
|
|
|
4.77
|
1:18:28
|
1,920 x 1,080
|
8,057 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Slash (2016)
|
|
|
|
2.16
|
1:40:37
|
1,920 x 800
|
2,432 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Slash/Back (2022)
|
|
|
|
3.00
|
1:27:04
|
1,920 x 940
|
1,954 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,978 kbps
|
|
Slaughter High (1986)
|
|
|
|
6.67
|
1:30:26
|
1,920 x 1,036
|
9,899 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
663 kbps
|
|
Slaughterhouse Rulez (2019)
|
|
|
|
2.47
|
1:43:42
|
1,920 x 802
|
2,226 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,178 kbps
|
|
Slave Girls from Beyond Infinity (1987)
|
|
|
|
6.79
|
1:14:21
|
1,920 x 1,080
|
12,496 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
578 kbps
|
|
Slave of the Cannibal God (1979)
|
|
|
|
4.60
|
1:42:32
|
1,920 x 816
|
5,669 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
751 kbps
|
|
Slaxx (2020)
|
|
|
|
1.07
|
1:16:20
|
1,920 x 800
|
919 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,095 kbps
|
|
Slay Belles (2018)
|
|
|
|
3.51
|
1:17:14
|
1,920 x 1,080
|
6,051 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
SLC Punk! (1998)
|
|
|
|
|
19.78
|
1:37:53
|
3,840 x 1,608
|
27,485 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,434 kbps
|
|
Sleepaway Camp (1983)
|
|
|
|
8.91
|
1:24:50
|
1,920 x 1,080
|
14,424 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
611 kbps
|
|
Sleepaway Camp II: Unhappy Campers (1988)
|
|
|
|
4.48
|
1:20:07
|
1,920 x 1,040
|
7,333 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
Sleepaway Camp III: Teenage Wasteland (1989)
|
|
|
|
5.29
|
1:19:27
|
1,920 x 1,040
|
9,228 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
301 kbps
|
|
Sleeper (1973)
|
|
|
|
10.56
|
1:27:24
|
1,920 x 1,040
|
16,664 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
635 kbps
|
|
Sleepers (1996)
|
|
|
|
5.53
|
2:27:10
|
1,920 x 816
|
2,121 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,260 kbps
|
|
Sleeping Beauty (2011)
|
|
|
|
|
5.74
|
1:41:53
|
1,920 x 1,038
|
5,663 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,397 kbps
|
|
Sleeping with Other People (2015)
|
|
|
|
2.24
|
1:41:16
|
1,920 x 800
|
2,078 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,094 kbps
|
|
Sleeping with the Enemy (1991)
|
|
|
|
4.72
|
1:37:38
|
1,920 x 1,040
|
4,162 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,733 kbps
|
|
Sleepless (2017)
|
|
|
|
3.78
|
1:35:13
|
1,920 x 800
|
2,284 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,397 kbps
|
|
Sleepless in Seattle (1993)
|
|
|
|
|
32.42
|
1:45:07
|
3,840 x 2,076
|
41,501 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,657 kbps
|
|
Sleepwalkers (1992)
|
|
|
|
5.81
|
1:29:12
|
1,920 x 1,040
|
7,979 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,341 kbps
|
|
Sleepwalking (2008)
|
|
|
|
6.08
|
1:41:02
|
1,920 x 1,080
|
5,612 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,997 kbps
|
|
Sleepy Hollow (1999)
|
|
|
|
|
13.54
|
1:45:31
|
3,840 x 2,076
|
14,580 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Sleuth (1972)
|
|
|
|
4.07
|
2:18:13
|
1,920 x 1,080
|
3,967 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
247 kbps
|
|
Sleuth (2007)
|
|
|
|
2.68
|
1:28:41
|
1,920 x 816
|
3,154 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,164 kbps
|
|
Sliding Doors (1998)
|
|
|
|
6.74
|
1:38:46
|
1,912 x 1,080
|
8,780 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
987 kbps
|
|
Sling Blade (1997)
|
|
|
|
|
8.39
|
2:27:48
|
1,920 x 1,040
|
6,822 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,300 kbps
|
|
Slipstream (2005)
|
|
|
|
11.49
|
1:26:34
|
1,920 x 1,080
|
17,566 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,436 kbps
|
|
Slipstream (2007)
|
|
|
|
4.13
|
1:36:09
|
1,920 x 800
|
5,699 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Slither (2006)
|
|
|
|
6.76
|
1:35:42
|
1,920 x 1,040
|
8,556 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,561 kbps
|
|
Sliver (1993)
|
|
|
|
4.12
|
1:46:30
|
1,920 x 916
|
5,028 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
502 kbps
|
|
Slow Machine (2021)
|
|
|
|
4.65
|
1:11:14
|
1,920 x 1,036
|
9,192 kbps
|
|
2.0
|
|
48 kHz
|
154 kbps
|
|
Slumber Party Massacre (2021)
|
|
|
|
2.43
|
1:26:31
|
1,920 x 1,080
|
2,853 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,166 kbps
|
|
Slumber Party Massacre II (1987)
|
|
|
|
|
18.70
|
1:15:55
|
3,840 x 2,072
|
34,561 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
705 kbps
|
|
Slumber Party Massacre III (1990)
|
|
|
|
4.69
|
1:15:45
|
1,920 x 1,036
|
8,219 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
647 kbps
|
|
Slumberland (2022)
|
|
|
|
|
|
7.93
|
1:57:11
|
3,840 x 1,916
|
8,897 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Slumdog Millionaire (2008)
|
|
|
|
|
|
9.52
|
2:00:08
|
1,920 x 798
|
7,815 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,522 kbps
|
|
Slums of Beverly Hills (1998)
|
|
|
|
5.72
|
1:31:06
|
1,920 x 1,040
|
8,412 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
570 kbps
|
|
Small Apartments (2012)
|
|
|
|
|
4.04
|
1:32:09
|
1,920 x 1,040
|
4,145 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,137 kbps
|
|
Small Soldiers (1998)
|
|
|
|
3.90
|
1:49:48
|
1,920 x 816
|
3,792 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,295 kbps
|
|
Small Time (2020)
|
|
|
|
1.87
|
1:44:17
|
1,920 x 792
|
1,922 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Small Town Crime (2018)
|
|
|
|
3.86
|
1:32:07
|
1,920 x 804
|
3,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,966 kbps
|
|
Smart People (2008)
|
|
|
|
5.45
|
1:34:51
|
1,920 x 800
|
5,519 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,710 kbps
|
|
Smash Palace (1981)
|
|
|
|
6.30
|
1:47:12
|
1,920 x 1,040
|
4,491 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,915 kbps
|
|
Smashed (2012)
|
|
|
|
2.05
|
1:21:07
|
1,920 x 1,036
|
2,447 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,162 kbps
|
|
Smile (2022)
|
|
|
|
|
|
7.67
|
1:55:38
|
3,840 x 1,916
|
7,377 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,110 kbps
|
|
Smoke (1995)
|
|
|
|
6.54
|
1:52:19
|
1,920 x 1,040
|
7,766 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
567 kbps
|
|
Smokey and the Bandit (1977)
|
|
|
|
|
36.98
|
1:35:51
|
3,840 x 2,076
|
53,832 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,395 kbps
|
|
Smokin' Aces (2006)
|
|
|
|
|
12.88
|
1:48:46
|
3,840 x 1,632
|
15,076 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,868 kbps
|
|
Smokin' Aces 2: Assassins' Ball (2010)
|
|
|
|
8.23
|
1:28:02
|
1,920 x 1,080
|
10,046 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,331 kbps
|
|
Smooth Talk (1985)
|
|
|
|
8.77
|
1:31:49
|
1,920 x 1,036
|
12,990 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
684 kbps
|
|
Smurfs: The Lost Village (2017)
|
|
|
|
|
6.06
|
1:29:46
|
3,840 x 2,076
|
6,383 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,282 kbps
|
|
Snake Eyes (1998)
|
|
|
|
6.01
|
1:38:17
|
1,920 x 800
|
5,086 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,659 kbps
|
|
Snake Eyes: G.I. Joe Origins
|
|
|
|
|
7.63
|
2:01:25
|
3,840 x 1,608
|
6,301 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,686 kbps
|
|
Snakehead (2021)
|
|
|
|
|
9.39
|
1:36:45
|
3,840 x 1,592
|
13,505 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Snakes on a Plane (2006)
|
|
|
|
|
5.06
|
1:45:38
|
1,920 x 816
|
5,212 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,645 kbps
|
|
Snapdragon (1993)
|
|
|
|
2.68
|
1:38:44
|
1,920 x 1,072
|
3,293 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
598 kbps
|
|
Snapshot (1979)
|
|
|
|
6.69
|
1:32:41
|
1,920 x 792
|
8,971 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,354 kbps
|
|
Snatch (2001)
|
|
|
|
|
21.32
|
1:42:43
|
3,840 x 2,076
|
26,646 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,064 kbps
|
|
Snatched (2017)
|
|
|
|
|
9.58
|
1:30:31
|
3,840 x 1,600
|
11,009 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,133 kbps
|
|
Sneakers (1992)
|
|
|
|
7.82
|
2:05:19
|
1,920 x 1,040
|
5,473 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,453 kbps
|
|
Snitch (2013)
|
|
|
|
|
4.94
|
1:52:20
|
3,840 x 1,600
|
4,143 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,145 kbps
|
|
Snoopy Come Home (1972)
|
|
|
|
9.39
|
1:20:37
|
1,424 x 1,080
|
15,306 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,377 kbps
|
|
Snoopy Presents: For Auld Lang Syne (2021)
|
|
|
|
|
1.12
|
38:26
|
3,840 x 1,920
|
3,405 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Snoopy Presents: It's the Small Things, Charlie Brown (2022)
|
|
|
|
|
1.22
|
38:27
|
3,840 x 1,920
|
3,763 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Snoopy Presents: Lucy's School (2022)
|
|
|
|
|
1.20
|
38:09
|
3,840 x 1,920
|
3,725 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Snoopy Presents: One-of-a-Kind Marcie (2023)
|
|
|
|
|
1.33
|
39:04
|
3,840 x 1,920
|
4,096 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Snoopy Presents: To Mom (and Dad), with Love (2022)
|
|
|
|
|
1.03
|
38:05
|
3,840 x 1,920
|
3,113 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Snoopy's Getting Married, Charlie Brown (1985)
|
|
|
|
3.22
|
24:21
|
2,880 x 2,160
|
18,556 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Snoopy's Reunion (1991)
|
|
|
|
|
1.95
|
23:13
|
2,880 x 2,160
|
11,665 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Snow Angels (2008)
|
|
|
|
3.47
|
1:47:10
|
1,920 x 792
|
3,995 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Snow Day (2000)
|
|
|
|
3.59
|
1:29:07
|
1,904 x 1,080
|
5,123 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Snow White and the Huntsman (2012)
|
|
|
|
|
12.81
|
2:11:28
|
3,840 x 1,632
|
11,618 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,326 kbps
|
|
Snow White and the Seven Dwarfs (1937)
|
|
|
|
|
12.07
|
1:23:10
|
2,960 x 2,160
|
17,777 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
Snowden (2016)
|
|
|
|
6.94
|
2:14:49
|
1,920 x 800
|
4,520 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,848 kbps
|
|
Snowpiercer (2014)
|
|
|
|
8.73
|
2:05:52
|
1,920 x 1,036
|
6,554 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,373 kbps
|
|
So I Married an Axe Murderer (1993)
|
|
|
|
|
25.62
|
1:33:24
|
3,840 x 2,076
|
36,530 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,941 kbps
|
|
Soapdish (1991)
|
|
|
|
15.70
|
1:36:27
|
1,904 x 1,080
|
19,990 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,313 kbps
|
|
Society (1989)
|
|
|
|
6.98
|
1:39:11
|
1,920 x 1,080
|
8,699 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,370 kbps
|
|
Solace (2016)
|
|
|
|
3.85
|
1:41:12
|
1,920 x 796
|
2,239 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,199 kbps
|
|
Solar Impact (2019)
|
|
|
|
2.29
|
1:26:38
|
1,916 x 1,080
|
3,399 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Solarbabies (1986)
|
|
|
|
6.61
|
1:34:22
|
1,920 x 820
|
9,592 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
433 kbps
|
|
Solaris (2002)
|
|
|
|
4.29
|
1:38:43
|
1,920 x 820
|
5,042 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,184 kbps
|
|
Soldier (1998)
|
|
|
|
5.78
|
1:38:37
|
1,920 x 800
|
4,553 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,836 kbps
|
|
Solitary (2020)
|
|
|
|
1.36
|
1:29:28
|
1,920 x 804
|
1,092 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,085 kbps
|
|
Solo: A Star Wars Story (2018)
|
|
|
|
|
|
5.92
|
2:14:46
|
3,840 x 1,608
|
4,515 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,766 kbps
|
|
Solstice (2008)
|
|
|
|
3.31
|
1:30:45
|
1,920 x 816
|
4,007 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,208 kbps
|
|
Solum (2019)
|
|
|
|
3.52
|
1:36:34
|
1,920 x 800
|
4,577 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Some Came Running (1958)
|
|
|
|
5.43
|
2:15:56
|
1,920 x 816
|
5,126 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
595 kbps
|
|
Some Girls (1988)
|
|
|
|
3.68
|
1:33:33
|
1,920 x 1,040
|
5,403 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Some Girls Do (1969)
|
|
|
|
5.73
|
1:31:28
|
1,792 x 1,080
|
8,665 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
306 kbps
|
|
Some Kind of Hero (1982)
|
|
|
|
5.95
|
1:37:11
|
1,916 x 1,080
|
8,081 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
684 kbps
|
|
Some Kind of Wonderful (1987)
|
|
|
|
12.77
|
1:34:39
|
1,920 x 1,080
|
16,225 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,096 kbps
|
|
Some Like It Hot (1959)
|
|
|
|
|
55.55
|
2:01:36
|
3,840 x 2,076
|
61,932 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,462 kbps
|
|
Some Velvet Morning (2013)
|
|
|
|
1.57
|
1:23:30
|
1,920 x 1,072
|
2,305 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Somebody I Used to Know (2023)
|
|
|
|
|
5.50
|
1:45:58
|
3,840 x 1,920
|
6,788 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Someday You'll Find Her, Charlie Brown (1981)
|
|
|
|
3.69
|
24:18
|
2,880 x 2,160
|
21,336 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Someone to Watch Over Me (1987)
|
|
|
|
4.38
|
1:46:28
|
1,920 x 1,036
|
5,410 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
475 kbps
|
|
Someone's Watching Me! (1978)
|
|
|
|
4.10
|
1:37:10
|
1,440 x 1,080
|
5,763 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
271 kbps
|
|
Something for Everyone (1970)
|
|
|
|
15.40
|
1:52:58
|
1,920 x 1,080
|
19,293 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
217 kbps
|
|
Something from Tiffany's (2022)
|
|
|
|
|
7.46
|
1:27:43
|
3,840 x 1,600
|
11,590 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Something in the Dirt (2022)
|
|
|
|
|
3.47
|
1:55:32
|
1,920 x 800
|
3,296 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,009 kbps
|
|
Something Wild (1986)
|
|
|
|
8.98
|
1:53:47
|
1,920 x 1,080
|
10,017 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,275 kbps
|
|
Sometime Other Than Now (2021)
|
|
|
|
1.48
|
1:29:52
|
1,920 x 792
|
1,969 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Somewhere (2011)
|
|
|
|
6.16
|
1:37:55
|
1,920 x 1,040
|
6,056 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,946 kbps
|
|
Somewhere in Queens (2022)
|
|
|
|
30.60
|
1:46:32
|
3,840 x 1,920
|
40,477 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Somewhere in Time (1980)
|
|
|
|
6.47
|
1:43:31
|
1,920 x 1,040
|
7,652 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,290 kbps
|
|
Son (2021)
|
|
|
|
|
3.42
|
1:37:58
|
3,840 x 1,608
|
4,138 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
853 kbps
|
|
Son in Law (1993)
|
|
|
|
|
4.26
|
1:35:16
|
1,920 x 1,036
|
6,179 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Son of a Gun (2014)
|
|
|
|
2.90
|
1:48:57
|
1,920 x 792
|
2,519 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,295 kbps
|
|
Son of Batman (2014)
|
|
|
|
2.39
|
1:14:09
|
1,920 x 1,076
|
1,262 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,345 kbps
|
|
Son of Flubber (1963)
|
|
|
|
18.95
|
1:42:35
|
1,788 x 1,080
|
26,127 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Son of God (2014)
|
|
|
|
9.19
|
2:18:13
|
1,920 x 802
|
6,385 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,130 kbps
|
|
Son of Godzilla (1967)
|
|
|
|
5.03
|
1:25:53
|
1,920 x 808
|
7,751 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
640 kbps
|
|
Son of the Mask (2005)
|
|
|
|
7.62
|
1:36:10
|
1,920 x 1,076
|
9,973 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,369 kbps
|
|
Son of the South (2021)
|
|
|
|
2.63
|
1:45:38
|
1,920 x 800
|
2,387 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,179 kbps
|
|
Song of the South (1946)
|
|
|
|
5.34
|
1:33:50
|
1,436 x 1,080
|
7,487 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
657 kbps
|
|
Songbird (2020)
|
|
|
|
|
6.62
|
1:24:56
|
3,840 x 1,608
|
8,238 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,913 kbps
|
|
Sonic the Hedgehog (2020)
|
|
|
|
|
|
5.36
|
1:38:53
|
3,840 x 1,608
|
4,856 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,900 kbps
|
|
Sonic the Hedgehog 2 (2022)
|
|
|
|
|
|
9.63
|
2:02:19
|
3,840 x 1,608
|
8,131 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,133 kbps
|
|
Sons of the Desert (1933)
|
|
|
|
5.26
|
1:05:14
|
1,418 x 1,080
|
11,308 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
234 kbps
|
|
Sorority House Massacre (1986)
|
|
|
|
2.98
|
1:14:04
|
1,904 x 1,080
|
5,276 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
492 kbps
|
|
Soul Man (1986)
|
|
|
|
|
4.07
|
1:45:12
|
1,920 x 1,080
|
5,313 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Soul Plane (2004)
|
|
|
|
5.25
|
1:32:01
|
1,920 x 1,036
|
4,623 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,550 kbps
|
|
Soul Surfer (2011)
|
|
|
|
7.48
|
1:45:55
|
1,920 x 800
|
6,760 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,352 kbps
|
|
Sound of Freedom (2023)
|
|
|
|
|
3.48
|
2:11:02
|
1,920 x 800
|
3,353 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Sound of My Voice (2012)
|
|
|
|
2.10
|
1:25:17
|
1,920 x 1,040
|
2,312 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,211 kbps
|
|
Source Code (2011)
|
|
|
|
|
|
15.00
|
1:33:13
|
3,840 x 2,076
|
20,405 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,632 kbps
|
|
South of Heaven (2021)
|
|
|
|
4.09
|
1:59:45
|
1,920 x 804
|
2,383 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,510 kbps
|
|
South Park: Bigger, Longer & Uncut (1999)
|
|
|
|
|
4.49
|
1:21:16
|
1,920 x 1,080
|
4,587 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,317 kbps
|
|
Southern Comfort (1981)
|
|
|
|
|
59.47
|
1:46:01
|
3,840 x 2,076
|
78,866 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,446 kbps
|
|
Southland Tales (2007)
|
|
|
|
7.33
|
2:38:31
|
1,920 x 816
|
3,047 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,573 kbps
|
|
Souvenirs (2020)
|
|
|
|
1.18
|
1:24:09
|
1,920 x 800
|
1,626 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Soylent Green (1973)
|
|
|
|
|
4.70
|
1:36:49
|
1,920 x 800
|
6,304 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
648 kbps
|
|
Space Camp (1986)
|
|
|
|
|
6.83
|
1:47:48
|
1,920 x 1,080
|
8,497 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
573 kbps
|
|
Space Cowboys (2000)
|
|
|
|
5.56
|
2:10:27
|
1,920 x 792
|
5,456 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Space Jam (1996)
|
|
|
|
|
8.04
|
1:27:19
|
3,840 x 2,076
|
11,129 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
2,042 kbps
|
|
Space Jam: A New Legacy (2021)
|
|
|
|
|
9.99
|
1:55:31
|
3,840 x 2,076
|
10,645 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,729 kbps
|
|
Space Raiders (1983)
|
|
|
|
3.85
|
1:23:18
|
1,904 x 1,080
|
6,207 kbps
|
|
1.0
|
|
21 bits / 48 kHz
|
414 kbps
|
|
Space Station (2002)
|
|
|
|
|
16.81
|
47:11
|
3,840 x 2,160
|
47,517 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,480 kbps
|
|
Space Truckers (1996)
|
|
|
|
6.01
|
1:36:22
|
1,920 x 816
|
8,353 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
574 kbps
|
|
Spaceballs (1987)
|
|
|
|
|
29.12
|
1:36:13
|
3,840 x 2,076
|
40,101 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,226 kbps
|
|
Spaced Invaders (1990)
|
|
|
|
8.24
|
1:40:19
|
1,920 x 1,048
|
11,508 kbps
|
|
2.0
|
|
48 kHz
|
256 kbps
|
|
Spacehunter: Adventures in the Forbidden Zone (1983)
|
|
|
|
7.18
|
1:29:51
|
1,912 x 1,080
|
10,911 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
527 kbps
|
|
Spaceman (2016)
|
|
|
|
1.95
|
1:30:17
|
1,920 x 836
|
2,713 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Spaghettiman (2016)
|
|
|
|
2.65
|
1:25:08
|
1,920 x 808
|
2,202 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,259 kbps
|
|
Spanglish (2004)
|
|
|
|
9.49
|
2:11:07
|
1,920 x 1,036
|
9,274 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,086 kbps
|
|
Spare Parts (2021)
|
|
|
|
3.11
|
1:31:10
|
1,920 x 804
|
1,910 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,979 kbps
|
|
Spare Room (2018)
|
|
|
|
4.67
|
1:36:49
|
1,920 x 800
|
4,149 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,755 kbps
|
|
Sparrows Dance (2013)
|
|
|
|
1.02
|
1:21:04
|
1,920 x 1,068
|
1,416 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Spartacus (1960)
|
|
|
|
|
31.11
|
3:16:38
|
3,840 x 1,744
|
18,405 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,241 kbps
|
|
Speak (2004)
|
|
|
|
5.46
|
1:32:36
|
1,920 x 1,080
|
6,842 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,602 kbps
|
|
Special Correspondents (2016)
|
|
|
|
11.47
|
1:40:34
|
3,840 x 2,076
|
15,942 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Species (1995)
|
|
|
|
|
34.56
|
1:48:21
|
3,840 x 1,604
|
42,120 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,541 kbps
|
|
Species II (1998)
|
|
|
|
8.78
|
1:33:03
|
1,920 x 1,024
|
9,561 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,952 kbps
|
|
Species III (2005)
|
|
|
|
19.41
|
1:51:53
|
1,904 x 1,080
|
21,213 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,621 kbps
|
|
Species: The Awakening (2007)
|
|
|
|
13.07
|
1:37:59
|
1,920 x 1,076
|
15,503 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,593 kbps
|
|
Spectre (2015)
|
|
|
|
|
|
|
18.26
|
2:28:08
|
3,840 x 1,600
|
13,599 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,044 kbps
|
|
Speed (1994)
|
|
|
|
|
|
30.48
|
1:55:54
|
3,840 x 1,604
|
34,387 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,257 kbps
|
|
Speed 2: Cruise Control (1997)
|
|
|
|
|
7.74
|
2:05:10
|
1,920 x 798
|
5,153 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,692 kbps
|
|
Speed Racer (2008)
|
|
|
|
5.55
|
2:15:00
|
1,920 x 812
|
5,247 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Speed Zone (1989)
|
|
|
|
1.03
|
1:35:01
|
720 x 480
|
1,165 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Spellbinder (1988)
|
|
|
|
4.47
|
1:39:07
|
1,920 x 1,040
|
5,130 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,323 kbps
|
|
Spencer (2021)
|
|
|
|
|
7.02
|
1:56:44
|
3,600 x 2,160
|
8,218 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Spenser Confidential (2020)
|
|
|
|
|
|
5.29
|
1:50:06
|
3,840 x 1,920
|
6,091 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Sphere (1998)
|
|
|
|
|
3.65
|
2:14:13
|
1,920 x 800
|
2,448 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,440 kbps
|
|
Spice World (1998)
|
|
|
|
4.97
|
1:32:51
|
1,920 x 1,080
|
7,020 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Spider in the Web (2019)
|
|
|
|
1.90
|
1:53:56
|
1,920 x 804
|
1,407 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
979 kbps
|
|
Spider-Man (2002)
|
|
|
|
|
|
36.86
|
2:01:12
|
3,840 x 2,076
|
40,068 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,467 kbps
|
|
Spider-Man 2 (2004)
|
|
|
|
|
|
25.27
|
2:07:28
|
3,840 x 1,604
|
25,480 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,896 kbps
|
|
Spider-Man 3 (2007)
|
|
|
|
|
|
25.21
|
2:19:10
|
3,840 x 1,604
|
23,049 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,875 kbps
|
|
Spider-Man: Across the Spider-Verse (2023)
|
|
|
|
|
|
13.07
|
2:20:06
|
3,840 x 1,604
|
10,735 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,617 kbps
|
|
Spider-Man: Far from Home (2019)
|
|
|
|
|
|
6.78
|
2:09:24
|
3,840 x 1,604
|
5,776 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,720 kbps
|
|
Spider-Man: Homecoming (2017)
|
|
|
|
|
|
13.38
|
2:13:28
|
3,840 x 1,604
|
11,422 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,925 kbps
|
|
Spider-Man: Into the Spider-Verse (2018)
|
|
|
|
|
10.25
|
1:56:50
|
3,840 x 1,608
|
10,820 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,731 kbps
|
|
Spider-Man: No Way Home (2021)
|
|
|
|
|
|
6.97
|
2:28:10
|
3,840 x 1,608
|
4,270 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,462 kbps
|
|
Spiderhead (2022)
|
|
|
|
|
2.88
|
1:45:49
|
3,840 x 1,608
|
3,116 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Spies in Disguise (2019)
|
|
|
|
|
|
4.74
|
1:41:51
|
3,840 x 1,600
|
4,074 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,580 kbps
|
|
Spies Like Us (1985)
|
|
|
|
6.58
|
1:42:08
|
1,920 x 1,080
|
8,563 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
661 kbps
|
|
Spin Me Round (2022)
|
|
|
|
6.04
|
1:44:02
|
1,920 x 1,028
|
5,129 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,182 kbps
|
|
Spinning Man (2018)
|
|
|
|
3.32
|
1:40:36
|
1,920 x 804
|
2,131 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,590 kbps
|
|
Spiral: From the Book of Saw (2021)
|
|
|
|
|
7.40
|
1:33:08
|
3,840 x 1,604
|
8,532 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,834 kbps
|
|
Splash (1984)
|
|
|
|
|
20.96
|
1:49:44
|
3,840 x 2,076
|
24,416 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,929 kbps
|
|
Splinter (2009)
|
|
|
|
3.46
|
1:22:03
|
1,920 x 816
|
2,740 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,304 kbps
|
|
Split (2017)
|
|
|
|
|
|
12.15
|
1:57:08
|
3,840 x 1,606
|
12,098 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,745 kbps
|
|
Split Second (1992)
|
|
|
|
5.33
|
1:30:47
|
1,920 x 1,036
|
7,708 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
695 kbps
|
|
Splitting Heirs (1993)
|
|
|
|
5.81
|
1:27:21
|
1,920 x 1,040
|
8,155 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,360 kbps
|
|
Spontaneous (2020)
|
|
|
|
3.32
|
1:41:42
|
1,920 x 804
|
2,098 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,567 kbps
|
|
Spontaneous Combustion (1990)
|
|
|
|
8.33
|
1:36:51
|
1,920 x 1,076
|
11,933 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
Spookies (1986)
|
|
|
|
7.59
|
1:25:23
|
1,920 x 1,036
|
11,204 kbps
|
|
2.0
|
|
24 bits / 96 kHz
|
1,525 kbps
|
|
Spotlight (2015)
|
|
|
|
7.99
|
2:09:08
|
1,920 x 1,036
|
6,208 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,650 kbps
|
|
Spotlight on Christmas (2020)
|
|
|
|
2.19
|
1:24:55
|
1,920 x 1,080
|
3,464 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Spread (2009)
|
|
|
|
8.15
|
1:37:16
|
1,920 x 800
|
7,333 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,661 kbps
|
|
Spree (2020)
|
|
|
|
13.06
|
1:32:33
|
3,840 x 2,160
|
18,739 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,460 kbps
|
|
Spring (2015)
|
|
|
|
3.99
|
1:49:45
|
1,920 x 796
|
2,337 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,865 kbps
|
|
Spring Breakdown (2009)
|
|
|
|
5.52
|
1:23:44
|
1,916 x 1,080
|
8,787 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Spring Breakers (2012)
|
|
|
|
|
6.38
|
1:33:58
|
1,920 x 800
|
6,568 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,155 kbps
|
|
Spun (2002)
|
|
|
|
16.39
|
1:41:12
|
1,912 x 1,080
|
20,136 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,053 kbps
|
|
Spy (2015)
|
|
|
|
|
|
7.22
|
2:10:23
|
1,920 x 804
|
3,810 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,120 kbps
|
|
Spy Hard (1996)
|
|
|
|
2.67
|
1:20:53
|
1,920 x 1,036
|
4,508 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Spy Kids (2001)
|
|
|
|
4.21
|
1:28:03
|
1,920 x 1,040
|
5,456 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,379 kbps
|
|
St. Vincent (2014)
|
|
|
|
|
6.67
|
1:42:26
|
1,920 x 1,036
|
6,163 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,158 kbps
|
|
Stagecoach (1986)
|
|
|
|
5.81
|
1:34:44
|
1,432 x 1,080
|
7,507 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,268 kbps
|
|
Stakeout (1987)
|
|
|
|
8.50
|
1:57:18
|
1,920 x 1,036
|
9,738 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Stalked (2019)
|
|
|
|
2.33
|
1:25:26
|
1,920 x 1,076
|
3,521 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Stalker (1979)
|
|
|
|
|
11.16
|
2:41:54
|
1,472 x 1,080
|
9,207 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
663 kbps
|
|
Stan Lee (2023)
|
|
|
|
|
7.11
|
1:26:14
|
3,840 x 2,160
|
11,547 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Stand Alone (1985)
|
|
|
|
4.58
|
1:33:19
|
1,904 x 1,080
|
6,325 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
703 kbps
|
|
Stand by Me (1986)
|
|
|
|
|
23.93
|
1:28:34
|
3,840 x 2,076
|
36,958 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
1,715 kbps
|
|
Stand Up Guys (2013)
|
|
|
|
3.15
|
1:34:59
|
1,920 x 788
|
1,845 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,908 kbps
|
|
Standing Up, Falling Down (2020)
|
|
|
|
1.73
|
1:31:17
|
1,920 x 1,016
|
1,697 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,019 kbps
|
|
Standoff (2016)
|
|
|
|
2.82
|
1:26:12
|
1,920 x 804
|
1,544 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,132 kbps
|
|
Star Kid (1997)
|
|
|
|
7.40
|
1:40:52
|
1,920 x 1,080
|
9,855 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Star Trek (2009)
|
|
|
|
|
|
29.31
|
2:06:50
|
3,840 x 1,600
|
30,033 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,041 kbps
|
|
Star Trek Beyond (2016)
|
|
|
|
|
14.89
|
2:02:22
|
3,840 x 1,606
|
14,672 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,745 kbps
|
|
Star Trek II: The Wrath of Khan (1982)
|
|
|
|
|
19.21
|
1:56:32
|
3,840 x 1,604
|
22,664 kbps
|
|
7.1
|
|
14 bits / 48 kHz
|
937 kbps
|
|
Star Trek III: The Search for Spock (1984)
|
|
|
|
|
|
31.13
|
1:45:14
|
3,840 x 1,632
|
38,377 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,963 kbps
|
|
Star Trek Into Darkness (2013)
|
|
|
|
|
15.97
|
2:12:06
|
3,840 x 2,160
|
14,497 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,803 kbps
|
|
Star Trek IV: The Voyage Home (1986)
|
|
|
|
|
45.70
|
1:58:51
|
3,840 x 1,632
|
50,883 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,161 kbps
|
|
Star Trek V: The Final Frontier (1989)
|
|
|
|
|
|
11.32
|
1:46:31
|
3,840 x 1,600
|
13,587 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,621 kbps
|
|
Star Trek VI: The Undiscovered Country (1991)
|
|
|
|
|
|
10.77
|
1:53:21
|
3,840 x 1,632
|
12,086 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,508 kbps
|
|
Star Trek: First Contact (1996)
|
|
|
|
|
17.86
|
1:50:42
|
3,840 x 1,632
|
21,443 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,642 kbps
|
|
Star Trek: Generations (1994)
|
|
|
|
|
13.67
|
1:57:57
|
3,840 x 1,604
|
14,962 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,628 kbps
|
|
Star Trek: Insurrection (1998)
|
|
|
|
|
8.81
|
1:42:58
|
3,840 x 1,604
|
10,529 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,710 kbps
|
|
Star Trek: Nemesis (2002)
|
|
|
|
|
10.62
|
1:56:28
|
3,840 x 1,632
|
11,317 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,736 kbps
|
|
Star Trek: The Motion Picture (1979)
|
|
|
|
|
|
10.05
|
2:16:43
|
3,840 x 1,604
|
8,933 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,591 kbps
|
|
Star Wars: Episode I – The Phantom Menace (1999)
|
|
|
|
|
|
7.05
|
2:16:12
|
3,840 x 1,608
|
5,665 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,737 kbps
|
|
Star Wars: Episode II – Attack of the Clones (2002)
|
|
|
|
|
|
5.36
|
2:22:30
|
3,840 x 1,608
|
3,573 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,805 kbps
|
|
Star Wars: Episode III – Revenge of the Sith (2005)
|
|
|
|
|
15.19
|
2:20:08
|
3,840 x 1,608
|
13,804 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,710 kbps
|
|
Star Wars: Episode IV – A New Hope (1977)
|
|
|
|
|
|
7.76
|
2:04:45
|
3,840 x 1,608
|
7,440 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,456 kbps
|
|
Star Wars: Episode IX – The Rise of Skywalker (2019)
|
|
|
|
|
|
19.45
|
2:21:53
|
3,840 x 1,608
|
17,933 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,689 kbps
|
|
Star Wars: Episode V – The Empire Strikes Back (1980)
|
|
|
|
|
7.41
|
2:07:24
|
3,840 x 1,608
|
6,587 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,735 kbps
|
|
Star Wars: Episode VI – Return of the Jedi (1983)
|
|
|
|
|
|
11.21
|
2:14:48
|
3,840 x 1,608
|
10,182 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,717 kbps
|
|
Star Wars: Episode VII – The Force Awakens (2015)
|
|
|
|
|
13.71
|
2:18:07
|
3,840 x 1,600
|
12,700 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,511 kbps
|
|
Star Wars: Episode VIII – The Last Jedi (2017)
|
|
|
|
|
16.52
|
2:31:52
|
3,840 x 1,608
|
14,070 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,500 kbps
|
|
Stardust (1974)
|
|
|
|
9.31
|
1:51:52
|
1,920 x 1,036
|
11,254 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
661 kbps
|
|
Stardust (2007)
|
|
|
|
7.71
|
2:07:42
|
1,920 x 794
|
5,410 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,230 kbps
|
|
Stardust Memories (1980)
|
|
|
|
12.55
|
1:30:44
|
1,920 x 1,040
|
19,077 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
727 kbps
|
|
Starfish (2018)
|
|
|
|
6.77
|
1:40:33
|
1,920 x 816
|
6,851 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,784 kbps
|
|
Stargate (1994)
|
|
|
|
|
8.99
|
2:09:54
|
1,920 x 800
|
5,513 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,398 kbps
|
|
Stargate: Continuum (2008)
|
|
|
|
5.33
|
1:38:36
|
1,904 x 1,080
|
4,577 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,159 kbps
|
|
Stark Raving Mad (2002)
|
|
|
|
3.83
|
1:40:58
|
1,912 x 1,080
|
5,208 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Starman (1984)
|
|
|
|
|
|
26.76
|
1:54:59
|
3,840 x 1,604
|
30,532 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,779 kbps
|
|
Starry Eyes (2014)
|
|
|
|
1.67
|
1:35:53
|
1,920 x 800
|
1,163 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,330 kbps
|
|
Starship Troopers (1997)
|
|
|
|
|
40.18
|
2:09:29
|
3,840 x 2,072
|
41,030 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,395 kbps
|
|
Starship Troopers 2: Hero of the Federation (2004)
|
|
|
|
7.81
|
1:31:36
|
1,904 x 1,080
|
10,774 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,425 kbps
|
|
Starship Troopers 3: Marauder (2008)
|
|
|
|
6.42
|
1:44:55
|
1,920 x 1,042
|
7,270 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,489 kbps
|
|
Starsky & Hutch (2004)
|
|
|
|
4.09
|
1:40:30
|
1,920 x 790
|
4,427 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,391 kbps
|
|
Starting Over (1979)
|
|
|
|
5.54
|
1:45:33
|
1,920 x 1,072
|
7,290 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
State and Main (2001)
|
|
|
|
4.11
|
1:45:35
|
1,920 x 1,022
|
4,931 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
State of Grace (1990)
|
|
|
|
9.48
|
2:14:07
|
1,920 x 1,016
|
6,852 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,263 kbps
|
|
State of Play (2009)
|
|
|
|
|
5.05
|
2:07:08
|
1,920 x 816
|
2,694 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,990 kbps
|
|
Static (2012)
|
|
|
|
1.11
|
1:23:07
|
1,920 x 816
|
1,026 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
876 kbps
|
|
Stay (2005)
|
|
|
|
4.65
|
1:38:55
|
1,920 x 812
|
5,514 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,216 kbps
|
|
Stay Hungry (1976)
|
|
|
|
5.93
|
1:42:52
|
1,920 x 1,040
|
8,007 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
243 kbps
|
|
Stay Tuned (1992)
|
|
|
|
|
2.64
|
1:28:06
|
1,920 x 814
|
3,608 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
682 kbps
|
|
Staying Alive (1983)
|
|
|
|
|
35.56
|
1:36:18
|
3,840 x 2,076
|
50,766 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
2,096 kbps
|
|
Stealing Beauty (1996)
|
|
|
|
|
4.58
|
1:58:10
|
1,920 x 804
|
4,008 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,537 kbps
|
|
Stealing Cars (2016)
|
|
|
|
2.00
|
1:41:37
|
1,920 x 1,032
|
2,435 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Stealing Home (1988)
|
|
|
|
5.85
|
1:37:55
|
1,904 x 1,080
|
8,325 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Stealing School (2020)
|
|
|
|
1.64
|
1:14:13
|
1,920 x 956
|
2,779 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Stealth (2005)
|
|
|
|
5.11
|
2:00:42
|
1,920 x 792
|
4,431 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,625 kbps
|
|
Steel Dawn (1987)
|
|
|
|
6.40
|
1:40:32
|
1,920 x 1,032
|
8,368 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
751 kbps
|
|
Steel Magnolias (1989)
|
|
|
|
12.87
|
1:58:13
|
1,920 x 1,040
|
12,650 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,939 kbps
|
|
Steel Sharks (1997)
|
|
|
|
2.62
|
1:34:12
|
1,904 x 1,080
|
3,758 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Steele Justice (1987)
|
|
|
|
6.99
|
1:36:44
|
1,920 x 1,040
|
9,979 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
359 kbps
|
|
Step Brothers (2008)
|
|
|
|
|
|
14.53
|
1:45:32
|
3,840 x 1,608
|
18,501 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,199 kbps
|
|
Stephanie (2017)
|
|
|
|
3.51
|
1:26:08
|
1,920 x 800
|
2,867 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,974 kbps
|
|
Stepmom (1998)
|
|
|
|
5.44
|
2:05:05
|
1,920 x 800
|
5,017 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,208 kbps
|
|
Steve Jobs (2015)
|
|
|
|
8.58
|
2:02:21
|
1,920 x 800
|
6,803 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,238 kbps
|
|
Stevie D (2016)
|
|
|
|
1.73
|
1:59:53
|
1,920 x 772
|
1,845 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Stick (1985)
|
|
|
|
4.68
|
1:49:25
|
1,920 x 1,032
|
5,640 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
482 kbps
|
|
Stick It (2006)
|
|
|
|
4.03
|
1:43:22
|
1,920 x 1,080
|
4,939 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Stiff (2010)
|
|
|
|
3.78
|
1:22:30
|
1,920 x 1,080
|
6,327 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Stigmata (1999)
|
|
|
|
12.90
|
1:42:04
|
1,920 x 814
|
14,736 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,354 kbps
|
|
Still Alice (2015)
|
|
|
|
|
8.26
|
1:41:16
|
3,840 x 2,072
|
9,614 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,064 kbps
|
|
Still Life (2013)
|
|
|
|
4.69
|
1:31:44
|
1,920 x 1,036
|
3,117 kbps
|
|
5.1
|
|
24 bits / 96 kHz
|
4,205 kbps
|
|
Still of the Night (1982)
|
|
|
|
8.66
|
1:30:54
|
1,920 x 1,036
|
13,439 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
199 kbps
|
|
Still Smokin (1983)
|
|
|
|
8.29
|
1:30:48
|
1,920 x 1,080
|
12,774 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
298 kbps
|
|
Still Waiting... (2009)
|
|
|
|
8.89
|
1:29:39
|
1,920 x 1,080
|
12,951 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
Stillwater (2021)
|
|
|
|
|
14.74
|
2:18:59
|
3,840 x 2,080
|
12,370 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,813 kbps
|
|
Stir Crazy (1980)
|
|
|
|
16.98
|
1:51:04
|
1,920 x 1,040
|
21,581 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
304 kbps
|
|
Stir of Echoes (1999)
|
|
|
|
3.02
|
1:39:12
|
1,920 x 1,080
|
2,986 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,374 kbps
|
|
Stockholm (2018)
|
|
|
|
2.24
|
1:31:56
|
1,920 x 804
|
2,553 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
937 kbps
|
|
Stoker (2013)
|
|
|
|
5.13
|
1:38:56
|
1,920 x 800
|
4,393 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,031 kbps
|
|
Stolen (2009)
|
|
|
|
6.18
|
1:31:17
|
1,920 x 776
|
6,804 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,891 kbps
|
|
Stolen (2012)
|
|
|
|
5.95
|
1:35:56
|
1,912 x 1,080
|
7,484 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,403 kbps
|
|
Stone (2010)
|
|
|
|
5.09
|
1:45:00
|
1,920 x 798
|
4,246 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,695 kbps
|
|
Stonehearst Asylum (2014)
|
|
|
|
|
3.79
|
1:52:41
|
1,920 x 788
|
1,696 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,111 kbps
|
|
Stop! Or My Mom Will Shoot (1992)
|
|
|
|
|
4.00
|
1:27:06
|
1,920 x 1,040
|
5,973 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
605 kbps
|
|
Stopmotion (2023)
|
|
|
|
|
2.57
|
1:33:39
|
3,840 x 1,602
|
3,278 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Stories of Lost Souls (2005)
|
|
|
|
14.22
|
1:33:14
|
1,920 x 1,032
|
21,382 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Storks (2016)
|
|
|
|
|
8.96
|
1:26:58
|
3,840 x 1,592
|
12,679 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,070 kbps
|
|
Stormbreaker (2006)
|
|
|
|
4.88
|
1:33:16
|
1,920 x 812
|
5,991 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,500 kbps
|
|
Stowaway (2021)
|
|
|
|
1.82
|
1:56:19
|
1,920 x 804
|
1,274 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,582 kbps
|
|
Straight A's (2013)
|
|
|
|
1.82
|
1:28:19
|
1,920 x 778
|
1,810 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,143 kbps
|
|
Straight Time (1978)
|
|
|
|
5.85
|
1:54:00
|
1,920 x 1,036
|
6,631 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
715 kbps
|
|
Straightheads (2007)
|
|
|
|
4.05
|
1:19:50
|
1,920 x 1,036
|
6,717 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
543 kbps
|
|
Strange Brew (1983)
|
|
|
|
15.25
|
1:30:27
|
1,920 x 1,080
|
23,430 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
702 kbps
|
|
Strange but True (2019)
|
|
|
|
4.07
|
1:35:38
|
1,920 x 804
|
3,275 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,822 kbps
|
|
Strange Company (2021)
|
|
|
|
1.07
|
1:07:23
|
1,920 x 1,080
|
2,058 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Strange Days (1995)
|
|
|
|
6.14
|
2:25:11
|
1,920 x 816
|
4,630 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,422 kbps
|
|
Strange Friends (2021)
|
|
|
|
2.71
|
1:37:56
|
1,920 x 1,040
|
3,730 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Strange Horizons (1992)
|
|
|
|
5.19
|
1:21:13
|
1,920 x 1,080
|
8,921 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Strange Invaders (1983)
|
|
|
|
3.47
|
1:33:37
|
1,920 x 818
|
4,671 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
628 kbps
|
|
Strange Weather (2017)
|
|
|
|
1.87
|
1:31:07
|
1,920 x 1,036
|
2,550 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Strange Wilderness (2008)
|
|
|
|
|
4.38
|
1:24:57
|
1,920 x 804
|
4,462 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,918 kbps
|
|
Strange World (2022)
|
|
|
|
|
5.62
|
1:41:46
|
3,840 x 1,608
|
6,207 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,687 kbps
|
|
Stranger than Fiction (2006)
|
|
|
|
|
4.29
|
1:52:56
|
1,920 x 1,042
|
4,181 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,259 kbps
|
|
Strangerland (2015)
|
|
|
|
4.05
|
1:51:45
|
1,920 x 792
|
2,198 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,992 kbps
|
|
Straw Dogs (2011)
|
|
|
|
4.57
|
1:49:44
|
1,920 x 800
|
4,573 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,386 kbps
|
|
Strays (1991)
|
|
|
|
7.85
|
1:22:36
|
1,440 x 1,080
|
12,883 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
715 kbps
|
|
Street Fighter (1994)
|
|
|
|
6.25
|
1:41:28
|
1,920 x 792
|
7,081 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,733 kbps
|
|
Street Fighter: Assassin's Fist (2014)
|
|
|
|
|
5.30
|
2:32:37
|
1,920 x 800
|
3,554 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,415 kbps
|
|
Street Fighter: The Legend of Chun-Li (2009)
|
|
|
|
|
8.36
|
1:37:22
|
1,920 x 816
|
8,942 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,343 kbps
|
|
Street Smart (1987)
|
|
|
|
7.97
|
1:36:46
|
1,920 x 1,036
|
11,033 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
750 kbps
|
|
Streets of Fire (1984)
|
|
|
|
|
28.32
|
1:34:05
|
3,840 x 2,076
|
39,699 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,565 kbps
|
|
Streets of Syndicate (2019)
|
|
|
|
2.54
|
1:13:18
|
1,920 x 1,080
|
4,772 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Stretch (2014)
|
|
|
|
3.87
|
1:34:34
|
1,920 x 800
|
2,863 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
Striking Distance (1993)
|
|
|
|
5.27
|
1:41:44
|
1,920 x 1,040
|
5,091 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,327 kbps
|
|
Striking Poses (2009)
|
|
|
|
3.41
|
1:34:23
|
1,904 x 1,080
|
4,949 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Stripes (1981)
|
|
|
|
|
|
47.86
|
2:02:56
|
3,840 x 2,076
|
53,243 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,492 kbps
|
|
Stripped Naked (2009)
|
|
|
|
3.75
|
1:28:36
|
1,920 x 1,080
|
3,009 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,054 kbps
|
|
Striptease (1996)
|
|
|
|
6.53
|
1:57:10
|
1,912 x 1,080
|
4,167 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,811 kbps
|
|
Stroker Ace (1983)
|
|
|
|
6.39
|
1:34:39
|
1,920 x 1,036
|
9,003 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
664 kbps
|
|
Stuart Little (1999)
|
|
|
|
5.93
|
1:24:36
|
1,920 x 1,038
|
6,670 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,364 kbps
|
|
Stuber (2019)
|
|
|
|
|
|
7.35
|
1:33:24
|
3,840 x 1,608
|
8,794 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,463 kbps
|
|
Stuck in Love (2012)
|
|
|
|
2.50
|
1:37:01
|
1,920 x 812
|
2,575 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,121 kbps
|
|
Stuck on You (2003)
|
|
|
|
7.16
|
1:58:38
|
1,920 x 812
|
7,190 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,451 kbps
|
|
Stuck on You! (1983)
|
|
|
|
5.42
|
1:25:05
|
1,920 x 1,036
|
8,928 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Studio 666 (2022)
|
|
|
|
|
7.46
|
1:46:30
|
3,840 x 1,602
|
6,024 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,003 kbps
|
|
Submerged (2005)
|
|
|
|
5.84
|
1:36:08
|
1,920 x 1,038
|
6,928 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,761 kbps
|
|
Submission (2017)
|
|
|
|
3.31
|
1:46:24
|
1,920 x 800
|
1,856 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,591 kbps
|
|
Suburban Commando (1991)
|
|
|
|
|
4.69
|
1:30:37
|
1,920 x 1,038
|
7,286 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
Suburbicon (2017)
|
|
|
|
|
5.26
|
1:45:03
|
3,840 x 1,592
|
4,233 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,936 kbps
|
|
Sucker Punch (2011)
|
|
|
|
|
8.13
|
2:07:31
|
1,920 x 800
|
5,572 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,558 kbps
|
|
Sudden Death (1995)
|
|
|
|
7.22
|
1:49:59
|
1,920 x 816
|
7,665 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,735 kbps
|
|
Sudden Impact (1983)
|
|
|
|
|
4.62
|
1:57:09
|
1,920 x 796
|
4,280 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,361 kbps
|
|
Sugar & Spice (2001)
|
|
|
|
2.89
|
1:20:56
|
1,920 x 816
|
4,894 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Suicide Squad (2016)
|
|
|
|
4.67
|
2:14:33
|
1,920 x 800
|
2,744 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,218 kbps
|
|
Suicide Squad: Hell to Pay (2018)
|
|
|
|
|
2.52
|
1:26:02
|
3,840 x 2,156
|
2,785 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,404 kbps
|
|
Suitable Flesh (2023)
|
|
|
|
3.08
|
1:38:46
|
1,920 x 800
|
1,412 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,044 kbps
|
|
Sully (2016)
|
|
|
|
|
|
5.09
|
1:35:51
|
3,840 x 1,600
|
5,423 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,178 kbps
|
|
Summer Catch (2001)
|
|
|
|
3.45
|
1:43:38
|
1,914 x 1,080
|
4,545 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Summer of 84 (2018)
|
|
|
|
|
18.05
|
1:45:32
|
3,840 x 1,600
|
23,564 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
916 kbps
|
|
Summer of Sam (1999)
|
|
|
|
10.34
|
2:21:52
|
1,920 x 1,036
|
9,059 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,374 kbps
|
|
Summer Rental (1985)
|
|
|
|
4.38
|
1:27:07
|
1,920 x 1,072
|
6,972 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Summer School (1987)
|
|
|
|
12.29
|
1:37:25
|
1,920 x 1,036
|
17,160 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
355 kbps
|
|
Summerland (2020)
|
|
|
|
2.55
|
1:39:22
|
1,920 x 792
|
2,659 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,017 kbps
|
|
Summit Fever (2022)
|
|
|
|
|
|
28.78
|
1:55:15
|
3,840 x 2,160
|
32,548 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,203 kbps
|
|
Sun Choke (2015)
|
|
|
|
1.05
|
1:24:56
|
1,920 x 802
|
1,325 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Sunburn (1979)
|
|
|
|
11.09
|
1:45:07
|
1,920 x 1,036
|
14,775 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
329 kbps
|
|
Sunday in New York (1963)
|
|
|
|
7.14
|
1:44:57
|
1,920 x 1,036
|
9,094 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
645 kbps
|
|
Sunday in the Country (1974)
|
|
|
|
3.01
|
1:32:21
|
1,920 x 816
|
4,369 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
298 kbps
|
|
Sunset Grill (1993)
|
|
|
|
4.76
|
1:43:45
|
1,912 x 1,080
|
6,336 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Sunshine (1973)
|
|
|
|
6.69
|
2:04:33
|
1,440 x 1,080
|
6,978 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
703 kbps
|
|
Sunshine (2007)
|
|
|
|
6.16
|
1:47:28
|
1,920 x 804
|
4,798 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,400 kbps
|
|
Super 8 (2011)
|
|
|
|
|
|
14.13
|
1:51:49
|
3,840 x 1,600
|
14,874 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,210 kbps
|
|
Super Cyclone (2012)
|
|
|
|
|
3.28
|
1:29:15
|
1,920 x 1,072
|
3,788 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,477 kbps
|
|
Super Dark Times (2017)
|
|
|
|
2.83
|
1:42:50
|
1,920 x 800
|
1,354 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,576 kbps
|
|
Super Mario Bros. (1993)
|
|
|
|
|
22.13
|
1:44:44
|
3,840 x 2,076
|
26,764 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,484 kbps
|
|
Super Troopers (2002)
|
|
|
|
|
4.29
|
1:40:20
|
1,920 x 1,040
|
4,803 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,316 kbps
|
|
Super Troopers 2 (2018)
|
|
|
|
|
|
6.53
|
1:39:31
|
1,920 x 1,036
|
6,498 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,900 kbps
|
|
Superbad (2007)
|
|
|
|
|
5.74
|
1:58:40
|
1,920 x 1,040
|
5,583 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,338 kbps
|
|
Supercell (2023)
|
|
|
|
|
|
|
2.96
|
1:41:43
|
3,840 x 1,608
|
2,901 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,263 kbps
|
|
Superdome (1978)
|
|
|
|
4.60
|
1:36:51
|
1,436 x 1,080
|
6,614 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
176 kbps
|
|
SuperFly (2018)
|
|
|
|
|
|
17.92
|
1:56:11
|
3,840 x 2,076
|
20,603 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,468 kbps
|
|
Supergirl (1984)
|
|
|
|
|
9.15
|
2:04:34
|
1,920 x 800
|
6,913 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,605 kbps
|
|
SuperGrid (2018)
|
|
|
|
2.03
|
1:20:12
|
1,920 x 804
|
2,525 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,099 kbps
|
|
Superhero Movie (2008)
|
|
|
|
|
5.43
|
1:26:01
|
1,920 x 1,080
|
5,999 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
639 kbps
|
|
Superhost (2021)
|
|
|
|
1.81
|
1:23:36
|
1,920 x 814
|
2,189 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
915 kbps
|
|
Superintelligence (2020)
|
|
|
|
|
|
4.96
|
1:45:50
|
3,840 x 1,604
|
6,316 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Superman (1978)
|
|
|
|
|
15.07
|
2:23:12
|
3,840 x 1,600
|
13,432 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,625 kbps
|
|
Superman II (1980)
|
|
|
|
|
18.86
|
1:55:52
|
3,840 x 1,600
|
21,663 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,637 kbps
|
|
Superman III (1983)
|
|
|
|
|
15.79
|
2:04:58
|
3,840 x 1,600
|
16,757 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,330 kbps
|
|
Superman IV: The Quest for Peace (1987)
|
|
|
|
|
10.14
|
1:29:50
|
3,840 x 1,600
|
14,408 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,749 kbps
|
|
Superman Returns (2006)
|
|
|
|
|
3.79
|
2:34:19
|
1,920 x 800
|
2,290 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,225 kbps
|
|
Superman vs. the Elite (2012)
|
|
|
|
2.97
|
1:14:13
|
1,920 x 1,076
|
2,392 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,341 kbps
|
|
Superman/Batman: Apocalypse (2010)
|
|
|
|
2.11
|
1:18:10
|
1,920 x 1,076
|
2,549 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,306 kbps
|
|
Superman/Batman: Public Enemies (2009)
|
|
|
|
1.58
|
1:07:02
|
1,920 x 1,076
|
2,741 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Superman: Doomsday (2007)
|
|
|
|
|
3.92
|
1:17:42
|
3,840 x 2,156
|
4,306 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,915 kbps
|
|
Superman: Man of Tomorrow (2020)
|
|
|
|
|
3.74
|
1:26:26
|
3,840 x 2,156
|
3,277 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,914 kbps
|
|
Superman: Red Son (2020)
|
|
|
|
|
12.08
|
1:24:18
|
3,840 x 2,156
|
18,840 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,663 kbps
|
|
Superman: Unbound (2013)
|
|
|
|
2.66
|
1:15:16
|
1,920 x 1,076
|
1,662 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,399 kbps
|
|
Supernova (2000)
|
|
|
|
6.01
|
1:30:39
|
1,920 x 814
|
6,258 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,228 kbps
|
|
Superstar (1999)
|
|
|
|
8.56
|
1:21:46
|
1,920 x 1,080
|
14,338 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Supervolcano (2005)
|
|
|
|
|
3.41
|
1:43:16
|
1,904 x 1,080
|
4,531 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Surf II (1984)
|
|
|
|
8.89
|
1:40:13
|
1,920 x 1,036
|
11,892 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
805 kbps
|
|
Surf Nazis Must Die (1987)
|
|
|
|
7.79
|
1:21:36
|
1,920 x 1,036
|
12,960 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
712 kbps
|
|
Surrogates (2009)
|
|
|
|
6.11
|
1:28:36
|
1,920 x 800
|
6,796 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,078 kbps
|
|
Surveillance (2008)
|
|
|
|
9.59
|
1:37:31
|
1,920 x 816
|
10,838 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,242 kbps
|
|
Survival Code (2013)
|
|
|
|
2.24
|
1:28:19
|
1,920 x 1,072
|
3,246 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Survive the Game (2021)
|
|
|
|
6.94
|
1:36:34
|
1,920 x 800
|
6,844 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,441 kbps
|
|
Survive the Night (2020)
|
|
|
|
4.36
|
1:29:14
|
1,920 x 956
|
3,934 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,059 kbps
|
|
Surviving Christmas (2004)
|
|
|
|
5.00
|
1:30:43
|
1,912 x 1,080
|
4,978 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,908 kbps
|
|
Survivor (2015)
|
|
|
|
|
5.04
|
1:36:08
|
3,840 x 1,572
|
4,237 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,248 kbps
|
|
Suspect Zero (2004)
|
|
|
|
6.31
|
1:39:32
|
1,920 x 1,080
|
8,436 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Suspiria (1977)
|
|
|
|
|
26.25
|
1:38:47
|
3,840 x 1,616
|
35,455 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,580 kbps
|
|
Suspiria (2018)
|
|
|
|
|
|
10.46
|
2:32:19
|
3,840 x 2,072
|
7,259 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,571 kbps
|
|
Suture (1993)
|
|
|
|
26.62
|
1:35:58
|
1,920 x 816
|
39,209 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
492 kbps
|
|
Swallow (2019)
|
|
|
|
1.76
|
1:35:14
|
1,920 x 804
|
1,773 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
866 kbps
|
|
Swallows and Amazons (1974)
|
|
|
|
7.52
|
1:32:51
|
1,796 x 1,080
|
10,864 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
725 kbps
|
|
Swallows and Amazons (2016)
|
|
|
|
5.01
|
1:37:00
|
1,920 x 804
|
4,317 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,074 kbps
|
|
Swan Song (2021)
|
|
|
|
|
2.28
|
1:51:58
|
3,840 x 1,606
|
2,136 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Sweeney Todd: The Demon Barber of Fleet Street (2007)
|
|
|
|
|
21.18
|
1:56:20
|
3,840 x 2,076
|
24,716 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,336 kbps
|
|
Sweepers (1999)
|
|
|
|
5.71
|
1:36:51
|
1,920 x 1,036
|
7,815 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
620 kbps
|
|
Sweet Girl (2021)
|
|
|
|
|
10.88
|
1:48:14
|
3,840 x 1,604
|
13,600 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Sweet Home Alabama (2002)
|
|
|
|
12.98
|
1:48:48
|
1,920 x 816
|
13,352 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,717 kbps
|
|
Sweet Liberty (1986)
|
|
|
|
8.78
|
1:46:23
|
1,920 x 1,032
|
11,489 kbps
|
|
1.0
|
|
48 kHz
|
320 kbps
|
|
Sweet Thing (2020)
|
|
|
|
9.40
|
1:34:38
|
1,920 x 1,036
|
13,060 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,162 kbps
|
|
Sweet Virginia (2017)
|
|
|
|
2.54
|
1:33:14
|
1,920 x 800
|
1,372 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,530 kbps
|
|
Sweetie (1989)
|
|
|
|
14.89
|
1:39:48
|
1,920 x 1,038
|
18,307 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,053 kbps
|
|
Sweetwater (2013)
|
|
|
|
4.49
|
1:35:02
|
1,920 x 798
|
5,828 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
932 kbps
|
|
Swelter (2014)
|
|
|
|
3.34
|
1:39:47
|
1,920 x 792
|
3,460 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,328 kbps
|
|
Swept Away (2002)
|
|
|
|
8.90
|
1:29:25
|
1,920 x 1,076
|
12,891 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,361 kbps
|
|
Swerve (2011)
|
|
|
|
9.63
|
1:26:17
|
1,920 x 816
|
14,906 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,075 kbps
|
|
Swimming with Sharks (1995)
|
|
|
|
6.15
|
1:33:21
|
1,920 x 1,076
|
8,666 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
769 kbps
|
|
Swing Vote (2008)
|
|
|
|
10.85
|
2:00:13
|
1,920 x 800
|
10,123 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,794 kbps
|
|
Swingers (1997)
|
|
|
|
7.91
|
1:36:26
|
1,920 x 1,080
|
8,793 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,948 kbps
|
|
Swiss Army Man (2016)
|
|
|
|
6.25
|
1:37:23
|
1,920 x 800
|
6,959 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,226 kbps
|
|
Swiss Family Robinson (1960)
|
|
|
|
13.85
|
2:06:21
|
1,920 x 792
|
15,366 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Switch (1991)
|
|
|
|
|
9.16
|
1:43:13
|
1,918 x 1,080
|
12,069 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
629 kbps
|
|
Switchback (1997)
|
|
|
|
4.22
|
1:58:14
|
1,920 x 800
|
3,979 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,130 kbps
|
|
Swordfish (2001)
|
|
|
|
2.87
|
1:39:16
|
1,920 x 782
|
3,500 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Sworn to Justice (1997)
|
|
|
|
2.01
|
1:37:20
|
1,920 x 1,080
|
2,393 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
568 kbps
|
|
Sydney White (2007)
|
|
|
|
5.38
|
1:47:35
|
1,920 x 816
|
4,016 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,145 kbps
|
|
Synapse (2021)
|
|
|
|
2.14
|
1:32:22
|
1,920 x 1,036
|
2,669 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Synchronic (2020)
|
|
|
|
4.34
|
1:41:51
|
1,920 x 800
|
4,649 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,447 kbps
|
|
Synchronicity (2016)
|
|
|
|
1.48
|
1:40:29
|
1,920 x 796
|
1,167 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
942 kbps
|
|
Synecdoche, New York (2008)
|
|
|
|
|
11.73
|
2:03:49
|
3,840 x 1,632
|
11,037 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,514 kbps
|
|
Syngenor (1990)
|
|
|
|
4.78
|
1:37:51
|
1,920 x 1,080
|
6,548 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Syrup (2013)
|
|
|
|
1.67
|
1:29:58
|
1,920 x 800
|
1,678 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
977 kbps
|
|
T.I.M. (2023)
|
|
|
|
1.84
|
1:41:45
|
1,920 x 804
|
1,657 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
931 kbps
|
|
Tadpole (2002)
|
|
|
|
1.04
|
1:18:24
|
720 x 466
|
1,249 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Taffin (1988)
|
|
|
|
5.20
|
1:36:21
|
1,920 x 1,024
|
7,467 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
253 kbps
|
|
Tag (2018)
|
|
|
|
3.84
|
1:40:34
|
1,920 x 804
|
2,487 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,983 kbps
|
|
Tai-Pan (1986)
|
|
|
|
|
4.87
|
2:07:35
|
1,920 x 816
|
4,984 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
473 kbps
|
|
Take a Girl Like You (1970)
|
|
|
|
11.03
|
1:38:17
|
1,920 x 1,040
|
15,435 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
630 kbps
|
|
Take Back (2021)
|
|
|
|
2.57
|
1:29:17
|
1,920 x 792
|
2,967 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,157 kbps
|
|
Take Me Home Tonight (2011)
|
|
|
|
6.24
|
1:37:40
|
1,920 x 796
|
7,557 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,591 kbps
|
|
Take Me to Tarzana (2021)
|
|
|
|
1.99
|
1:46:32
|
1,920 x 1,032
|
2,293 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Take Out Girl (2020)
|
|
|
|
2.56
|
1:39:03
|
1,920 x 800
|
3,470 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Take Shelter (2011)
|
|
|
|
|
7.24
|
2:01:05
|
1,920 x 816
|
5,977 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,586 kbps
|
|
Taken (2008)
|
|
|
|
|
|
6.53
|
1:33:25
|
1,920 x 816
|
6,671 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,341 kbps
|
|
Taken 2 (2012)
|
|
|
|
|
|
8.44
|
1:38:19
|
1,920 x 804
|
8,991 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,304 kbps
|
|
Taken 3 (2015)
|
|
|
|
|
|
8.36
|
1:55:18
|
1,920 x 804
|
7,307 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,073 kbps
|
|
Taking Care of Business (1990)
|
|
|
|
6.10
|
1:48:03
|
1,920 x 1,042
|
7,432 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
651 kbps
|
|
Taking Lives (2004)
|
|
|
|
2.80
|
1:49:06
|
1,920 x 792
|
2,590 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,088 kbps
|
|
Tale of Tales (2016)
|
|
|
|
5.76
|
2:13:46
|
1,920 x 816
|
5,003 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,163 kbps
|
|
Tales from the Crypt Presents: Bordello of Blood (1996)
|
|
|
|
9.44
|
1:26:30
|
1,920 x 1,040
|
14,015 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,608 kbps
|
|
Tales from the Crypt Presents: Demon Knight (1995)
|
|
|
|
6.27
|
1:32:21
|
1,920 x 1,040
|
5,952 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,758 kbps
|
|
Tales from the Crypt Presents: Ritual (2002)
|
|
|
|
7.94
|
1:46:16
|
1,912 x 1,080
|
9,600 kbps
|
|
2.0
|
|
20 bits / 48 kHz
|
1,102 kbps
|
|
Tales of Terror (1962)
|
|
|
|
6.31
|
1:28:40
|
1,920 x 820
|
9,538 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
642 kbps
|
|
Talk to Me (2022)
|
|
|
|
|
6.47
|
1:34:54
|
3,840 x 1,608
|
8,327 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,423 kbps
|
|
Talladega Nights: The Ballad of Ricky Bobby (2006)
|
|
|
|
|
5.36
|
2:01:26
|
1,920 x 800
|
4,886 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,435 kbps
|
|
Tamara (2005)
|
|
|
|
3.34
|
1:38:02
|
1,916 x 1,080
|
4,230 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tamara Drewe (2010)
|
|
|
|
5.95
|
1:51:38
|
1,920 x 800
|
5,433 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,199 kbps
|
|
Tammy (2014)
|
|
|
|
|
9.32
|
1:40:35
|
1,920 x 1,076
|
11,904 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,364 kbps
|
|
Tammy and the T-Rex (1994)
|
|
|
|
|
31.57
|
1:30:43
|
3,840 x 2,076
|
47,476 kbps
|
|
2.0
|
|
24 bits / 96 kHz
|
2,346 kbps
|
|
Tangled (2010)
|
|
|
|
|
5.41
|
1:40:18
|
3,840 x 2,160
|
4,862 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,859 kbps
|
|
Tango & Cash (1989)
|
|
|
|
5.98
|
1:43:46
|
1,920 x 796
|
6,618 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,634 kbps
|
|
Tank Girl (1995)
|
|
|
|
5.85
|
1:44:04
|
1,920 x 816
|
6,278 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,772 kbps
|
|
Taps (1981)
|
|
|
|
10.52
|
2:06:23
|
1,920 x 1,032
|
11,234 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
684 kbps
|
|
Target (1985)
|
|
|
|
11.29
|
1:57:06
|
1,920 x 1,080
|
12,611 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,191 kbps
|
|
Target Number One (2020)
|
|
|
|
4.61
|
2:04:58
|
1,920 x 804
|
2,531 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,750 kbps
|
|
Tarzan (2014)
|
|
|
|
5.75
|
1:34:40
|
1,920 x 804
|
4,931 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,763 kbps
|
|
Taxi (2004)
|
|
|
|
6.05
|
1:37:09
|
1,920 x 816
|
7,621 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,297 kbps
|
|
Taxi Driver (1976)
|
|
|
|
|
45.69
|
1:53:48
|
3,840 x 2,076
|
56,165 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,309 kbps
|
|
Taylor Swift: The Eras Tour (2023)
|
|
|
|
31.34
|
3:00:52
|
3,840 x 1,596
|
24,035 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Teacher (2019)
|
|
|
|
7.95
|
1:40:23
|
1,920 x 1,080
|
10,368 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
971 kbps
|
|
Team America: World Police (2004)
|
|
|
|
|
|
6.20
|
1:37:41
|
3,840 x 1,594
|
7,676 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,410 kbps
|
|
Team Darryl (2018)
|
|
|
|
|
0.25
|
06:09
|
1,920 x 1,080
|
5,205 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Team Thor (2016)
|
|
|
|
|
0.08
|
03:30
|
1,920 x 1,036
|
3,314 kbps
|
|
2.0
|
|
44.1 kHz
|
126 kbps
|
|
Team Thor: Part 2 (2017)
|
|
|
|
|
0.12
|
04:39
|
1,920 x 1,080
|
3,134 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tears of Steel (2012)
|
|
|
|
|
2.08
|
12:14
|
3,840 x 1,608
|
20,540 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,745 kbps
|
|
Tears of the Sun (2003)
|
|
|
|
7.25
|
2:00:55
|
1,920 x 800
|
6,915 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,668 kbps
|
|
Ted (2012)
|
|
|
|
|
5.68
|
1:52:15
|
1,920 x 1,036
|
4,526 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,722 kbps
|
|
Ted 2 (2015)
|
|
|
|
|
5.14
|
2:05:51
|
1,920 x 800
|
3,207 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,639 kbps
|
|
Ted Bundy (2002)
|
|
|
|
13.30
|
1:39:26
|
1,920 x 1,036
|
16,296 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,855 kbps
|
|
Teen Titans: The Judas Contract (2017)
|
|
|
|
1.57
|
1:24:11
|
1,920 x 1,076
|
1,340 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,324 kbps
|
|
Teen Witch (1989)
|
|
|
|
8.59
|
1:33:51
|
1,920 x 1,040
|
12,386 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
711 kbps
|
|
Teen Wolf (1985)
|
|
|
|
|
5.73
|
1:32:21
|
1,920 x 1,036
|
8,191 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
697 kbps
|
|
Teen Wolf Too (1987)
|
|
|
|
8.48
|
1:34:21
|
1,920 x 1,040
|
11,560 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,309 kbps
|
|
Teenage Exorcist (1991)
|
|
|
|
1.14
|
1:26:25
|
1,760 x 1,080
|
1,526 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
357 kbps
|
|
Teenage Mutant Ninja Turtles (1990)
|
|
|
|
8.93
|
1:34:15
|
1,920 x 1,080
|
12,101 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,457 kbps
|
|
Teenage Mutant Ninja Turtles (2014)
|
|
|
|
|
|
19.74
|
1:41:18
|
3,840 x 1,600
|
24,734 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,164 kbps
|
|
Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991)
|
|
|
|
7.90
|
1:28:33
|
1,920 x 1,040
|
11,165 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,599 kbps
|
|
Teenage Mutant Ninja Turtles III (1993)
|
|
|
|
4.79
|
1:35:46
|
1,916 x 1,080
|
5,526 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,634 kbps
|
|
Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)
|
|
|
|
|
6.73
|
1:39:20
|
3,840 x 1,608
|
8,125 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,565 kbps
|
|
Teenage Mutant Ninja Turtles: Out of the Shadows (2016)
|
|
|
|
|
16.71
|
1:52:09
|
3,840 x 1,600
|
18,400 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,923 kbps
|
|
Teeth (2008)
|
|
|
|
6.27
|
1:33:47
|
1,912 x 1,080
|
8,922 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tell Me How I Die (2016)
|
|
|
|
2.37
|
1:47:23
|
1,920 x 796
|
1,978 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,181 kbps
|
|
Tell-Tale (2009)
|
|
|
|
4.07
|
1:32:30
|
1,920 x 798
|
5,190 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,104 kbps
|
|
Tenacious D in the Pick of Destiny (2006)
|
|
|
|
5.29
|
1:34:09
|
1,920 x 1,036
|
6,799 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,239 kbps
|
|
Tenderness (2009)
|
|
|
|
3.71
|
1:40:55
|
1,920 x 812
|
4,250 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,012 kbps
|
|
Tenet (2020)
|
|
|
|
|
11.03
|
2:30:10
|
3,840 x 2,160
|
7,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,432 kbps
|
|
Tequila Sunrise (1988)
|
|
|
|
6.84
|
1:55:15
|
1,920 x 1,080
|
7,172 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,319 kbps
|
|
Term Life (2016)
|
|
|
|
|
6.66
|
1:32:45
|
1,920 x 800
|
7,175 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,099 kbps
|
|
Terminal (2018)
|
|
|
|
4.67
|
1:35:24
|
1,920 x 1,080
|
3,651 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,348 kbps
|
|
Terminal Invasion (2002)
|
|
|
|
5.15
|
1:24:16
|
1,904 x 1,080
|
7,015 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,730 kbps
|
|
Terminal Island (1973)
|
|
|
|
32.89
|
1:28:05
|
3,840 x 2,076
|
52,705 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
746 kbps
|
|
Terminal Velocity (1994)
|
|
|
|
6.03
|
1:41:55
|
1,920 x 800
|
4,903 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,572 kbps
|
|
Termination Point (2007)
|
|
|
|
7.96
|
1:30:33
|
1,904 x 1,080
|
12,259 kbps
|
|
5.1
|
|
48 kHz
|
320 kbps
|
|
Terminator 2: Judgment Day (1991)
|
|
|
|
|
|
9.09
|
2:17:26
|
3,840 x 1,600
|
5,960 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,495 kbps
|
|
Terminator 3: Rise of the Machines (2003)
|
|
|
|
|
4.10
|
1:49:06
|
1,920 x 790
|
3,710 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,664 kbps
|
|
Terminator Genisys (2015)
|
|
|
|
|
|
11.18
|
2:05:43
|
3,840 x 1,604
|
9,947 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,786 kbps
|
|
Terminator Salvation (2009)
|
|
|
|
|
5.29
|
1:57:40
|
1,920 x 800
|
4,743 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,696 kbps
|
|
Terminator: Dark Fate (2019)
|
|
|
|
|
|
7.99
|
2:08:05
|
3,840 x 1,604
|
6,117 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,811 kbps
|
|
Terminus (2016)
|
|
|
|
3.14
|
1:33:54
|
1,920 x 800
|
1,747 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,038 kbps
|
|
Terms of Endearment (1983)
|
|
|
|
|
18.53
|
2:11:54
|
3,840 x 2,076
|
17,256 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,853 kbps
|
|
Terror of Mechagodzilla (1975)
|
|
|
|
4.47
|
1:23:37
|
1,920 x 808
|
6,962 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
690 kbps
|
|
Terror on the Prairie (2022)
|
|
|
|
3.69
|
1:47:11
|
1,920 x 800
|
3,809 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,116 kbps
|
|
Terror Train (1980)
|
|
|
|
10.54
|
1:36:51
|
1,920 x 1,040
|
14,133 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,444 kbps
|
|
Tesla (2020)
|
|
|
|
5.71
|
1:43:22
|
1,920 x 1,040
|
5,190 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,718 kbps
|
|
Test Pattern (2019)
|
|
|
|
3.07
|
1:22:30
|
1,920 x 1,036
|
4,378 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
944 kbps
|
|
Tetris (2023)
|
|
|
|
|
|
2.62
|
1:57:44
|
3,840 x 1,606
|
2,407 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Texas Chainsaw 3D (2013)
|
|
|
|
4.19
|
1:32:13
|
1,920 x 800
|
3,369 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,135 kbps
|
|
Texasville (1990)
|
|
|
|
8.70
|
2:30:07
|
1,920 x 1,036
|
7,607 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
688 kbps
|
|
Thank You for Smoking (2005)
|
|
|
|
1.38
|
1:32:14
|
1,280 x 532
|
1,753 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Thanks for Sharing (2013)
|
|
|
|
8.06
|
1:52:40
|
1,920 x 1,080
|
7,554 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,682 kbps
|
|
Thanksgiving (2023)
|
|
|
|
|
3.90
|
1:45:57
|
3,840 x 1,604
|
4,616 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
That Darn Cat (1997)
|
|
|
|
4.83
|
1:29:24
|
1,920 x 1,040
|
7,087 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
That Darn Cat! (1965)
|
|
|
|
9.44
|
1:56:27
|
1,888 x 1,080
|
11,482 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
That Night (1993)
|
|
|
|
3.10
|
1:29:03
|
1,920 x 1,040
|
4,761 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
That Thing You Do! (1996)
|
|
|
|
|
12.12
|
2:27:34
|
1,920 x 1,036
|
8,548 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,214 kbps
|
|
That's My Boy (2012)
|
|
|
|
|
4.60
|
1:56:03
|
1,920 x 796
|
2,822 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,847 kbps
|
|
That's That! (1937)
|
|
|
|
0.53
|
08:06
|
1,418 x 1,080
|
9,075 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
197 kbps
|
|
The 'Burbs (1989)
|
|
|
|
|
8.26
|
1:41:26
|
1,920 x 1,036
|
11,128 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
531 kbps
|
|
The 11th Hour (2014)
|
|
|
|
2.47
|
1:37:46
|
1,920 x 808
|
1,271 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,348 kbps
|
|
The 15:17 to Paris (2018)
|
|
|
|
3.68
|
1:33:52
|
1,920 x 804
|
3,724 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
1,890 kbps
|
|
The 2nd (2020)
|
|
|
|
2.08
|
1:33:13
|
1,920 x 792
|
1,869 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,318 kbps
|
|
The 3 Worlds of Gulliver (1960)
|
|
|
|
18.12
|
1:38:37
|
3,576 x 2,160
|
26,189 kbps
|
|
2.0
|
|
48 kHz
|
114 kbps
|
|
The 355 (2022)
|
|
|
|
|
|
8.27
|
2:03:32
|
3,840 x 1,604
|
8,161 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
The 40 Year-Old Virgin (2005)
|
|
|
|
|
7.15
|
2:12:27
|
1,920 x 1,040
|
4,500 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,222 kbps
|
|
The 41-Year-Old Virgin Who Knocked Up Sarah Marshall and Felt Superbad About It (2010)
|
|
|
|
4.51
|
1:22:04
|
1,920 x 1,036
|
4,857 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,017 kbps
|
|
The 5th Wave (2016)
|
|
|
|
|
|
8.72
|
1:52:23
|
3,840 x 1,606
|
8,666 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,440 kbps
|
|
The 6th Day (2000)
|
|
|
|
|
5.66
|
2:03:34
|
1,920 x 788
|
5,204 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,352 kbps
|
|
The 7th Voyage of Sinbad (1958)
|
|
|
|
17.28
|
1:28:08
|
1,788 x 1,080
|
27,433 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
637 kbps
|
|
The A-Team (2010)
|
|
|
|
|
|
8.40
|
2:13:34
|
1,920 x 816
|
5,487 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,518 kbps
|
|
The Absent-Minded Professor (1961)
|
|
|
|
|
11.89
|
1:35:59
|
1,786 x 1,080
|
17,511 kbps
|
|
1.0
|
|
48 kHz
|
224 kbps
|
|
The Abyss (1989)
|
|
|
|
|
|
14.16
|
2:51:01
|
3,840 x 1,604
|
10,328 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,518 kbps
|
|
The Accidental Tourist (1988)
|
|
|
|
4.87
|
2:01:08
|
1,920 x 800
|
4,482 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,270 kbps
|
|
The Accountant (2016)
|
|
|
|
|
13.32
|
2:07:54
|
3,840 x 1,600
|
13,372 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,530 kbps
|
|
The Addams Family (1991)
|
|
|
|
|
12.86
|
1:41:09
|
3,840 x 2,076
|
14,879 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,310 kbps
|
|
The Adderall Diaries (2016)
|
|
|
|
3.95
|
1:27:00
|
1,920 x 804
|
3,614 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,884 kbps
|
|
The Adjustment Bureau (2011)
|
|
|
|
|
5.37
|
1:45:50
|
1,920 x 1,042
|
3,973 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,288 kbps
|
|
The Adventure of Sherlock Holmes' Smarter Brother (1975)
|
|
|
|
8.69
|
1:31:08
|
1,920 x 1,040
|
13,336 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
308 kbps
|
|
The Adventures of Baron Munchausen (1988)
|
|
|
|
|
44.32
|
2:06:29
|
3,840 x 2,076
|
47,301 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,857 kbps
|
|
The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)
|
|
|
|
7.88
|
1:42:35
|
1,920 x 816
|
9,670 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,327 kbps
|
|
The Adventures of Mark Twain (1985)
|
|
|
|
8.20
|
1:26:07
|
1,916 x 1,080
|
13,104 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
529 kbps
|
|
The Adventures of Pluto Nash (2002)
|
|
|
|
3.31
|
1:34:44
|
1,920 x 1,060
|
4,773 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Adventures of Rocky and Bullwinkle (2000)
|
|
|
|
5.49
|
1:31:46
|
1,920 x 1,040
|
4,640 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,925 kbps
|
|
The Adventures of Sharkboy and Lavagirl (2005)
|
|
|
|
6.38
|
1:32:53
|
1,912 x 1,080
|
6,029 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,804 kbps
|
|
The Adventures of Tintin (2011)
|
|
|
|
|
4.11
|
1:46:52
|
1,920 x 816
|
3,629 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,879 kbps
|
|
The Aeronauts (2019)
|
|
|
|
|
4.66
|
1:40:29
|
3,840 x 2,080
|
6,000 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The African Queen (1952)
|
|
|
|
9.37
|
1:45:16
|
1,480 x 1,080
|
12,465 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
272 kbps
|
|
The Aftermath (1982)
|
|
|
|
3.17
|
1:34:47
|
1,920 x 1,080
|
4,486 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
298 kbps
|
|
The Age of Adaline (2015)
|
|
|
|
4.25
|
1:52:45
|
1,920 x 796
|
2,857 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,538 kbps
|
|
The Aggression Scale (2012)
|
|
|
|
3.68
|
1:25:16
|
1,920 x 796
|
2,858 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,314 kbps
|
|
The Air I Breathe (2008)
|
|
|
|
4.50
|
1:35:07
|
1,920 x 788
|
3,555 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,218 kbps
|
|
The Air Up There (1994)
|
|
|
|
5.28
|
1:47:27
|
1,920 x 1,040
|
6,909 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
The Amazing Howard Hughes (1977)
|
|
|
|
1.16
|
2:03:34
|
720 x 480
|
1,151 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Amazing Maurice (2022)
|
|
|
|
4.11
|
1:33:25
|
1,920 x 1,036
|
3,025 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,270 kbps
|
|
The Amazing Mr. Blunden (1972)
|
|
|
|
8.79
|
1:39:14
|
1,920 x 1,040
|
12,007 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
667 kbps
|
|
The Amazing Spider-Man (2012)
|
|
|
|
|
|
10.91
|
2:16:17
|
3,840 x 1,604
|
8,378 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,078 kbps
|
|
The Amazing Spider-Man 2 (2014)
|
|
|
|
|
|
24.22
|
2:21:35
|
3,840 x 1,604
|
22,000 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,481 kbps
|
|
The Amazing Transparent Man (1960)
|
|
|
|
6.22
|
57:33
|
1,920 x 1,028
|
14,873 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
601 kbps
|
|
The Ambulance (1990)
|
|
|
|
9.61
|
1:35:34
|
1,920 x 1,040
|
13,782 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
609 kbps
|
|
The American (2010)
|
|
|
|
6.14
|
1:44:56
|
1,920 x 816
|
5,697 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,678 kbps
|
|
The American Friend (1977)
|
|
|
|
|
9.26
|
2:07:42
|
1,792 x 1,080
|
7,126 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,258 kbps
|
|
The American President (1995)
|
|
|
|
8.41
|
1:53:24
|
1,920 x 792
|
7,347 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,273 kbps
|
|
The American Scream (1988)
|
|
|
|
11.25
|
1:25:31
|
1,920 x 1,036
|
18,559 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
273 kbps
|
|
The Amityville Horror (1979)
|
|
|
|
|
47.58
|
1:58:45
|
3,840 x 2,076
|
54,497 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,856 kbps
|
|
The Anderson Tapes (1971)
|
|
|
|
11.11
|
1:38:53
|
1,920 x 1,040
|
15,431 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
659 kbps
|
|
The Andromeda Strain (1971)
|
|
|
|
6.19
|
2:10:37
|
1,920 x 804
|
6,147 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
633 kbps
|
|
The Angry Birds Movie (2016)
|
|
|
|
|
|
7.77
|
1:37:14
|
3,840 x 2,076
|
8,637 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,809 kbps
|
|
The Angry Birds Movie 2 (2019)
|
|
|
|
|
|
7.27
|
1:36:48
|
3,840 x 2,076
|
6,409 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,342 kbps
|
|
The Angry Red Planet (1959)
|
|
|
|
7.80
|
1:23:10
|
1,920 x 1,036
|
13,165 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
259 kbps
|
|
The Animal (2001)
|
|
|
|
4.90
|
1:23:11
|
1,918 x 1,080
|
8,210 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Animatrix (2003)
|
|
|
|
3.95
|
1:40:51
|
1,920 x 802
|
3,955 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,646 kbps
|
|
The Anomaly (2014)
|
|
|
|
4.34
|
1:36:39
|
1,920 x 812
|
3,199 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,224 kbps
|
|
The Apartment (1960)
|
|
|
|
70.54
|
2:05:16
|
3,840 x 1,632
|
77,141 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,477 kbps
|
|
The Apple Dumpling Gang (1975)
|
|
|
|
9.62
|
1:40:31
|
1,800 x 1,080
|
13,379 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
The Argument (2020)
|
|
|
|
2.88
|
1:21:47
|
1,920 x 800
|
2,118 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,924 kbps
|
|
The AristoCats (1970)
|
|
|
|
3.21
|
1:18:28
|
1,798 x 1,080
|
2,997 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,861 kbps
|
|
The Arrival (1996)
|
|
|
|
10.53
|
1:55:11
|
1,920 x 1,038
|
8,537 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,531 kbps
|
|
The Art of Racing in the Rain (2019)
|
|
|
|
|
9.85
|
1:48:48
|
3,840 x 2,076
|
8,704 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,252 kbps
|
|
The Art of Self-Defense (2019)
|
|
|
|
14.84
|
1:44:19
|
1,920 x 1,036
|
17,778 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,583 kbps
|
|
The Art of the Steal (2014)
|
|
|
|
3.23
|
1:30:14
|
1,920 x 800
|
2,168 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,959 kbps
|
|
The Assassination Bureau (1969)
|
|
|
|
6.38
|
1:49:51
|
1,920 x 1,080
|
7,674 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
641 kbps
|
|
The Assignment (2017)
|
|
|
|
3.82
|
1:34:51
|
1,920 x 804
|
2,906 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,861 kbps
|
|
The Astronaut Farmer (2006)
|
|
|
|
2.50
|
1:44:06
|
1,920 x 794
|
2,994 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Astronaut's Wife (1999)
|
|
|
|
7.07
|
1:49:09
|
1,918 x 1,080
|
5,810 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,462 kbps
|
|
The Autopsy of Jane Doe (2016)
|
|
|
|
2.82
|
1:26:27
|
1,920 x 800
|
1,280 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,381 kbps
|
|
The Avengers (2012)
|
|
|
|
|
|
|
9.54
|
2:22:56
|
3,840 x 2,076
|
7,941 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,611 kbps
|
|
The Aviator (2004)
|
|
|
|
9.07
|
2:50:09
|
1,920 x 816
|
4,355 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,276 kbps
|
|
The Awakening (2011)
|
|
|
|
6.22
|
1:47:15
|
1,920 x 816
|
5,071 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,224 kbps
|
|
The Babe (1992)
|
|
|
|
10.54
|
1:54:39
|
1,920 x 1,036
|
11,806 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,352 kbps
|
|
The Babysitter (1995)
|
|
|
|
3.84
|
1:28:50
|
1,920 x 1,080
|
5,660 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
531 kbps
|
|
The Babysitter (2017)
|
|
|
|
|
6.89
|
1:24:50
|
3,840 x 1,604
|
11,235 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Babysitter: Killer Queen (2020)
|
|
|
|
|
8.99
|
1:41:03
|
3,840 x 1,608
|
11,949 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Babysitters (2007)
|
|
|
|
4.06
|
1:28:51
|
1,912 x 1,080
|
3,795 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,733 kbps
|
|
The Back-up Plan (2010)
|
|
|
|
5.24
|
1:44:14
|
1,920 x 816
|
4,280 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,917 kbps
|
|
The Bad and the Beautiful (1952)
|
|
|
|
9.98
|
1:57:49
|
1,480 x 1,080
|
11,524 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
598 kbps
|
|
The Bad Batch (2017)
|
|
|
|
4.27
|
1:58:39
|
1,920 x 804
|
2,048 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,103 kbps
|
|
The Bad News Bears (1976)
|
|
|
|
6.62
|
1:42:07
|
1,904 x 1,080
|
8,638 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Bad Pack (1997)
|
|
|
|
6.04
|
1:30:48
|
1,920 x 1,036
|
8,810 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
711 kbps
|
|
The Bad Seed (1956)
|
|
|
|
12.42
|
2:09:11
|
1,920 x 1,080
|
13,163 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
603 kbps
|
|
The Banishing (2020)
|
|
|
|
4.04
|
1:37:00
|
1,920 x 1,036
|
3,567 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,396 kbps
|
|
The Bank Job (2008)
|
|
|
|
3.93
|
1:51:40
|
1,920 x 816
|
3,393 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,647 kbps
|
|
The Banker (1989)
|
|
|
|
2.32
|
1:35:36
|
1,916 x 1,080
|
3,274 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Banker (2020)
|
|
|
|
|
6.88
|
2:00:19
|
3,840 x 1,606
|
5,992 kbps
|
|
7.1
|
|
14 bits / 96 kHz
|
2,197 kbps
|
|
The Barber (2014)
|
|
|
|
2.29
|
1:30:13
|
1,920 x 800
|
2,528 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,101 kbps
|
|
The Batman (2022)
|
|
|
|
|
8.35
|
2:56:12
|
3,840 x 1,608
|
5,309 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,469 kbps
|
|
The Battle of the Century (1927)
|
|
|
|
0.98
|
18:05
|
1,418 x 1,080
|
7,375 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
354 kbps
|
|
The Battle of the Sexes (1960)
|
|
|
|
7.45
|
1:24:00
|
1,800 x 1,080
|
12,403 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
301 kbps
|
|
The Baytown Outlaws (2012)
|
|
|
|
4.40
|
1:38:39
|
1,920 x 800
|
3,429 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,949 kbps
|
|
The Beach (2000)
|
|
|
|
3.76
|
1:59:04
|
1,920 x 800
|
3,881 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
The Beach Bum (2019)
|
|
|
|
3.87
|
1:34:37
|
1,920 x 804
|
4,521 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,326 kbps
|
|
The Beach Girls (1983)
|
|
|
|
6.98
|
1:31:25
|
1,904 x 1,080
|
9,855 kbps
|
|
2.0
|
|
21 bits / 48 kHz
|
1,078 kbps
|
|
The Beach House (2019)
|
|
|
|
5.83
|
1:27:55
|
1,920 x 1,036
|
8,453 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,034 kbps
|
|
The Beaver (2011)
|
|
|
|
3.20
|
1:30:59
|
1,920 x 800
|
2,256 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,781 kbps
|
|
The Bed Sitting Room (1969)
|
|
|
|
5.67
|
1:31:13
|
1,920 x 1,040
|
8,683 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
220 kbps
|
|
The Bedroom Window (1987)
|
|
|
|
5.81
|
1:53:29
|
1,920 x 808
|
7,084 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
240 kbps
|
|
The Bee Gees: How Can You Mend a Broken Heart (2020)
|
|
|
|
7.31
|
1:51:08
|
1,920 x 1,080
|
6,634 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,783 kbps
|
|
The Beekeeper (2024)
|
|
|
|
|
6.59
|
1:45:08
|
3,840 x 1,608
|
6,414 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,562 kbps
|
|
The Bellmen (2020)
|
|
|
|
2.93
|
1:35:40
|
1,920 x 1,076
|
4,001 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Benchwarmers (2006)
|
|
|
|
6.72
|
1:25:10
|
1,920 x 1,040
|
9,825 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,461 kbps
|
|
The Bermuda Triangle (1978)
|
|
|
|
5.47
|
1:51:59
|
1,920 x 1,036
|
6,265 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
724 kbps
|
|
The Best Exotic Marigold Hotel (2012)
|
|
|
|
8.45
|
2:03:45
|
1,920 x 816
|
6,339 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,435 kbps
|
|
The Best Little Whorehouse in Texas (1982)
|
|
|
|
6.46
|
1:54:17
|
1,920 x 816
|
6,756 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,330 kbps
|
|
The BFG (1989)
|
|
|
|
5.26
|
1:31:20
|
1,920 x 1,076
|
7,821 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
424 kbps
|
|
The BFG (2016)
|
|
|
|
|
8.70
|
1:57:10
|
3,840 x 1,604
|
8,039 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,586 kbps
|
|
The Big Bus (1976)
|
|
|
|
5.03
|
1:28:31
|
1,920 x 804
|
7,081 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,055 kbps
|
|
The Big Chill (1983)
|
|
|
|
10.74
|
1:45:19
|
1,920 x 1,040
|
11,648 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,951 kbps
|
|
The Big Easy (1986)
|
|
|
|
4.57
|
1:41:12
|
1,920 x 1,020
|
6,179 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
285 kbps
|
|
The Big Hit (1998)
|
|
|
|
5.15
|
1:31:23
|
1,920 x 1,040
|
6,330 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,738 kbps
|
|
The Big Kahuna (2000)
|
|
|
|
6.54
|
1:30:56
|
1,920 x 1,080
|
10,102 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Big Lebowski (1998)
|
|
|
|
|
|
17.29
|
1:57:12
|
3,840 x 2,076
|
17,033 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,077 kbps
|
|
The Big Mouth (1967)
|
|
|
|
12.85
|
1:47:19
|
1,920 x 1,072
|
16,461 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
677 kbps
|
|
The Big Short (2015)
|
|
|
|
11.06
|
2:10:16
|
1,920 x 800
|
8,146 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,002 kbps
|
|
The Big Sick (2017)
|
|
|
|
5.40
|
2:00:24
|
1,920 x 1,036
|
3,387 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,026 kbps
|
|
The Big Sleep (1946)
|
|
|
|
7.10
|
1:53:56
|
1,480 x 1,080
|
8,736 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
189 kbps
|
|
The Birdcage (1996)
|
|
|
|
6.24
|
1:59:13
|
1,920 x 1,040
|
4,142 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,352 kbps
|
|
The Birdcatcher (2019)
|
|
|
|
5.62
|
1:40:20
|
1,920 x 804
|
4,969 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,052 kbps
|
|
The Birds (1963)
|
|
|
|
|
|
32.86
|
1:59:31
|
3,840 x 2,076
|
38,791 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
564 kbps
|
|
The Birthday Cake (2021)
|
|
|
|
10.19
|
1:32:59
|
3,840 x 1,712
|
12,632 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,052 kbps
|
|
The Black Balloon (2008)
|
|
|
|
3.26
|
1:36:57
|
1,920 x 1,080
|
3,747 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,070 kbps
|
|
The Black Cat (1989)
|
|
|
|
7.77
|
1:28:58
|
1,800 x 1,080
|
11,861 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
645 kbps
|
|
The Black Cauldron (1985)
|
|
|
|
7.65
|
1:20:05
|
3,840 x 1,632
|
13,031 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Black Dahlia (2006)
|
|
|
|
5.94
|
2:01:12
|
1,920 x 786
|
3,991 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,025 kbps
|
|
The Black Demon (2023)
|
|
|
|
3.79
|
1:41:01
|
1,920 x 952
|
4,054 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,318 kbps
|
|
The Black Hole (1979)
|
|
|
|
9.51
|
1:37:45
|
1,920 x 812
|
10,372 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,545 kbps
|
|
The Black Hole (2016)
|
|
|
|
2.17
|
1:51:12
|
1,920 x 852
|
1,731 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,061 kbps
|
|
The Black Marble (1980)
|
|
|
|
5.00
|
1:50:08
|
1,920 x 804
|
6,265 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
238 kbps
|
|
The Black String (2021)
|
|
|
|
2.88
|
1:32:26
|
1,920 x 984
|
2,641 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,819 kbps
|
|
The Blackcoat's Daughter (2015)
|
|
|
|
1.46
|
1:34:27
|
1,920 x 1,080
|
999 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,211 kbps
|
|
The Blind (2023)
|
|
|
|
4.90
|
1:49:38
|
1,920 x 804
|
3,622 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,780 kbps
|
|
The Blind Side (2009)
|
|
|
|
|
8.81
|
2:08:33
|
1,920 x 1,080
|
6,970 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,842 kbps
|
|
The Bling Ring (2013)
|
|
|
|
|
4.98
|
1:30:33
|
1,920 x 1,036
|
4,867 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,008 kbps
|
|
The Blob (1988)
|
|
|
|
|
46.01
|
1:35:02
|
3,840 x 2,076
|
66,020 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,996 kbps
|
|
The Block Island Sound (2021)
|
|
|
|
10.11
|
1:39:00
|
3,840 x 1,600
|
13,979 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Blood of Fu Manchu (1968)
|
|
|
|
12.53
|
1:33:40
|
1,792 x 1,080
|
18,564 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
593 kbps
|
|
The Bloodhound (2020)
|
|
|
|
1.58
|
1:11:38
|
1,782 x 1,080
|
834 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,319 kbps
|
|
The Blue Iguana (1988)
|
|
|
|
7.58
|
1:30:07
|
1,920 x 1,064
|
10,669 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,371 kbps
|
|
The Blue Lagoon (1980)
|
|
|
|
17.72
|
1:44:44
|
1,920 x 1,040
|
21,378 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,836 kbps
|
|
The Blues Brothers (1980)
|
|
|
|
|
39.09
|
2:27:45
|
3,840 x 2,076
|
32,838 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,033 kbps
|
|
The Bob's Burgers Movie (2022)
|
|
|
|
|
4.10
|
1:41:54
|
3,840 x 1,608
|
2,828 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,923 kbps
|
|
The Bodyguard (1992)
|
|
|
|
9.61
|
2:09:20
|
1,920 x 1,080
|
7,191 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,448 kbps
|
|
The Bone Collector (1999)
|
|
|
|
3.99
|
1:57:57
|
1,920 x 800
|
3,574 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,270 kbps
|
|
The Boogens (1981)
|
|
|
|
|
22.07
|
1:35:25
|
3,840 x 2,160
|
31,747 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,361 kbps
|
|
The Book of Eli (2010)
|
|
|
|
3.92
|
1:57:36
|
1,920 x 800
|
2,063 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,706 kbps
|
|
The Book of Henry (2017)
|
|
|
|
6.47
|
1:45:09
|
1,920 x 960
|
6,006 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,798 kbps
|
|
The Boondock Saints (2000)
|
|
|
|
4.25
|
1:48:22
|
1,920 x 810
|
4,425 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,181 kbps
|
|
The Boondock Saints II: All Saints Day (2009)
|
|
|
|
|
6.33
|
2:18:01
|
1,920 x 816
|
4,411 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,149 kbps
|
|
The Border (1982)
|
|
|
|
9.26
|
1:48:21
|
1,920 x 816
|
11,550 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
679 kbps
|
|
The Borrower (1991)
|
|
|
|
4.49
|
1:31:27
|
1,920 x 1,036
|
6,500 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
525 kbps
|
|
The Borrowers (1998)
|
|
|
|
|
7.28
|
1:26:55
|
1,920 x 1,040
|
8,051 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,939 kbps
|
|
The Boss (2016)
|
|
|
|
|
4.39
|
1:44:15
|
1,920 x 1,036
|
2,999 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,026 kbps
|
|
The Boss Baby (2017)
|
|
|
|
|
|
4.04
|
1:37:31
|
3,840 x 1,632
|
3,361 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,556 kbps
|
|
The Boss Baby: Family Business (2021)
|
|
|
|
|
4.51
|
1:47:13
|
3,840 x 1,608
|
4,590 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,426 kbps
|
|
The Boston Strangler (1968)
|
|
|
|
4.86
|
1:56:13
|
1,920 x 816
|
4,224 kbps
|
|
3.0
|
|
24 bits / 48 kHz
|
1,760 kbps
|
|
The Bouncer (2018)
|
|
|
|
1.64
|
1:26:39
|
1,920 x 804
|
1,186 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,525 kbps
|
|
The Bounty Hunter (2010)
|
|
|
|
5.26
|
1:50:39
|
1,920 x 816
|
3,691 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,108 kbps
|
|
The Bourne Identity (2002)
|
|
|
|
|
|
|
10.14
|
1:58:27
|
3,840 x 1,628
|
9,457 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,791 kbps
|
|
The Bourne Legacy (2012)
|
|
|
|
|
|
20.21
|
2:14:57
|
3,840 x 1,600
|
18,950 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,487 kbps
|
|
The Bourne Supremacy (2004)
|
|
|
|
|
|
14.95
|
1:48:26
|
3,840 x 1,632
|
16,960 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,773 kbps
|
|
The Bourne Ultimatum (2007)
|
|
|
|
|
|
|
14.25
|
1:55:15
|
3,840 x 1,600
|
14,909 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,787 kbps
|
|
The Box (2009)
|
|
|
|
5.67
|
1:55:25
|
1,920 x 800
|
3,643 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,384 kbps
|
|
The Boxtrolls (2014)
|
|
|
|
5.74
|
1:36:10
|
1,920 x 1,080
|
5,393 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,158 kbps
|
|
The Boy (2016)
|
|
|
|
4.03
|
1:37:48
|
1,920 x 800
|
3,427 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,478 kbps
|
|
The Boy Behind the Door (2021)
|
|
|
|
1.26
|
1:28:20
|
1,920 x 804
|
1,086 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
951 kbps
|
|
The Boy Next Door (2015)
|
|
|
|
4.48
|
1:30:41
|
1,920 x 800
|
4,174 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,893 kbps
|
|
The Boy Who Cried Werewolf (2010)
|
|
|
|
2.92
|
1:26:26
|
1,912 x 1,080
|
4,387 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
The Boy, the Mole, the Fox and the Horse (2022)
|
|
|
|
|
1.63
|
34:09
|
3,840 x 2,160
|
6,072 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Boys & Girls Guide to Getting Down (2007)
|
|
|
|
4.66
|
1:32:43
|
1,920 x 1,080
|
6,548 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Boys Next Door (1986)
|
|
|
|
13.87
|
1:30:54
|
1,920 x 1,036
|
21,483 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
352 kbps
|
|
The Brady Bunch Movie (1995)
|
|
|
|
|
7.57
|
1:28:27
|
1,920 x 1,080
|
9,030 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,228 kbps
|
|
The Brain (1988)
|
|
|
|
13.39
|
1:31:06
|
1,920 x 1,036
|
20,336 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
697 kbps
|
|
The Brass Teapot (2013)
|
|
|
|
4.65
|
1:41:29
|
1,920 x 804
|
3,788 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,765 kbps
|
|
The Brave (1997)
|
|
|
|
5.66
|
2:03:42
|
1,920 x 1,036
|
5,995 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
555 kbps
|
|
The Brave One (2007)
|
|
|
|
2.97
|
2:02:18
|
1,920 x 800
|
2,235 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
The Breakfast Club (1985)
|
|
|
|
|
6.93
|
1:36:58
|
1,920 x 1,040
|
7,110 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,115 kbps
|
|
The Breed (2001)
|
|
|
|
2.42
|
1:31:12
|
1,916 x 1,080
|
3,539 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
The Breed (2006)
|
|
|
|
7.22
|
1:30:55
|
1,912 x 1,080
|
9,851 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,520 kbps
|
|
The Brides of Fu Manchu (1966)
|
|
|
|
15.16
|
1:34:20
|
1,920 x 1,036
|
22,371 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
642 kbps
|
|
The Bridge on the River Kwai (1957)
|
|
|
|
|
46.31
|
2:41:29
|
3,840 x 1,504
|
38,296 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,756 kbps
|
|
The Bridges of Madison County (1995)
|
|
|
|
10.52
|
2:14:36
|
1,920 x 1,080
|
7,709 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,483 kbps
|
|
The Brink's Job (1978)
|
|
|
|
7.20
|
1:43:10
|
1,920 x 1,032
|
9,759 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
224 kbps
|
|
The Broken Hearts Gallery (2020)
|
|
|
|
4.79
|
1:48:52
|
1,920 x 960
|
3,532 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,767 kbps
|
|
The Bronze (2016)
|
|
|
|
|
2.76
|
1:40:10
|
1,920 x 1,036
|
2,643 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,302 kbps
|
|
The Brood (1979)
|
|
|
|
8.51
|
1:32:30
|
1,920 x 1,080
|
12,556 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
615 kbps
|
|
The Brothers Grimm (2005)
|
|
|
|
10.20
|
1:58:39
|
1,920 x 1,040
|
8,508 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,792 kbps
|
|
The Brothers Grimsby (2016)
|
|
|
|
2.98
|
1:23:12
|
1,920 x 800
|
3,557 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,572 kbps
|
|
The Bubble (2022)
|
|
|
|
|
3.87
|
2:06:05
|
3,840 x 1,608
|
3,620 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Bucket List (2008)
|
|
|
|
4.70
|
1:37:05
|
1,920 x 1,080
|
6,286 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Burial (2023)
|
|
|
|
|
9.31
|
2:07:14
|
3,840 x 1,600
|
10,025 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Burning (1981)
|
|
|
|
|
26.05
|
1:31:34
|
3,840 x 2,076
|
40,060 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
676 kbps
|
|
The Burnt Orange Heresy (2020)
|
|
|
|
3.28
|
1:38:14
|
1,920 x 804
|
2,113 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,672 kbps
|
|
The Butcher's Wife (1991)
|
|
|
|
4.50
|
1:44:44
|
1,904 x 1,080
|
5,505 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Butterfly Effect (2004)
|
|
|
|
|
9.25
|
1:59:37
|
1,920 x 1,080
|
8,120 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,945 kbps
|
|
The Butterfly Effect 2 (2006)
|
|
|
|
4.31
|
1:32:23
|
1,904 x 1,080
|
3,459 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,213 kbps
|
|
The Butterfly Effect 3: Revelations (2009)
|
|
|
|
2.46
|
1:30:19
|
1,920 x 1,040
|
2,819 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,073 kbps
|
|
The Butterfly Tree (2017)
|
|
|
|
4.04
|
1:36:04
|
1,920 x 856
|
3,549 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,476 kbps
|
|
The Bygone (2019)
|
|
|
|
2.80
|
1:46:23
|
1,920 x 804
|
2,606 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,156 kbps
|
|
The Cabin in the Woods (2012)
|
|
|
|
|
10.18
|
1:35:03
|
3,840 x 1,600
|
12,312 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,011 kbps
|
|
The Cable Guy (1996)
|
|
|
|
6.67
|
1:35:46
|
1,920 x 800
|
6,859 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,105 kbps
|
|
The Caddy (1953)
|
|
|
|
12.55
|
1:35:30
|
1,436 x 1,080
|
18,592 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Cake Eaters (2009)
|
|
|
|
2.86
|
1:25:44
|
1,896 x 1,080
|
3,955 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
825 kbps
|
|
The California Kid (1974)
|
|
|
|
4.18
|
1:13:48
|
1,440 x 1,080
|
7,919 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Call (2013)
|
|
|
|
3.88
|
1:34:14
|
1,920 x 1,036
|
2,880 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,012 kbps
|
|
The Call of the Wild (2020)
|
|
|
|
|
6.26
|
1:39:41
|
3,840 x 1,604
|
6,168 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,820 kbps
|
|
The Call Up (2016)
|
|
|
|
3.75
|
1:30:23
|
1,920 x 1,036
|
2,837 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,104 kbps
|
|
The Caller (1987)
|
|
|
|
9.70
|
1:36:55
|
1,920 x 1,036
|
12,936 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,391 kbps
|
|
The Caller (2011)
|
|
|
|
1.44
|
1:31:22
|
1,920 x 1,036
|
1,109 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,147 kbps
|
|
The Calling (2014)
|
|
|
|
2.18
|
1:48:04
|
1,920 x 800
|
2,248 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Campaign (2012)
|
|
|
|
|
5.50
|
1:35:40
|
1,920 x 1,080
|
5,357 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,872 kbps
|
|
The Cannonball Run (1981)
|
|
|
|
6.18
|
1:35:14
|
1,912 x 1,080
|
5,470 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,816 kbps
|
|
The Canterville Ghost (1996)
|
|
|
|
3.85
|
1:31:46
|
1,920 x 1,080
|
5,468 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
532 kbps
|
|
The Canyons (2013)
|
|
|
|
4.43
|
1:39:27
|
1,920 x 816
|
5,659 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
722 kbps
|
|
The Capture (2017)
|
|
|
|
1.34
|
1:18:58
|
1,920 x 796
|
1,792 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Car (1977)
|
|
|
|
7.19
|
1:36:14
|
1,920 x 814
|
10,148 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
546 kbps
|
|
The Card (1952)
|
|
|
|
3.78
|
1:30:56
|
1,480 x 1,080
|
5,634 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
314 kbps
|
|
The Card Counter (2021)
|
|
|
|
|
4.76
|
1:51:29
|
3,596 x 2,160
|
3,323 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,784 kbps
|
|
The Case for Christ (2017)
|
|
|
|
5.12
|
1:53:44
|
1,920 x 800
|
3,920 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,528 kbps
|
|
The Cassandra Crossing (1977)
|
|
|
|
7.87
|
2:08:43
|
1,920 x 1,072
|
8,112 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
643 kbps
|
|
The Castle of Fu Manchu (1969)
|
|
|
|
14.87
|
1:32:16
|
1,792 x 1,080
|
22,507 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
564 kbps
|
|
The Catcher Was a Spy (2018)
|
|
|
|
2.79
|
1:34:26
|
1,920 x 1,036
|
2,891 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,330 kbps
|
|
The Cave (2005)
|
|
|
|
6.18
|
1:37:09
|
1,920 x 800
|
5,823 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,281 kbps
|
|
The Cell (2000)
|
|
|
|
3.63
|
1:49:12
|
1,920 x 800
|
3,430 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,327 kbps
|
|
The Cell 2 (2009)
|
|
|
|
4.75
|
1:33:20
|
1,904 x 1,080
|
5,722 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,556 kbps
|
|
The Cellar (2022)
|
|
|
|
1.60
|
1:34:21
|
1,920 x 804
|
1,350 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,079 kbps
|
|
The Chain (2019)
|
|
|
|
1.86
|
1:41:42
|
1,920 x 796
|
1,872 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
751 kbps
|
|
The Change-Up (2011)
|
|
|
|
|
6.88
|
1:58:09
|
1,920 x 800
|
5,393 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,943 kbps
|
|
The Changeling (1980)
|
|
|
|
37.06
|
1:46:47
|
3,840 x 2,076
|
48,771 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
906 kbps
|
|
The Channeler (1991)
|
|
|
|
0.84
|
1:28:53
|
572 x 480
|
1,157 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Chase (1994)
|
|
|
|
|
4.11
|
1:27:55
|
1,920 x 1,034
|
6,499 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Cheerleaders (1973)
|
|
|
|
8.87
|
1:22:31
|
1,904 x 1,080
|
15,319 kbps
|
|
1.0
|
|
12 bits / 16 kHz
|
75 kbps
|
|
The Cherokee Kid (1996)
|
|
|
|
4.27
|
1:32:37
|
1,904 x 1,080
|
6,367 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Child (2012)
|
|
|
|
4.53
|
1:58:47
|
1,920 x 804
|
2,324 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,135 kbps
|
|
The Children's Hour (1961)
|
|
|
|
13.34
|
1:48:28
|
1,792 x 1,080
|
17,082 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
529 kbps
|
|
The Chimp (1932)
|
|
|
|
1.09
|
25:36
|
1,418 x 1,080
|
5,905 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
186 kbps
|
|
The China Syndrome (1979)
|
|
|
|
|
14.06
|
2:02:20
|
1,920 x 1,040
|
13,788 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,660 kbps
|
|
The Choice (2016)
|
|
|
|
5.48
|
1:51:07
|
1,920 x 796
|
3,813 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,241 kbps
|
|
The Christmas Blessing (2005)
|
|
|
|
11.57
|
1:31:00
|
1,904 x 1,080
|
17,241 kbps
|
|
2.0
|
|
21 bits / 48 kHz
|
961 kbps
|
|
The Christmas Box (1995)
|
|
|
|
6.38
|
1:31:50
|
1,912 x 1,080
|
9,728 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Christmas Chronicles (2018)
|
|
|
|
|
8.50
|
1:43:24
|
3,840 x 2,076
|
10,976 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Christmas Chronicles: Part Two (2020)
|
|
|
|
|
8.90
|
1:52:03
|
3,840 x 2,076
|
10,571 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Christmas Dance (2021)
|
|
|
|
1.96
|
1:34:55
|
1,920 x 800
|
2,308 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Christmas Switch (2014)
|
|
|
|
4.63
|
1:29:13
|
1,920 x 1,080
|
6,783 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Christmas Train (2017)
|
|
|
|
1.86
|
1:38:46
|
1,920 x 1,080
|
2,504 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Chronicles of Narnia: Prince Caspian (2008)
|
|
|
|
8.47
|
2:29:59
|
1,920 x 800
|
4,923 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,161 kbps
|
|
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
|
|
|
|
5.50
|
2:22:52
|
1,920 x 816
|
4,091 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,420 kbps
|
|
The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
|
|
|
|
9.15
|
1:52:41
|
1,920 x 1,080
|
8,250 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,376 kbps
|
|
The Chronicles of Riddick (2004)
|
|
|
|
7.31
|
2:14:06
|
1,920 x 800
|
4,052 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,752 kbps
|
|
The Circle (2017)
|
|
|
|
|
5.35
|
1:49:47
|
1,920 x 800
|
4,150 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,823 kbps
|
|
The Clapper (2018)
|
|
|
|
|
1.87
|
1:30:03
|
1,920 x 804
|
1,957 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,007 kbps
|
|
The Cleaning Lady (2018)
|
|
|
|
3.31
|
1:30:25
|
1,920 x 808
|
1,800 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,437 kbps
|
|
The Client (1994)
|
|
|
|
3.74
|
2:00:46
|
1,920 x 800
|
3,069 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,359 kbps
|
|
The Cloverfield Paradox (2018)
|
|
|
|
|
|
4.63
|
1:41:49
|
1,920 x 800
|
3,606 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,897 kbps
|
|
The Cobbler (2015)
|
|
|
|
|
4.04
|
1:38:04
|
1,920 x 1,032
|
3,311 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,585 kbps
|
|
The Collector (1965)
|
|
|
|
28.83
|
1:59:14
|
1,920 x 1,040
|
34,000 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
612 kbps
|
|
The Colony (2021)
|
|
|
|
1.94
|
1:44:31
|
1,920 x 800
|
1,647 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,012 kbps
|
|
The Color of Money (1986)
|
|
|
|
6.16
|
1:59:39
|
1,920 x 1,038
|
4,022 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,345 kbps
|
|
The Color Purple (1985)
|
|
|
|
|
36.10
|
2:33:45
|
3,840 x 2,076
|
29,807 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,798 kbps
|
|
The Color Purple (2023)
|
|
|
|
|
7.60
|
2:20:52
|
3,840 x 2,076
|
6,336 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,379 kbps
|
|
The Comeback Trail (2022)
|
|
|
|
3.70
|
1:43:12
|
1,920 x 796
|
3,764 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,368 kbps
|
|
The Commuter (2018)
|
|
|
|
|
|
10.75
|
1:44:55
|
3,840 x 1,604
|
11,635 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,032 kbps
|
|
The Company of Wolves (1984)
|
|
|
|
|
53.98
|
1:35:06
|
3,840 x 2,076
|
79,995 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,258 kbps
|
|
The Company You Keep (2012)
|
|
|
|
6.77
|
2:01:45
|
1,920 x 800
|
5,099 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,861 kbps
|
|
The Competition (2018)
|
|
|
|
3.19
|
1:43:23
|
1,920 x 800
|
1,689 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,731 kbps
|
|
The Complex: Lockdown (2020)
|
|
|
|
1.39
|
1:18:54
|
1,920 x 1,080
|
1,875 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Concorde ... Airport '79 (1979)
|
|
|
|
6.43
|
1:53:14
|
1,920 x 1,036
|
7,417 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
705 kbps
|
|
The Condemned (2007)
|
|
|
|
10.12
|
1:53:38
|
1,920 x 1,036
|
10,743 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,001 kbps
|
|
The Conjuring (2013)
|
|
|
|
4.30
|
1:51:57
|
1,920 x 796
|
2,582 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,910 kbps
|
|
The Conjuring 2 (2016)
|
|
|
|
5.53
|
2:13:53
|
1,920 x 800
|
3,579 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,336 kbps
|
|
The Conjuring: The Devil Made Me Do It (2021)
|
|
|
|
|
7.39
|
1:51:53
|
3,840 x 1,608
|
6,973 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,480 kbps
|
|
The Constant Gardener (2005)
|
|
|
|
10.50
|
2:08:29
|
1,916 x 1,080
|
7,344 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,350 kbps
|
|
The Contractor (2007)
|
|
|
|
7.51
|
1:38:30
|
1,916 x 1,080
|
7,178 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,742 kbps
|
|
The Conversation (1974)
|
|
|
|
10.78
|
1:53:48
|
1,920 x 1,076
|
10,804 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,751 kbps
|
|
The Cook, the Thief, His Wife & Her Lover (1989)
|
|
|
|
4.44
|
2:04:12
|
1,920 x 800
|
3,805 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,312 kbps
|
|
The Cooler (2004)
|
|
|
|
7.15
|
1:42:04
|
1,920 x 800
|
6,484 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,536 kbps
|
|
The Core (2003)
|
|
|
|
|
|
17.93
|
2:14:59
|
3,840 x 1,632
|
15,166 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,843 kbps
|
|
The Corruptor (1999)
|
|
|
|
5.99
|
1:50:10
|
1,920 x 800
|
4,627 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,160 kbps
|
|
The Couch Trip (1988)
|
|
|
|
|
8.93
|
1:38:01
|
1,920 x 1,036
|
12,302 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
745 kbps
|
|
The Counselor (2013)
|
|
|
|
|
5.18
|
2:17:56
|
1,920 x 800
|
2,231 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,140 kbps
|
|
The Count of Monte Cristo (2002)
|
|
|
|
6.10
|
2:11:14
|
1,920 x 1,040
|
3,107 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,547 kbps
|
|
The Courier (2019)
|
|
|
|
|
3.78
|
1:39:34
|
1,920 x 800
|
2,363 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,073 kbps
|
|
The Court Jester (2024)
|
|
|
|
0.35
|
09:51
|
1,920 x 1,080
|
4,895 kbps
|
|
2.0
|
|
44.1 kHz
|
128 kbps
|
|
The Covenant (2006)
|
|
|
|
4.47
|
1:37:08
|
1,920 x 816
|
5,082 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,501 kbps
|
|
The Craft (1996)
|
|
|
|
|
79.10
|
1:40:58
|
3,840 x 2,076
|
108,377 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,782 kbps
|
|
The Crazies (1973)
|
|
|
|
8.02
|
1:42:58
|
1,800 x 1,080
|
10,930 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
224 kbps
|
|
The Creator (2023)
|
|
|
|
|
|
17.17
|
2:13:29
|
3,840 x 1,392
|
16,901 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,504 kbps
|
|
The Creeps (1997)
|
|
|
|
2.89
|
1:14:50
|
1,920 x 808
|
4,884 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
637 kbps
|
|
The Crimson Kimono (1959)
|
|
|
|
5.20
|
1:21:25
|
1,920 x 1,040
|
8,557 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
593 kbps
|
|
The Crocodile Hunter: Collision Course (2002)
|
|
|
|
4.60
|
1:29:13
|
1,920 x 816
|
6,733 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Crow (1994)
|
|
|
|
4.74
|
1:41:53
|
1,920 x 1,028
|
3,374 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,283 kbps
|
|
The Crow: City of Angels (1996)
|
|
|
|
1.49
|
1:30:44
|
720 x 452
|
759 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,593 kbps
|
|
The Crush (1993)
|
|
|
|
5.18
|
1:29:01
|
1,920 x 1,080
|
6,701 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,631 kbps
|
|
The Cry of the Owl (2009)
|
|
|
|
6.98
|
1:39:34
|
1,920 x 816
|
7,173 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,867 kbps
|
|
The Crying Game (1992)
|
|
|
|
4.48
|
1:51:58
|
1,920 x 808
|
5,258 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
464 kbps
|
|
The Cure (1995)
|
|
|
|
4.03
|
1:38:28
|
1,920 x 1,040
|
5,345 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
511 kbps
|
|
The Curious Case of Benjamin Button (2008)
|
|
|
|
|
5.90
|
2:46:03
|
1,920 x 800
|
2,118 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,964 kbps
|
|
The Current War (2017)
|
|
|
|
2.25
|
1:47:54
|
1,920 x 800
|
1,915 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,073 kbps
|
|
The Curse of La Llorona (2019)
|
|
|
|
|
6.55
|
1:33:12
|
3,840 x 1,604
|
8,876 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,174 kbps
|
|
The Curse of the Jade Scorpion (2001)
|
|
|
|
3.03
|
1:41:58
|
1,920 x 1,080
|
3,948 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
303 kbps
|
|
The Da Vinci Code (2006)
|
|
|
|
|
|
4.88
|
2:54:37
|
1,920 x 800
|
2,786 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,210 kbps
|
|
The Da Vinci Treasure (2006)
|
|
|
|
4.69
|
1:31:20
|
1,920 x 1,080
|
4,305 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,046 kbps
|
|
The Dallas Connection (1994)
|
|
|
|
9.08
|
1:33:57
|
1,920 x 1,080
|
13,353 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
483 kbps
|
|
The Dam Busters (1955)
|
|
|
|
16.17
|
2:04:50
|
1,480 x 1,080
|
18,348 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
197 kbps
|
|
The Darjeeling Limited (2007)
|
|
|
|
5.00
|
1:31:47
|
1,920 x 800
|
5,144 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,660 kbps
|
|
The Dark (1979)
|
|
|
|
3.98
|
1:30:47
|
1,920 x 816
|
5,643 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
627 kbps
|
|
The Dark Crystal (1982)
|
|
|
|
|
25.07
|
1:33:08
|
3,840 x 1,604
|
35,634 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,901 kbps
|
|
The Dark Knight (2008)
|
|
|
|
|
|
16.85
|
2:32:12
|
3,840 x 2,160
|
12,632 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,209 kbps
|
|
The Dark Knight Rises (2012)
|
|
|
|
|
17.32
|
2:44:32
|
3,840 x 2,160
|
11,630 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,435 kbps
|
|
The Dark Place (2014)
|
|
|
|
1.57
|
1:30:25
|
1,920 x 816
|
2,037 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Dark Side of the Moon (1990)
|
|
|
|
6.98
|
1:31:03
|
1,920 x 1,080
|
9,514 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,463 kbps
|
|
The Dark Tower (2017)
|
|
|
|
|
|
12.01
|
1:34:45
|
3,840 x 1,600
|
15,296 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,837 kbps
|
|
The Darkest Hour (2011)
|
|
|
|
4.21
|
1:29:16
|
1,920 x 800
|
3,556 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,200 kbps
|
|
The Darkest Minds (2018)
|
|
|
|
|
7.52
|
1:43:48
|
3,840 x 1,608
|
7,860 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,508 kbps
|
|
The Darkness (2016)
|
|
|
|
2.94
|
1:32:22
|
1,920 x 804
|
1,913 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,643 kbps
|
|
The Day After (1983)
|
|
|
|
|
7.01
|
2:07:02
|
1,920 x 1,076
|
7,578 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
323 kbps
|
|
The Day After Tomorrow (2004)
|
|
|
|
|
|
|
11.50
|
2:03:40
|
3,840 x 1,632
|
9,718 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,593 kbps
|
|
The Day of the Locust
|
|
|
|
4.08
|
2:24:09
|
720 x 480
|
1,187 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,862 kbps
|
|
The Day the Earth Caught Fire (1961)
|
|
|
|
7.90
|
1:39:16
|
1,920 x 804
|
10,708 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
688 kbps
|
|
The Day the Earth Stood Still (1951)
|
|
|
|
|
5.47
|
1:32:11
|
1,440 x 1,080
|
7,732 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
767 kbps
|
|
The Day the Earth Stood Still (2008)
|
|
|
|
|
6.35
|
1:43:36
|
1,920 x 816
|
5,316 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,452 kbps
|
|
The Daytrippers (1996)
|
|
|
|
9.63
|
1:27:04
|
1,920 x 1,036
|
14,500 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,334 kbps
|
|
The Dead Center (2018)
|
|
|
|
6.72
|
1:32:46
|
1,920 x 1,036
|
7,461 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,908 kbps
|
|
The Dead Come Home (1989)
|
|
|
|
15.40
|
1:33:47
|
1,920 x 1,036
|
22,123 kbps
|
|
1.0
|
|
24 bits / 96 kHz
|
1,386 kbps
|
|
The Dead Pit (1989)
|
|
|
|
|
41.05
|
1:41:38
|
3,840 x 2,072
|
57,079 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
744 kbps
|
|
The Dead Pool (1988)
|
|
|
|
|
5.72
|
1:31:13
|
1,916 x 1,080
|
7,545 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,431 kbps
|
|
The Dead Zone (1983)
|
|
|
|
|
24.75
|
1:43:45
|
3,840 x 2,076
|
31,380 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,767 kbps
|
|
The Deadly Spawn (1983)
|
|
|
|
4.02
|
1:22:01
|
1,420 x 1,080
|
6,624 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
The Death and Life of Bobby Z (2007)
|
|
|
|
4.09
|
1:37:05
|
1,920 x 810
|
4,701 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,332 kbps
|
|
The Death of Superman (2018)
|
|
|
|
|
2.05
|
1:20:56
|
3,840 x 2,156
|
2,346 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,268 kbps
|
|
The Debt (2010)
|
|
|
|
4.44
|
1:53:29
|
1,920 x 800
|
2,599 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,997 kbps
|
|
The Debt Collector (2018)
|
|
|
|
4.42
|
1:36:19
|
1,920 x 816
|
3,486 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,079 kbps
|
|
The Decoy Bride (2011)
|
|
|
|
3.96
|
1:29:12
|
1,920 x 796
|
3,458 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,894 kbps
|
|
The Deep (1977)
|
|
|
|
6.58
|
2:04:30
|
1,920 x 800
|
6,358 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,210 kbps
|
|
The Deep End (2001)
|
|
|
|
6.41
|
1:40:56
|
1,920 x 816
|
5,827 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,260 kbps
|
|
The Deer Hunter (1979)
|
|
|
|
|
59.36
|
3:03:47
|
3,840 x 1,632
|
43,650 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,585 kbps
|
|
The Demolitionist (1995)
|
|
|
|
2.62
|
1:32:59
|
1,920 x 1,080
|
3,590 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Departed (2006)
|
|
|
|
5.13
|
2:31:21
|
1,920 x 792
|
3,526 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,330 kbps
|
|
The Descendants (2011)
|
|
|
|
7.48
|
1:55:01
|
1,920 x 792
|
6,785 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,524 kbps
|
|
The Descent (2005)
|
|
|
|
5.08
|
1:39:24
|
1,920 x 818
|
5,831 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,422 kbps
|
|
The Descent: Part 2 (2009)
|
|
|
|
4.02
|
1:33:54
|
1,920 x 814
|
4,845 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,286 kbps
|
|
The Desperate Hour (2022)
|
|
|
|
4.51
|
1:24:20
|
1,920 x 796
|
4,634 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,021 kbps
|
|
The Details (2016)
|
|
|
|
5.24
|
1:41:29
|
1,920 x 1,080
|
5,641 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,752 kbps
|
|
The Devil We Know (2018)
|
|
|
|
2.13
|
1:28:16
|
1,920 x 1,080
|
2,812 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Devil Wears Prada (2006)
|
|
|
|
|
6.67
|
1:49:22
|
3,840 x 1,632
|
5,367 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,351 kbps
|
|
The Devil's Advocate (1997)
|
|
|
|
7.62
|
2:23:56
|
1,920 x 800
|
4,497 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,082 kbps
|
|
The Devil's Honey (1986)
|
|
|
|
15.68
|
1:22:50
|
1,920 x 1,036
|
26,393 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
714 kbps
|
|
The Devil's Own (1997)
|
|
|
|
3.46
|
1:51:16
|
1,920 x 800
|
3,055 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,396 kbps
|
|
The Dictator (2012)
|
|
|
|
|
4.09
|
1:38:47
|
1,920 x 800
|
2,746 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,181 kbps
|
|
The Dinner (2017)
|
|
|
|
6.89
|
2:00:26
|
1,920 x 1,036
|
4,504 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,688 kbps
|
|
The Directive (2019)
|
|
|
|
5.09
|
1:53:12
|
1,920 x 1,072
|
6,211 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Dirt Bike Kid (1985)
|
|
|
|
7.27
|
1:30:39
|
1,904 x 1,080
|
10,831 kbps
|
|
1.0
|
|
22 bits / 48 kHz
|
657 kbps
|
|
The Dirty Dozen (1967)
|
|
|
|
12.75
|
2:29:38
|
1,904 x 1,080
|
11,557 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Disappearance of Alice Creed (2010)
|
|
|
|
4.88
|
1:40:08
|
1,920 x 798
|
4,040 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,931 kbps
|
|
The Disaster Artist (2017)
|
|
|
|
5.51
|
1:43:51
|
1,920 x 800
|
4,020 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,574 kbps
|
|
The Discarded (2020)
|
|
|
|
1.45
|
1:24:35
|
1,920 x 796
|
2,221 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Dish (2001)
|
|
|
|
6.85
|
1:41:29
|
1,920 x 1,080
|
8,643 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,016 kbps
|
|
The Dive (2023)
|
|
|
|
2.54
|
1:31:04
|
1,920 x 800
|
3,009 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
983 kbps
|
|
The Divide (2011)
|
|
|
|
11.18
|
2:02:14
|
1,920 x 816
|
9,045 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,041 kbps
|
|
The Do-Over (2016)
|
|
|
|
|
10.08
|
1:48:43
|
3,840 x 2,072
|
12,892 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Dog Lover (2016)
|
|
|
|
2.64
|
1:41:59
|
1,920 x 792
|
2,577 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,130 kbps
|
|
The Domestics (2018)
|
|
|
|
3.15
|
1:35:18
|
1,920 x 800
|
4,284 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
The Domino Principle (1978)
|
|
|
|
10.26
|
1:41:31
|
1,912 x 1,080
|
13,787 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
676 kbps
|
|
The Doorman (2020)
|
|
|
|
|
|
7.46
|
1:36:55
|
3,840 x 1,608
|
8,302 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,717 kbps
|
|
The Doors (1991)
|
|
|
|
|
33.69
|
2:20:30
|
3,840 x 1,632
|
32,409 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,918 kbps
|
|
The Double (2011)
|
|
|
|
4.18
|
1:38:21
|
1,920 x 810
|
4,709 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,374 kbps
|
|
The Double (2013)
|
|
|
|
3.43
|
1:33:01
|
1,920 x 1,036
|
4,477 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
802 kbps
|
|
The Dream Chasers (1984)
|
|
|
|
6.24
|
1:34:20
|
1,920 x 1,080
|
9,243 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Dream Team (1989)
|
|
|
|
6.52
|
1:52:22
|
1,920 x 1,040
|
6,895 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,412 kbps
|
|
The Dreamers (2003)
|
|
|
|
7.58
|
1:54:18
|
1,920 x 1,072
|
8,113 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,385 kbps
|
|
The Driller Killer (1979)
|
|
|
|
16.19
|
1:40:59
|
1,920 x 1,036
|
22,694 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
261 kbps
|
|
The Driver (1978)
|
|
|
|
|
50.40
|
1:31:39
|
3,840 x 2,076
|
78,066 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,428 kbps
|
|
The Drop (2014)
|
|
|
|
4.07
|
1:46:44
|
1,920 x 800
|
2,625 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,826 kbps
|
|
The Drowning Pool (1975)
|
|
|
|
5.39
|
1:48:17
|
1,920 x 800
|
6,524 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
603 kbps
|
|
The Dry (2020)
|
|
|
|
|
9.52
|
1:57:28
|
3,840 x 1,600
|
8,870 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,724 kbps
|
|
The DUFF (2015)
|
|
|
|
|
5.18
|
1:40:51
|
1,920 x 800
|
4,593 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,764 kbps
|
|
The Dukes of Hazzard (2005)
|
|
|
|
2.93
|
1:46:57
|
1,920 x 794
|
3,286 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Dustwalker (2019)
|
|
|
|
3.76
|
1:34:51
|
1,920 x 804
|
2,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,751 kbps
|
|
The East (2013)
|
|
|
|
|
4.78
|
1:56:08
|
1,920 x 816
|
2,951 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,943 kbps
|
|
The Edge of Seventeen (2016)
|
|
|
|
4.97
|
1:44:55
|
1,920 x 1,036
|
2,742 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,033 kbps
|
|
The Eiger Sanction (1975)
|
|
|
|
7.64
|
2:08:54
|
1,920 x 816
|
7,810 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
670 kbps
|
|
The Electrical Life of Louis Wain (2021)
|
|
|
|
|
|
7.44
|
1:50:56
|
2,880 x 2,160
|
6,552 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,044 kbps
|
|
The Emerald Forest (1985)
|
|
|
|
|
11.97
|
1:54:00
|
1,920 x 818
|
14,747 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
280 kbps
|
|
The Emoji Movie (2017)
|
|
|
|
|
4.58
|
1:26:24
|
3,840 x 1,604
|
4,650 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,930 kbps
|
|
The End (1978)
|
|
|
|
|
7.58
|
1:40:45
|
1,920 x 1,040
|
10,092 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
670 kbps
|
|
The Enemy Below (1958)
|
|
|
|
5.58
|
1:37:35
|
1,920 x 816
|
5,641 kbps
|
|
3/1
|
|
24 bits / 48 kHz
|
2,546 kbps
|
|
The Enforcer (1976)
|
|
|
|
|
5.13
|
1:36:36
|
1,920 x 796
|
6,335 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,269 kbps
|
|
The Entertainers (1991)
|
|
|
|
8.56
|
1:30:35
|
1,920 x 1,078
|
13,311 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Entity (1983)
|
|
|
|
9.83
|
2:05:09
|
1,920 x 816
|
9,008 kbps
|
|
3/1.1
|
|
24 bits / 48 kHz
|
2,238 kbps
|
|
The Equalizer (2014)
|
|
|
|
|
|
|
9.93
|
2:12:03
|
3,840 x 1,600
|
8,119 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,644 kbps
|
|
The Equalizer 2 (2018)
|
|
|
|
|
|
|
9.77
|
2:00:57
|
3,840 x 1,600
|
8,790 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,764 kbps
|
|
The Equalizer 3 (2023)
|
|
|
|
|
|
5.11
|
1:48:58
|
3,840 x 1,608
|
4,296 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,409 kbps
|
|
The Errand Boy (1961)
|
|
|
|
1.56
|
1:32:32
|
720 x 576
|
2,215 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Escort (2015)
|
|
|
|
3.66
|
1:27:28
|
1,920 x 1,080
|
3,243 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,743 kbps
|
|
The Estate (2022)
|
|
|
|
2.90
|
1:36:10
|
1,920 x 804
|
3,146 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,176 kbps
|
|
The Evil Dead (1983)
|
|
|
|
|
18.02
|
1:25:45
|
2,880 x 2,160
|
26,919 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,165 kbps
|
|
The Ex (2007)
|
|
|
|
|
4.14
|
1:29:07
|
1,920 x 1,036
|
6,011 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Exorcist (1973)
|
|
|
|
|
21.97
|
2:12:20
|
3,840 x 2,072
|
22,595 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,345 kbps
|
|
The Exorcist III (1990)
|
|
|
|
|
18.70
|
1:49:59
|
3,840 x 2,076
|
21,742 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,593 kbps
|
|
The Exorcist: Believer (2023)
|
|
|
|
|
4.83
|
1:51:08
|
3,840 x 2,076
|
4,588 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,628 kbps
|
|
The Expendables (2010)
|
|
|
|
6.54
|
1:53:18
|
1,920 x 796
|
3,468 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,799 kbps
|
|
The Expendables 2 (2012)
|
|
|
|
|
13.22
|
1:42:41
|
3,840 x 1,600
|
15,733 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,694 kbps
|
|
The Expendables 3 (2014)
|
|
|
|
5.59
|
2:11:31
|
1,920 x 800
|
2,796 kbps
|
|
7.1
|
|
21 bits / 48 kHz
|
3,291 kbps
|
|
The Eye (2008)
|
|
|
|
4.93
|
1:36:27
|
1,916 x 1,080
|
6,867 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Eyes of Tammy Faye (2021)
|
|
|
|
5.52
|
2:06:31
|
1,920 x 1,028
|
3,777 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,463 kbps
|
|
The Fabelmans (2022)
|
|
|
|
|
23.80
|
2:30:46
|
3,840 x 2,076
|
19,101 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,494 kbps
|
|
The Face Behind the Mask (1941)
|
|
|
|
5.12
|
1:08:05
|
1,436 x 1,080
|
10,163 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
595 kbps
|
|
The Face of Fu Manchu (1965)
|
|
|
|
9.69
|
1:36:04
|
1,920 x 816
|
13,890 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
546 kbps
|
|
The Face of Love (2013)
|
|
|
|
2.37
|
1:32:13
|
1,920 x 1,040
|
3,232 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Factory (2013)
|
|
|
|
4.69
|
1:44:09
|
1,920 x 800
|
3,424 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,017 kbps
|
|
The Faculty (1998)
|
|
|
|
4.73
|
1:44:34
|
1,920 x 1,032
|
5,071 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,406 kbps
|
|
The Fall of Minneapolis (2023)
|
|
|
|
3.56
|
1:42:29
|
3,840 x 2,160
|
4,894 kbps
|
|
2.0
|
|
48 kHz
|
82 kbps
|
|
The Falling (2014)
|
|
|
|
3.65
|
1:42:17
|
1,920 x 1,036
|
2,157 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,951 kbps
|
|
The Fallout (2021)
|
|
|
|
|
6.51
|
1:36:01
|
3,840 x 2,160
|
8,932 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Falls (1980)
|
|
|
|
28.31
|
3:14:46
|
1,432 x 1,080
|
20,462 kbps
|
|
1.0
|
|
19 bits / 48 kHz
|
349 kbps
|
|
The Family (2013)
|
|
|
|
6.23
|
1:51:34
|
1,920 x 804
|
4,382 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,609 kbps
|
|
The Family Man (2000)
|
|
|
|
|
3.74
|
2:05:55
|
1,920 x 792
|
3,084 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,172 kbps
|
|
The Family Plan (2023)
|
|
|
|
|
|
4.20
|
1:58:44
|
3,840 x 1,608
|
4,287 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Family Way (1966)
|
|
|
|
6.03
|
1:55:43
|
1,800 x 1,080
|
7,203 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
259 kbps
|
|
The Fanatic (2020)
|
|
|
|
|
1.96
|
1:28:59
|
1,920 x 800
|
2,707 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Fare (2019)
|
|
|
|
2.42
|
1:22:03
|
1,920 x 800
|
1,274 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,946 kbps
|
|
The Farmer (1978)
|
|
|
|
6.22
|
1:37:57
|
1,916 x 1,080
|
8,347 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
741 kbps
|
|
The Fast and the Furious (2001)
|
|
|
|
|
|
13.92
|
1:46:51
|
3,840 x 1,632
|
16,405 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,240 kbps
|
|
The Fast and the Furious: Tokyo Drift (2006)
|
|
|
|
|
|
12.99
|
1:44:06
|
3,840 x 1,608
|
15,588 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,278 kbps
|
|
The Fate of the Furious (2017)
|
|
|
|
|
|
9.36
|
2:15:58
|
3,840 x 1,608
|
7,750 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,107 kbps
|
|
The Father (2021)
|
|
|
|
|
3.92
|
1:36:57
|
3,840 x 1,608
|
3,351 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,435 kbps
|
|
The Fault in Our Stars (2014)
|
|
|
|
|
5.54
|
2:12:54
|
1,920 x 1,036
|
2,911 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,053 kbps
|
|
The Fear of Darkness (2015)
|
|
|
|
3.29
|
1:31:50
|
1,920 x 1,080
|
2,135 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,986 kbps
|
|
The Fearway (2023)
|
|
|
|
2.65
|
1:20:55
|
1,920 x 796
|
3,793 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
898 kbps
|
|
The Field (2019)
|
|
|
|
2.38
|
1:32:45
|
1,920 x 812
|
2,887 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
789 kbps
|
|
The Fifth Element (1997)
|
|
|
|
|
|
31.92
|
2:05:54
|
3,840 x 1,606
|
32,857 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,438 kbps
|
|
The Fifth Estate (2013)
|
|
|
|
|
5.46
|
2:08:16
|
1,920 x 800
|
3,267 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,825 kbps
|
|
The Fighter (2010)
|
|
|
|
8.39
|
1:55:38
|
1,920 x 800
|
7,558 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,832 kbps
|
|
The Final Countdown (1980)
|
|
|
|
|
|
56.87
|
1:42:38
|
3,840 x 1,604
|
76,183 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,144 kbps
|
|
The Final Cut (1996)
|
|
|
|
2.58
|
1:39:54
|
1,920 x 1,080
|
3,049 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Final Cut (2004)
|
|
|
|
2.40
|
1:34:28
|
1,920 x 816
|
2,995 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Final Destination (2009)
|
|
|
|
|
4.26
|
1:21:47
|
1,920 x 798
|
5,777 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,677 kbps
|
|
The Final Girls (2015)
|
|
|
|
2.77
|
1:31:20
|
1,920 x 804
|
2,889 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
The Firm (1993)
|
|
|
|
|
31.78
|
2:34:32
|
3,840 x 2,160
|
26,465 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,969 kbps
|
|
The First Man (1996)
|
|
|
|
8.97
|
1:23:13
|
1,920 x 1,072
|
14,762 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
659 kbps
|
|
The First Purge (2018)
|
|
|
|
|
|
11.53
|
1:37:25
|
3,840 x 1,604
|
12,856 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,083 kbps
|
|
The First Turn-On!! (1983)
|
|
|
|
5.77
|
1:27:56
|
1,920 x 1,036
|
9,206 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Fisher King (1991)
|
|
|
|
|
43.09
|
2:17:53
|
3,840 x 2,076
|
41,796 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
The Fitzroy (2017)
|
|
|
|
1.73
|
1:33:44
|
1,920 x 798
|
2,520 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
The Five-Year Engagement (2012)
|
|
|
|
5.15
|
2:11:17
|
1,920 x 1,040
|
2,963 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,649 kbps
|
|
The Flamingo Kid (1984)
|
|
|
|
10.34
|
1:39:59
|
1,920 x 1,040
|
13,768 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,039 kbps
|
|
The Flash (2023)
|
|
|
|
|
11.98
|
2:24:05
|
3,840 x 2,024
|
10,408 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,493 kbps
|
|
The Flight of Dragons (1982)
|
|
|
|
8.16
|
1:35:32
|
1,920 x 1,080
|
11,579 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
653 kbps
|
|
The Flintstones & WWE: Stone Age SmackDown! (2015)
|
|
|
|
0.55
|
51:40
|
720 x 480
|
1,337 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Flintstones (1994)
|
|
|
|
5.03
|
1:30:39
|
1,920 x 1,040
|
6,671 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,263 kbps
|
|
The Flood (2020)
|
|
|
|
2.40
|
1:39:10
|
1,920 x 800
|
2,820 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Fly (1986)
|
|
|
|
5.83
|
1:35:39
|
1,920 x 1,040
|
5,227 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,495 kbps
|
|
The Fly II (1989)
|
|
|
|
8.09
|
1:44:35
|
1,920 x 1,038
|
7,683 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,389 kbps
|
|
The Fog (1980)
|
|
|
|
|
42.56
|
1:30:07
|
3,840 x 1,632
|
64,670 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,951 kbps
|
|
The Fog (2005)
|
|
|
|
4.65
|
1:43:13
|
1,920 x 816
|
3,126 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,319 kbps
|
|
The Forbidden Kingdom (2008)
|
|
|
|
7.97
|
1:44:26
|
1,920 x 796
|
6,475 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,448 kbps
|
|
The Foreigner (2017)
|
|
|
|
|
4.07
|
1:53:52
|
1,920 x 804
|
1,770 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,341 kbps
|
|
The Forest (1982)
|
|
|
|
6.12
|
1:25:51
|
1,904 x 1,080
|
9,562 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
633 kbps
|
|
The Forest (2016)
|
|
|
|
4.18
|
1:33:17
|
1,920 x 1,036
|
3,443 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,976 kbps
|
|
The Forever Purge (2021)
|
|
|
|
|
6.40
|
1:43:30
|
3,840 x 2,076
|
5,931 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,909 kbps
|
|
The Forger (2012)
|
|
|
|
6.42
|
1:33:46
|
1,920 x 1,076
|
8,964 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
841 kbps
|
|
The Forger (2014)
|
|
|
|
2.63
|
1:35:30
|
1,920 x 804
|
2,837 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,097 kbps
|
|
The Forgotten (2004)
|
|
|
|
5.01
|
1:31:02
|
1,920 x 1,080
|
6,744 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,126 kbps
|
|
The Forsaken (2001)
|
|
|
|
5.06
|
1:30:44
|
1,904 x 1,080
|
4,562 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,428 kbps
|
|
The Fortune (1975)
|
|
|
|
4.83
|
1:27:46
|
1,920 x 816
|
7,171 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
712 kbps
|
|
The Fortune Cookie (1966)
|
|
|
|
19.30
|
2:05:42
|
1,920 x 816
|
21,390 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
589 kbps
|
|
The Founder (2017)
|
|
|
|
|
3.96
|
1:55:20
|
1,920 x 800
|
2,227 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,691 kbps
|
|
The Fountain (2006)
|
|
|
|
4.83
|
1:36:53
|
1,920 x 1,036
|
3,677 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,460 kbps
|
|
The Four Musketeers: Milady's Revenge (1974)
|
|
|
|
|
27.24
|
1:46:38
|
3,840 x 2,076
|
36,193 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
373 kbps
|
|
The Fourth Kind (2009)
|
|
|
|
8.50
|
1:37:53
|
1,920 x 1,080
|
11,280 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,154 kbps
|
|
The Fox and the Hound (1981)
|
|
|
|
6.50
|
1:22:55
|
1,792 x 1,080
|
8,420 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,803 kbps
|
|
The Fox and the Hound 2 (2006)
|
|
|
|
2.76
|
1:09:20
|
1,912 x 1,080
|
2,364 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,326 kbps
|
|
The Frighteners (1996)
|
|
|
|
|
26.17
|
2:02:35
|
3,840 x 1,632
|
28,655 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,905 kbps
|
|
The Frozen Ground (2013)
|
|
|
|
3.43
|
1:45:34
|
1,920 x 800
|
1,786 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,858 kbps
|
|
The Fugitive (1993)
|
|
|
|
|
34.37
|
2:10:17
|
3,840 x 2,076
|
36,381 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,852 kbps
|
|
The Fury (1978)
|
|
|
|
17.70
|
1:57:57
|
1,920 x 1,048
|
20,443 kbps
|
|
3/1
|
|
16 bits / 48 kHz
|
1,034 kbps
|
|
The Gambler (2014)
|
|
|
|
3.82
|
1:50:59
|
1,920 x 800
|
1,790 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,132 kbps
|
|
The Game (1997)
|
|
|
|
6.99
|
2:08:48
|
1,920 x 800
|
4,216 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,553 kbps
|
|
The Game Plan (2007)
|
|
|
|
7.51
|
1:50:15
|
1,920 x 800
|
6,710 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,046 kbps
|
|
The Garbage Pail Kids Movie (1987)
|
|
|
|
8.12
|
1:36:36
|
1,920 x 1,040
|
11,748 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
281 kbps
|
|
The Gateway (2021)
|
|
|
|
4.29
|
1:31:16
|
1,920 x 956
|
3,924 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,808 kbps
|
|
The Gauntlet (1977)
|
|
|
|
4.95
|
1:49:12
|
1,920 x 798
|
5,167 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,327 kbps
|
|
The Geisha Boy (1958)
|
|
|
|
|
8.29
|
1:37:59
|
1,904 x 1,080
|
11,764 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
342 kbps
|
|
The General's Daughter (1999)
|
|
|
|
5.11
|
1:56:24
|
1,920 x 802
|
4,759 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,528 kbps
|
|
The Gentlemen (2019)
|
|
|
|
|
9.89
|
1:53:41
|
3,840 x 1,608
|
9,911 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,538 kbps
|
|
The Getaway (1972)
|
|
|
|
5.27
|
2:02:49
|
1,920 x 792
|
5,945 kbps
|
|
1.0
|
|
48 kHz
|
192 kbps
|
|
The Getaway (1994)
|
|
|
|
5.48
|
1:55:13
|
1,920 x 816
|
5,286 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,520 kbps
|
|
The Ghost and Mr. Chicken (1966)
|
|
|
|
5.45
|
1:29:50
|
1,920 x 816
|
8,046 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
645 kbps
|
|
The Ghost and the Darkness (1996)
|
|
|
|
5.30
|
1:49:56
|
1,920 x 898
|
5,395 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,501 kbps
|
|
The Ghost Writer (2010)
|
|
|
|
4.96
|
2:08:30
|
1,920 x 816
|
3,293 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,227 kbps
|
|
The Ghoul (2016)
|
|
|
|
1.90
|
1:24:59
|
1,920 x 820
|
2,127 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,077 kbps
|
|
The Giant (2020)
|
|
|
|
2.22
|
1:39:43
|
1,920 x 1,032
|
2,803 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Giant Claw (1957)
|
|
|
|
10.29
|
1:14:11
|
1,916 x 1,080
|
19,212 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
639 kbps
|
|
The Giant Mechanical Man (2012)
|
|
|
|
1.65
|
1:29:10
|
1,920 x 1,036
|
1,726 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
916 kbps
|
|
The Giant of Thunder Mountain (1991)
|
|
|
|
4.77
|
1:34:26
|
1,916 x 1,080
|
7,034 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Gift (2000)
|
|
|
|
6.10
|
1:51:49
|
1,920 x 1,030
|
6,383 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
The Gingerbread Man (1998)
|
|
|
|
13.08
|
1:54:31
|
1,920 x 1,040
|
14,769 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,580 kbps
|
|
The Girl from Petrovka (1975)
|
|
|
|
|
8.95
|
1:42:58
|
1,920 x 812
|
11,792 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
655 kbps
|
|
The Girl in the Book (2015)
|
|
|
|
2.73
|
1:28:32
|
1,920 x 1,080
|
3,777 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Girl in the Spider's Web (2018)
|
|
|
|
|
8.78
|
1:55:26
|
3,840 x 1,608
|
8,053 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,829 kbps
|
|
The Girl Next Door (2004)
|
|
|
|
|
7.08
|
1:49:29
|
1,920 x 1,040
|
5,699 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,556 kbps
|
|
The Girl on a Motorcycle (1968)
|
|
|
|
3.76
|
1:27:38
|
1,702 x 1,080
|
5,893 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
254 kbps
|
|
The Girl on the Train (2016)
|
|
|
|
|
10.06
|
1:52:07
|
3,840 x 2,072
|
11,012 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
1,832 kbps
|
|
The Girl with All the Gifts (2016)
|
|
|
|
3.65
|
1:50:55
|
1,920 x 952
|
3,420 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,291 kbps
|
|
The Girl with the Dragon Tattoo (2011)
|
|
|
|
|
2.95
|
2:38:08
|
1,920 x 798
|
1,318 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
The Girlfriend Experience (2009)
|
|
|
|
1.87
|
1:16:34
|
1,920 x 800
|
1,538 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,952 kbps
|
|
The Giver (2014)
|
|
|
|
4.28
|
1:37:18
|
1,920 x 800
|
2,940 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,358 kbps
|
|
The Glass Castle (2017)
|
|
|
|
3.73
|
2:06:57
|
1,920 x 796
|
1,496 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
2,713 kbps
|
|
The Glass House (2001)
|
|
|
|
6.06
|
1:46:15
|
1,920 x 816
|
6,428 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,741 kbps
|
|
The Glimmer Man (1996)
|
|
|
|
|
2.90
|
1:31:21
|
1,904 x 1,080
|
3,039 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,510 kbps
|
|
The Godfather (1972)
|
|
|
|
|
|
38.39
|
2:55:28
|
3,840 x 2,076
|
27,942 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,375 kbps
|
|
The Godfather Part II (1974)
|
|
|
|
|
|
60.68
|
3:20:34
|
3,840 x 2,076
|
40,287 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,025 kbps
|
|
The Godfather Part III (1990)
|
|
|
|
|
|
47.31
|
2:50:08
|
3,840 x 2,076
|
38,576 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,230 kbps
|
|
The Godfather, Coda: The Death of Michael Corleone (1990)
|
|
|
|
|
|
51.78
|
2:37:56
|
3,840 x 2,076
|
43,750 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,184 kbps
|
|
The Golden Child (1986)
|
|
|
|
7.61
|
1:33:30
|
1,920 x 1,080
|
8,567 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,078 kbps
|
|
The Golden Compass (2007)
|
|
|
|
6.52
|
1:53:18
|
1,920 x 800
|
3,636 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,602 kbps
|
|
The Good Dinosaur (2015)
|
|
|
|
|
11.20
|
1:33:39
|
3,840 x 1,608
|
14,597 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,519 kbps
|
|
The Good Girl (2002)
|
|
|
|
|
5.47
|
1:33:01
|
1,920 x 1,038
|
7,957 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
455 kbps
|
|
The Good Lie (2014)
|
|
|
|
5.08
|
1:50:00
|
1,920 x 1,080
|
3,647 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,961 kbps
|
|
The Good Neighbor (2022)
|
|
|
|
2.66
|
1:45:28
|
1,920 x 804
|
2,532 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,075 kbps
|
|
The Good Night (2007)
|
|
|
|
8.92
|
1:33:11
|
1,920 x 1,080
|
13,067 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Good Nurse (2022)
|
|
|
|
|
27.20
|
2:01:25
|
3,840 x 1,604
|
31,279 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Good Shepherd (2006)
|
|
|
|
7.01
|
2:47:26
|
1,920 x 796
|
3,073 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,916 kbps
|
|
The Good Son (1993)
|
|
|
|
5.35
|
1:26:50
|
1,920 x 1,036
|
8,186 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
638 kbps
|
|
The Good, the Bad and the Ugly (1967)
|
|
|
|
62.62
|
2:41:51
|
3,840 x 1,632
|
54,368 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,025 kbps
|
|
The Goods: Live Hard, Sell Hard (2009)
|
|
|
|
|
5.97
|
1:29:09
|
1,920 x 1,080
|
8,940 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Goonies (1985)
|
|
|
|
|
|
11.76
|
1:53:58
|
3,840 x 1,600
|
13,181 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,588 kbps
|
|
The Graduate (1967)
|
|
|
|
12.87
|
1:46:03
|
1,920 x 808
|
14,558 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,819 kbps
|
|
The Grand (2007)
|
|
|
|
4.08
|
1:44:20
|
1,904 x 1,080
|
4,133 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,463 kbps
|
|
The Grand Seduction (2014)
|
|
|
|
4.33
|
1:53:08
|
1,920 x 1,036
|
4,369 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,109 kbps
|
|
The Grapes of Wrath (1940)
|
|
|
|
9.13
|
2:09:45
|
1,436 x 1,080
|
9,453 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
620 kbps
|
|
The Gray Man (2022)
|
|
|
|
|
6.84
|
2:06:41
|
3,840 x 1,608
|
6,945 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Great American Girl Robbery (1979)
|
|
|
|
5.90
|
1:26:08
|
1,904 x 1,080
|
9,736 kbps
|
|
1.0
|
|
12 bits / 16 kHz
|
75 kbps
|
|
The Great Buck Howard (2009)
|
|
|
|
7.80
|
1:30:11
|
1,920 x 1,040
|
9,379 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,002 kbps
|
|
The Great Escape (1963)
|
|
|
|
65.27
|
2:52:15
|
3,840 x 1,632
|
53,247 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,001 kbps
|
|
The Great Gatsby (2013)
|
|
|
|
|
12.63
|
2:22:06
|
3,840 x 1,600
|
11,342 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,371 kbps
|
|
The Great Gilly Hopkins (2016)
|
|
|
|
3.78
|
1:37:37
|
1,920 x 800
|
2,425 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,119 kbps
|
|
The Great Outdoors (1988)
|
|
|
|
4.80
|
1:30:26
|
1,920 x 1,036
|
6,191 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,402 kbps
|
|
The Great Race (1965)
|
|
|
|
7.80
|
2:39:57
|
1,920 x 800
|
3,983 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,997 kbps
|
|
The Great Train Robbery (1979)
|
|
|
|
11.27
|
1:51:02
|
1,920 x 1,040
|
13,286 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,243 kbps
|
|
The Great Wall (2017)
|
|
|
|
|
11.08
|
1:43:05
|
3,840 x 1,608
|
12,493 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,884 kbps
|
|
The Green Knight (2021)
|
|
|
|
|
5.90
|
2:09:47
|
3,840 x 2,076
|
4,044 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,463 kbps
|
|
The Green Mile (1999)
|
|
|
|
|
|
12.89
|
3:08:36
|
3,840 x 2,076
|
8,489 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,288 kbps
|
|
The Green Slime (1968)
|
|
|
|
6.55
|
1:30:10
|
1,920 x 800
|
9,797 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
605 kbps
|
|
The Grifters (1990)
|
|
|
|
6.82
|
1:50:18
|
1,920 x 1,064
|
7,669 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,189 kbps
|
|
The Grinch (2018)
|
|
|
|
|
4.43
|
1:25:49
|
3,840 x 1,606
|
4,643 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,733 kbps
|
|
The Grudge (2004)
|
|
|
|
5.12
|
1:38:12
|
1,920 x 1,040
|
4,585 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,878 kbps
|
|
The Grudge 2 (2006)
|
|
|
|
7.29
|
1:47:51
|
1,920 x 1,080
|
8,595 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,075 kbps
|
|
The Guardian (2006)
|
|
|
|
9.61
|
2:19:05
|
1,920 x 1,036
|
6,817 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,073 kbps
|
|
The Guardians of the Galaxy Holiday Special (2022)
|
|
|
|
|
4.28
|
41:56
|
3,840 x 2,160
|
13,839 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Guest (2014)
|
|
|
|
|
31.29
|
1:39:40
|
3,840 x 1,632
|
42,979 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
1,961 kbps
|
|
The Guilt Trip (2012)
|
|
|
|
|
4.29
|
1:35:38
|
1,920 x 816
|
3,859 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,555 kbps
|
|
The Guilty (2021)
|
|
|
|
|
3.49
|
1:29:26
|
3,840 x 1,608
|
4,807 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Guns of Navarone (1961)
|
|
|
|
|
30.66
|
2:40:53
|
3,840 x 1,632
|
24,782 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,492 kbps
|
|
The Guyver (1992)
|
|
|
|
9.52
|
1:32:27
|
1,916 x 1,080
|
13,299 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,440 kbps
|
|
The Half of It (2020)
|
|
|
|
|
|
4.74
|
1:44:06
|
3,840 x 1,600
|
5,736 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Halfway House (2004)
|
|
|
|
0.71
|
1:24:25
|
720 x 480
|
633 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
565 kbps
|
|
The Hallow (2015)
|
|
|
|
3.18
|
1:37:00
|
1,920 x 800
|
3,488 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,205 kbps
|
|
The Handmaid's Tale (1990)
|
|
|
|
6.18
|
1:48:40
|
1,920 x 1,040
|
6,828 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,313 kbps
|
|
The Hangover (2009)
|
|
|
|
|
4.25
|
1:47:54
|
1,920 x 800
|
4,413 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,224 kbps
|
|
The Hangover Part II (2011)
|
|
|
|
|
6.16
|
1:41:49
|
1,920 x 800
|
5,239 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,422 kbps
|
|
The Hangover Part III (2013)
|
|
|
|
|
6.20
|
1:40:08
|
1,920 x 800
|
5,752 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,103 kbps
|
|
The Happening (2008)
|
|
|
|
|
8.38
|
1:30:23
|
1,920 x 1,038
|
9,786 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,482 kbps
|
|
The Happy Hooker Goes Hollywood (1980)
|
|
|
|
6.29
|
1:28:33
|
1,908 x 1,080
|
9,532 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
638 kbps
|
|
The Hard Way (1991)
|
|
|
|
|
8.02
|
1:50:44
|
1,920 x 816
|
8,919 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,443 kbps
|
|
The Hate U Give (2018)
|
|
|
|
|
14.12
|
2:13:05
|
3,840 x 1,600
|
11,282 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,900 kbps
|
|
The Hateful Eight (2015)
|
|
|
|
5.63
|
2:47:46
|
1,920 x 692
|
1,867 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,939 kbps
|
|
The Hating Game (2021)
|
|
|
|
3.18
|
1:42:31
|
1,920 x 796
|
1,607 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,827 kbps
|
|
The Haunted Mansion (2003)
|
|
|
|
3.05
|
1:27:57
|
1,920 x 816
|
3,460 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,502 kbps
|
|
The Haunting (1999)
|
|
|
|
|
10.99
|
1:52:43
|
3,840 x 1,632
|
10,308 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,651 kbps
|
|
The Haunting of Julia (1977)
|
|
|
|
|
24.28
|
1:37:07
|
3,840 x 1,604
|
35,209 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
586 kbps
|
|
The Heartbreak Kid (2007)
|
|
|
|
|
9.04
|
1:55:33
|
1,920 x 796
|
8,478 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,724 kbps
|
|
The Heat (2013)
|
|
|
|
|
5.05
|
2:00:20
|
1,920 x 800
|
3,439 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,564 kbps
|
|
The Heavenly Kid (1985)
|
|
|
|
5.20
|
1:31:00
|
1,904 x 1,080
|
6,816 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,356 kbps
|
|
The Helicopter Spies (1968)
|
|
|
|
5.56
|
1:34:48
|
1,916 x 1,080
|
8,174 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Help (2011)
|
|
|
|
10.76
|
2:26:15
|
1,920 x 1,036
|
7,473 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,058 kbps
|
|
The Hidden (1987)
|
|
|
|
7.55
|
1:37:04
|
1,920 x 1,080
|
7,598 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,533 kbps
|
|
The Hills Have Eyes (1977)
|
|
|
|
|
26.96
|
1:30:00
|
3,840 x 2,156
|
41,722 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,157 kbps
|
|
The Hills Have Eyes (2006)
|
|
|
|
8.30
|
1:48:24
|
1,920 x 816
|
7,629 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,329 kbps
|
|
The Hills Have Eyes 2 (2007)
|
|
|
|
4.23
|
1:30:00
|
1,920 x 816
|
3,273 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,460 kbps
|
|
The Hills Have Eyes Part II (1985)
|
|
|
|
7.30
|
1:30:07
|
1,920 x 1,036
|
10,991 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
602 kbps
|
|
The Hippopotamus (2017)
|
|
|
|
3.10
|
1:29:20
|
1,920 x 804
|
1,794 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,177 kbps
|
|
The Hitch-Hiker (1953)
|
|
|
|
5.51
|
1:10:55
|
1,448 x 1,080
|
10,905 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
223 kbps
|
|
The Hitcher (1986)
|
|
|
|
7.72
|
1:37:21
|
1,920 x 804
|
8,358 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,010 kbps
|
|
The Hitcher (2007)
|
|
|
|
6.21
|
1:23:44
|
1,920 x 1,080
|
9,229 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,377 kbps
|
|
The Hitchhiker's Guide to the Galaxy (2005)
|
|
|
|
|
6.08
|
1:48:47
|
1,920 x 800
|
6,488 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,507 kbps
|
|
The Hitman's Bodyguard (2017)
|
|
|
|
|
16.06
|
1:58:26
|
3,840 x 1,606
|
17,040 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,366 kbps
|
|
The Hobbit: An Unexpected Journey (2012)
|
|
|
|
|
20.01
|
3:02:29
|
3,840 x 1,608
|
13,874 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,817 kbps
|
|
The Hobbit: The Battle of the Five Armies (2014)
|
|
|
|
|
15.88
|
2:44:00
|
3,840 x 1,608
|
12,151 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,701 kbps
|
|
The Hobbit: The Desolation of Smaug (2013)
|
|
|
|
|
18.81
|
3:06:35
|
3,840 x 1,608
|
12,659 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,766 kbps
|
|
The Hole (2001)
|
|
|
|
2.06
|
1:42:12
|
1,920 x 812
|
1,600 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,289 kbps
|
|
The Hole (2009)
|
|
|
|
4.19
|
1:32:38
|
1,920 x 1,032
|
5,397 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,071 kbps
|
|
The Hole in the Ground (2019)
|
|
|
|
1.40
|
1:30:36
|
1,920 x 804
|
1,059 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,159 kbps
|
|
The Holiday (2006)
|
|
|
|
5.91
|
2:15:41
|
1,920 x 1,038
|
3,471 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,761 kbps
|
|
The Hollars (2016)
|
|
|
|
|
2.85
|
1:28:32
|
1,920 x 1,040
|
3,367 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,240 kbps
|
|
The Holly Kane Experiment (2017)
|
|
|
|
2.38
|
1:42:46
|
1,920 x 804
|
2,022 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,286 kbps
|
|
The Hollywood Knights (1980)
|
|
|
|
7.41
|
1:31:26
|
1,920 x 1,040
|
8,119 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,475 kbps
|
|
The Honeymoon Phase (2020)
|
|
|
|
1.76
|
1:28:35
|
1,920 x 800
|
1,600 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,247 kbps
|
|
The Honorary Consul (1983)
|
|
|
|
7.22
|
1:43:45
|
1,920 x 1,032
|
9,717 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
245 kbps
|
|
The Hospital (1972)
|
|
|
|
5.36
|
1:43:04
|
1,920 x 1,040
|
6,403 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,047 kbps
|
|
The Host (2013)
|
|
|
|
4.26
|
2:05:39
|
1,920 x 800
|
1,750 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,100 kbps
|
|
The Hot Chick (2002)
|
|
|
|
3.32
|
1:44:24
|
1,920 x 1,034
|
4,108 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Hot Spot (1990)
|
|
|
|
4.91
|
2:09:59
|
1,920 x 1,040
|
4,884 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
519 kbps
|
|
The Hottie & The Nottie (2008)
|
|
|
|
|
3.10
|
1:31:21
|
1,912 x 1,080
|
4,626 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Hours (2003)
|
|
|
|
8.03
|
1:54:47
|
1,920 x 1,064
|
8,905 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,110 kbps
|
|
The House (2017)
|
|
|
|
|
4.46
|
1:28:07
|
3,840 x 1,600
|
4,433 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,809 kbps
|
|
The House Bunny (2008)
|
|
|
|
3.51
|
1:37:18
|
1,920 x 800
|
3,823 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,345 kbps
|
|
The House by the Lake (1976)
|
|
|
|
12.03
|
1:28:39
|
1,920 x 1,064
|
19,100 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
323 kbps
|
|
The House of the Spirits (1993)
|
|
|
|
3.29
|
2:25:55
|
1,920 x 806
|
2,650 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
579 kbps
|
|
The House on Carroll Street (1988)
|
|
|
|
8.65
|
1:41:05
|
1,800 x 1,080
|
11,979 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
273 kbps
|
|
The House on Sorority Row (1982)
|
|
|
|
4.86
|
1:31:55
|
1,904 x 1,080
|
4,732 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,834 kbps
|
|
The House with a Clock in Its Walls (2018)
|
|
|
|
|
10.26
|
1:45:03
|
3,840 x 1,608
|
11,308 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,668 kbps
|
|
The Howling (1981)
|
|
|
|
|
34.65
|
1:30:41
|
3,840 x 2,072
|
51,524 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,165 kbps
|
|
The Hudsucker Proxy (1994)
|
|
|
|
2.93
|
1:50:45
|
1,896 x 1,080
|
3,225 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
557 kbps
|
|
The Human Centipede (First Sequence) (2010)
|
|
|
|
|
6.16
|
1:31:58
|
1,904 x 1,080
|
6,734 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,857 kbps
|
|
The Human Centipede 2 (Full Sequence) (2011)
|
|
|
|
3.26
|
1:30:46
|
1,904 x 1,080
|
3,480 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,666 kbps
|
|
The Human Centipede 3 (Final Sequence) (2015)
|
|
|
|
3.12
|
1:42:40
|
1,920 x 816
|
2,594 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,760 kbps
|
|
The Humanity Bureau (2018)
|
|
|
|
|
3.30
|
1:34:35
|
1,920 x 804
|
2,133 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,860 kbps
|
|
The Hummingbird Project (2019)
|
|
|
|
2.61
|
1:50:37
|
1,920 x 816
|
2,217 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,160 kbps
|
|
The Hundred-Foot Journey (2014)
|
|
|
|
7.04
|
2:02:30
|
1,920 x 796
|
5,117 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,106 kbps
|
|
The Hunger Games (2012)
|
|
|
|
|
|
17.91
|
2:22:31
|
3,840 x 1,604
|
15,970 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,014 kbps
|
|
The Hunger Games: Catching Fire (2013)
|
|
|
|
|
15.42
|
2:26:16
|
3,840 x 1,600
|
12,102 kbps
|
|
7.1
|
|
21 bits / 48 kHz
|
2,980 kbps
|
|
The Hunger Games: Mockingjay - Part 1 (2014)
|
|
|
|
|
7.94
|
2:02:50
|
3,840 x 1,614
|
6,354 kbps
|
|
7.1
|
|
21 bits / 48 kHz
|
2,896 kbps
|
|
The Hunger Games: Mockingjay - Part 2 (2015)
|
|
|
|
|
7.98
|
2:16:56
|
3,840 x 1,612
|
6,277 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,062 kbps
|
|
The Hunger Games: The Ballad of Songbirds & Snakes (2023)
|
|
|
|
|
8.95
|
2:37:10
|
3,840 x 1,608
|
5,519 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,628 kbps
|
|
The Hunt for Red October (1990)
|
|
|
|
|
|
|
19.34
|
2:15:07
|
3,840 x 1,632
|
17,254 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,229 kbps
|
|
The Hunted (1995)
|
|
|
|
|
8.69
|
1:50:15
|
1,920 x 1,036
|
9,913 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,365 kbps
|
|
The Hunter (1980)
|
|
|
|
7.57
|
1:37:27
|
1,920 x 1,032
|
10,798 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
324 kbps
|
|
The Hunter (2011)
|
|
|
|
5.91
|
1:41:32
|
1,920 x 816
|
7,172 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,166 kbps
|
|
The Hunter's Prayer (2017)
|
|
|
|
3.58
|
1:31:16
|
1,920 x 800
|
2,344 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,276 kbps
|
|
The Hunters (2013)
|
|
|
|
5.46
|
1:29:08
|
1,920 x 1,080
|
5,090 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,682 kbps
|
|
The Huntsman: Winter's War (2016)
|
|
|
|
|
10.16
|
2:00:10
|
3,840 x 1,600
|
9,769 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,335 kbps
|
|
The Hurricane (2000)
|
|
|
|
6.01
|
2:25:35
|
1,920 x 1,040
|
4,654 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,259 kbps
|
|
The Hurricane Heist (2018)
|
|
|
|
|
|
19.62
|
1:42:59
|
3,840 x 1,608
|
25,360 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,910 kbps
|
|
The Hurt Locker (2008)
|
|
|
|
|
35.01
|
2:10:40
|
3,840 x 2,076
|
35,698 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,660 kbps
|
|
The Hustle (2019)
|
|
|
|
5.22
|
1:33:58
|
1,920 x 804
|
3,952 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,993 kbps
|
|
The Ice Cream Truck (2017)
|
|
|
|
3.07
|
1:27:44
|
1,920 x 804
|
3,744 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,260 kbps
|
|
The Ice Harvest (2005)
|
|
|
|
2.08
|
1:28:16
|
1,920 x 1,016
|
2,010 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,370 kbps
|
|
The Ice Pirates (1984)
|
|
|
|
|
8.73
|
1:33:59
|
1,910 x 1,080
|
12,586 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
709 kbps
|
|
The Ice Road (2021)
|
|
|
|
|
|
4.80
|
1:49:13
|
3,840 x 1,608
|
5,041 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,239 kbps
|
|
The Ice Storm (1997)
|
|
|
|
4.90
|
1:53:26
|
1,920 x 1,024
|
4,884 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,301 kbps
|
|
The Iceman (2013)
|
|
|
|
|
2.75
|
1:45:27
|
1,920 x 1,080
|
2,299 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,432 kbps
|
|
The Iceman Cometh (1973)
|
|
|
|
48.13
|
3:59:01
|
1,920 x 1,044
|
28,245 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
582 kbps
|
|
The Ides of March (2011)
|
|
|
|
7.18
|
1:41:11
|
1,920 x 800
|
7,705 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,456 kbps
|
|
The Imaginarium of Doctor Parnassus (2009)
|
|
|
|
9.00
|
2:03:03
|
1,920 x 1,040
|
6,913 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,553 kbps
|
|
The Imitation Game (2014)
|
|
|
|
4.75
|
1:54:14
|
1,920 x 800
|
3,432 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,514 kbps
|
|
The Immigrant (2014)
|
|
|
|
4.24
|
1:57:27
|
1,920 x 800
|
2,572 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,595 kbps
|
|
The Immortal Wars (2017)
|
|
|
|
3.12
|
1:32:00
|
1,920 x 798
|
1,802 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,048 kbps
|
|
The Impossible (2013)
|
|
|
|
6.85
|
1:53:32
|
1,920 x 812
|
7,350 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,291 kbps
|
|
The In Between (2022)
|
|
|
|
|
|
5.81
|
1:55:45
|
3,840 x 1,920
|
6,408 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The In-Laws (1979)
|
|
|
|
|
11.34
|
1:42:57
|
1,920 x 1,036
|
15,116 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
649 kbps
|
|
The Incredible Burt Wonderstone (2013)
|
|
|
|
5.46
|
1:40:18
|
1,920 x 800
|
5,086 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,708 kbps
|
|
The Incredible Hulk (2008)
|
|
|
|
|
16.10
|
1:52:12
|
3,840 x 1,632
|
15,498 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,033 kbps
|
|
The Incredible Mr. Limpet (1964)
|
|
|
|
7.62
|
1:39:12
|
1,920 x 1,080
|
10,654 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
334 kbps
|
|
The Incredible Shrinking Man (1957)
|
|
|
|
8.15
|
1:20:48
|
1,920 x 1,040
|
14,203 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
242 kbps
|
|
The Incredibles (2004)
|
|
|
|
|
|
7.01
|
1:55:19
|
3,840 x 1,604
|
5,440 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,255 kbps
|
|
The Indian in the Cupboard (1995)
|
|
|
|
9.22
|
1:36:10
|
1,920 x 1,036
|
10,701 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,026 kbps
|
|
The Infernal Machine (2022)
|
|
|
|
|
2.47
|
1:51:08
|
3,840 x 1,600
|
2,532 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Infiltrator (2016)
|
|
|
|
9.04
|
2:07:09
|
1,920 x 800
|
7,328 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,846 kbps
|
|
The Informant! (2009)
|
|
|
|
2.35
|
1:48:15
|
1,920 x 1,080
|
1,969 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,141 kbps
|
|
The Informer (2019)
|
|
|
|
7.54
|
1:53:26
|
1,920 x 804
|
6,395 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,119 kbps
|
|
The Insider (1999)
|
|
|
|
10.83
|
2:37:47
|
1,920 x 804
|
6,562 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,265 kbps
|
|
The Intergalactic Adventures of Max Cloud (2020)
|
|
|
|
2.34
|
1:28:45
|
1,920 x 800
|
2,121 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,654 kbps
|
|
The Intern (2015)
|
|
|
|
9.42
|
2:01:32
|
1,904 x 1,080
|
8,352 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,745 kbps
|
|
The International (2009)
|
|
|
|
8.32
|
1:58:02
|
1,920 x 800
|
8,869 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,226 kbps
|
|
The Internship (2013)
|
|
|
|
|
|
5.62
|
2:05:01
|
1,920 x 816
|
3,279 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,157 kbps
|
|
The Interpreter (2005)
|
|
|
|
7.90
|
2:08:20
|
1,920 x 816
|
5,156 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,651 kbps
|
|
The Interview (2014)
|
|
|
|
|
3.26
|
1:52:12
|
1,920 x 802
|
2,837 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,321 kbps
|
|
The Invasion (2007)
|
|
|
|
6.10
|
1:39:22
|
1,916 x 1,080
|
7,403 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,381 kbps
|
|
The Invention of Lying (2009)
|
|
|
|
|
10.42
|
1:39:43
|
1,920 x 1,034
|
11,859 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,102 kbps
|
|
The Invisible Man (1933)
|
|
|
|
|
16.30
|
1:11:33
|
2,914 x 2,160
|
32,402 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
203 kbps
|
|
The Invisible Man (2020)
|
|
|
|
|
|
4.02
|
2:04:23
|
3,840 x 1,604
|
3,172 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,449 kbps
|
|
The Invisible Maniac (1990)
|
|
|
|
|
53.01
|
1:25:46
|
3,840 x 2,076
|
87,699 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
784 kbps
|
|
The Invitation (2015)
|
|
|
|
3.84
|
1:40:33
|
1,920 x 804
|
3,059 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,403 kbps
|
|
The Ipcress File (1965)
|
|
|
|
4.91
|
1:47:37
|
1,920 x 816
|
5,654 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
875 kbps
|
|
The Irishman (2019)
|
|
|
|
10.42
|
3:29:05
|
1,920 x 1,032
|
6,293 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
839 kbps
|
|
The Iron Giant (1999)
|
|
|
|
4.34
|
1:29:59
|
1,920 x 800
|
3,150 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,749 kbps
|
|
The Iron Lady (2012)
|
|
|
|
|
5.28
|
1:44:58
|
1,920 x 816
|
4,019 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,180 kbps
|
|
The Island (1980)
|
|
|
|
7.02
|
1:54:13
|
1,920 x 816
|
5,984 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,818 kbps
|
|
The Island (2005)
|
|
|
|
|
14.21
|
2:16:04
|
1,920 x 800
|
11,277 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,675 kbps
|
|
The Island of Dr. Moreau (1977)
|
|
|
|
5.11
|
1:38:52
|
1,920 x 1,034
|
7,146 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
251 kbps
|
|
The Island of Dr. Moreau (1996)
|
|
|
|
7.47
|
1:40:30
|
1,920 x 800
|
6,937 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,701 kbps
|
|
The Italian Job (1969)
|
|
|
|
|
11.93
|
1:39:26
|
3,840 x 1,628
|
16,075 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,103 kbps
|
|
The Italian Job (2003)
|
|
|
|
|
15.40
|
1:50:33
|
3,840 x 1,632
|
16,546 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
The Jackal (1997)
|
|
|
|
|
5.68
|
2:04:30
|
1,920 x 816
|
2,786 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,745 kbps
|
|
The Jacket (2005)
|
|
|
|
4.46
|
1:42:54
|
1,920 x 792
|
5,017 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,188 kbps
|
|
The Jane Austen Book Club (2007)
|
|
|
|
3.96
|
1:45:37
|
1,916 x 1,080
|
4,178 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,190 kbps
|
|
The Jerk (1979)
|
|
|
|
|
8.80
|
1:33:58
|
1,920 x 1,040
|
12,474 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
931 kbps
|
|
The Jerky Boys (1995)
|
|
|
|
|
4.12
|
1:21:25
|
1,912 x 1,080
|
7,014 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Jesus Rolls (2019)
|
|
|
|
2.74
|
1:25:29
|
1,920 x 1,036
|
3,291 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,290 kbps
|
|
The Jewel of the Nile (1985)
|
|
|
|
9.39
|
1:45:55
|
1,920 x 818
|
8,966 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,719 kbps
|
|
The Jigsaw Murders (1989)
|
|
|
|
11.84
|
1:37:14
|
1,904 x 1,080
|
16,768 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
The Job (2009)
|
|
|
|
6.06
|
1:38:32
|
1,920 x 1,080
|
7,670 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,138 kbps
|
|
The Joneses (2009)
|
|
|
|
5.69
|
1:35:51
|
1,920 x 808
|
5,699 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,805 kbps
|
|
The Journey of Natty Gann (1985)
|
|
|
|
11.24
|
1:40:51
|
1,920 x 808
|
15,635 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
The Judge (2014)
|
|
|
|
7.17
|
2:21:32
|
1,920 x 800
|
6,038 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,209 kbps
|
|
The Jungle Book (1994)
|
|
|
|
3.64
|
1:51:05
|
1,920 x 804
|
4,562 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
The Jungle Book (2016)
|
|
|
|
|
11.27
|
1:45:54
|
3,840 x 2,076
|
13,430 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,792 kbps
|
|
The Juniper Tree (1990)
|
|
|
|
4.82
|
1:19:02
|
1,800 x 1,080
|
8,108 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
626 kbps
|
|
The Karate Kid (1984)
|
|
|
|
|
|
43.15
|
2:06:55
|
3,840 x 2,076
|
47,084 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,588 kbps
|
|
The Karate Kid (2010)
|
|
|
|
|
|
7.88
|
2:20:01
|
1,920 x 800
|
6,630 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,425 kbps
|
|
The Karate Kid Part II (1986)
|
|
|
|
|
|
36.99
|
1:53:15
|
3,840 x 2,076
|
43,783 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,971 kbps
|
|
The Karate Kid Part III (1989)
|
|
|
|
|
|
37.06
|
1:52:24
|
3,840 x 2,076
|
44,411 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,786 kbps
|
|
The Kentucky Fried Movie (1978)
|
|
|
|
7.94
|
1:23:28
|
1,920 x 1,036
|
13,087 kbps
|
|
1.0
|
|
22 bits / 48 kHz
|
532 kbps
|
|
The Kid Detective (2020)
|
|
|
|
2.87
|
1:39:56
|
1,920 x 800
|
1,675 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,437 kbps
|
|
The Kid Who Would Be King (2019)
|
|
|
|
|
12.96
|
2:00:07
|
3,840 x 1,608
|
12,607 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,830 kbps
|
|
The Kill Room (2023)
|
|
|
|
|
4.60
|
1:37:05
|
3,840 x 1,604
|
4,384 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,401 kbps
|
|
The Killer (2023)
|
|
|
|
|
|
11.34
|
1:57:40
|
3,840 x 1,632
|
13,148 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Killer Inside Me (2010)
|
|
|
|
4.71
|
1:49:15
|
1,920 x 816
|
3,102 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,063 kbps
|
|
The Killers (1964)
|
|
|
|
|
30.72
|
1:34:43
|
3,840 x 2,072
|
45,813 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
619 kbps
|
|
The Killing Fields (1984)
|
|
|
|
13.24
|
2:21:53
|
1,920 x 1,028
|
10,243 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,114 kbps
|
|
The Killing of a Chinese Bookie (1976)
|
|
|
|
6.44
|
1:48:55
|
1,920 x 1,038
|
7,873 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
588 kbps
|
|
The Killing of a Sacred Deer (2017)
|
|
|
|
9.20
|
2:01:02
|
1,920 x 1,036
|
8,102 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,782 kbps
|
|
The Killing of Sister George (1968)
|
|
|
|
7.07
|
2:20:03
|
1,920 x 1,040
|
6,950 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
The Killing Time (1987)
|
|
|
|
4.00
|
1:32:01
|
1,920 x 1,080
|
5,084 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,144 kbps
|
|
The Kindergarten Teacher (2018)
|
|
|
|
2.77
|
1:37:00
|
1,920 x 800
|
1,882 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,200 kbps
|
|
The Kindred (1987)
|
|
|
|
15.41
|
1:32:39
|
1,920 x 1,080
|
21,276 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,539 kbps
|
|
The King of Comedy (1982)
|
|
|
|
|
7.55
|
1:49:00
|
1,920 x 1,036
|
9,254 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
665 kbps
|
|
The King of Marvin Gardens (1972)
|
|
|
|
5.80
|
1:43:48
|
1,920 x 1,040
|
7,792 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
208 kbps
|
|
The King of the Kickboxers (1990)
|
|
|
|
7.39
|
1:37:25
|
1,916 x 1,080
|
10,480 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
The King's Man (2021)
|
|
|
|
|
7.32
|
2:10:38
|
3,840 x 1,604
|
5,354 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,666 kbps
|
|
The King's Speech (2010)
|
|
|
|
5.27
|
1:58:28
|
1,920 x 1,080
|
3,656 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,705 kbps
|
|
The Kingdom (2007)
|
|
|
|
7.98
|
1:50:21
|
1,920 x 816
|
7,288 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,066 kbps
|
|
The Kings of Summer (2013)
|
|
|
|
8.65
|
1:34:42
|
1,920 x 800
|
10,028 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,023 kbps
|
|
The Kitchen (2019)
|
|
|
|
5.84
|
1:42:37
|
3,840 x 1,600
|
6,868 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,279 kbps
|
|
The Knight Before Christmas (2019)
|
|
|
|
3.82
|
1:32:39
|
1,920 x 956
|
5,141 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Ladies Man (1961)
|
|
|
|
2.17
|
1:35:40
|
720 x 576
|
3,047 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Ladies Man (2000)
|
|
|
|
4.74
|
1:24:18
|
1,904 x 1,080
|
7,414 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Ladykillers (1955)
|
|
|
|
|
32.68
|
1:30:42
|
2,960 x 2,160
|
50,910 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
669 kbps
|
|
The Ladykillers (2004)
|
|
|
|
3.81
|
1:44:02
|
1,920 x 1,036
|
4,600 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Lair (2022)
|
|
|
|
2.42
|
1:37:02
|
1,920 x 812
|
2,350 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,220 kbps
|
|
The Lair of the White Worm (1988)
|
|
|
|
5.68
|
1:33:21
|
1,920 x 1,080
|
8,102 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
608 kbps
|
|
The Lake House (2006)
|
|
|
|
2.92
|
1:38:34
|
1,920 x 794
|
3,605 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Land That Time Forgot (1975)
|
|
|
|
7.37
|
1:31:23
|
1,920 x 1,040
|
10,953 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
589 kbps
|
|
The Langoliers (1995)
|
|
|
|
|
2.46
|
3:00:01
|
720 x 480
|
1,761 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Last Airbender (2010)
|
|
|
|
6.29
|
1:43:13
|
1,920 x 816
|
5,046 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,683 kbps
|
|
The Last American Hero (1973)
|
|
|
|
6.84
|
1:34:39
|
1,920 x 816
|
10,068 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
271 kbps
|
|
The Last Boy (2019)
|
|
|
|
3.61
|
1:27:12
|
1,920 x 1,016
|
3,075 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,852 kbps
|
|
The Last Boy Scout (1991)
|
|
|
|
|
6.66
|
1:45:25
|
1,920 x 800
|
5,788 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,249 kbps
|
|
The Last Castle (2001)
|
|
|
|
|
19.82
|
2:11:11
|
3,840 x 1,600
|
17,945 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,675 kbps
|
|
The Last Conception (2020)
|
|
|
|
2.94
|
1:25:05
|
1,920 x 1,034
|
4,308 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Last Days of Disco (1998)
|
|
|
|
7.11
|
1:53:55
|
1,920 x 1,080
|
5,273 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,662 kbps
|
|
The Last Days on Mars (2013)
|
|
|
|
2.41
|
1:38:29
|
1,920 x 816
|
2,201 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,306 kbps
|
|
The Last Detail (1974)
|
|
|
|
8.42
|
1:44:01
|
1,920 x 1,040
|
10,955 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
635 kbps
|
|
The Last Dragon (1985)
|
|
|
|
|
28.41
|
1:48:17
|
3,840 x 2,076
|
34,326 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,234 kbps
|
|
The Last Emperor (1987)
|
|
|
|
|
59.93
|
2:42:54
|
3,840 x 1,632
|
51,001 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,664 kbps
|
|
The Last King of Scotland (2007)
|
|
|
|
11.77
|
2:03:00
|
1,920 x 814
|
10,186 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,511 kbps
|
|
The Last Letter from Your Lover (2021)
|
|
|
|
|
|
5.51
|
1:49:27
|
3,840 x 1,604
|
6,430 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Last Married Couple in America (1980)
|
|
|
|
9.19
|
1:42:00
|
1,920 x 1,032
|
12,648 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
256 kbps
|
|
The Last Movie Star (2018)
|
|
|
|
4.21
|
1:43:43
|
1,920 x 800
|
2,972 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,843 kbps
|
|
The Last of Sheila (1973)
|
|
|
|
5.42
|
1:59:16
|
1,920 x 1,036
|
5,905 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
595 kbps
|
|
The Last of the Mohicans (1992)
|
|
|
|
5.74
|
1:54:33
|
1,920 x 800
|
3,973 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,204 kbps
|
|
The Last Picture Show (1971)
|
|
|
|
|
39.67
|
2:06:20
|
3,840 x 2,076
|
44,728 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
225 kbps
|
|
The Last Reef (2012)
|
|
|
|
|
14.61
|
39:55
|
3,840 x 2,160
|
49,994 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,413 kbps
|
|
The Last Seduction (1994)
|
|
|
|
25.81
|
1:50:12
|
1,920 x 1,080
|
32,116 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,404 kbps
|
|
The Last Sharknado: It's About Time (2018)
|
|
|
|
6.16
|
1:32:38
|
1,920 x 1,080
|
6,209 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,315 kbps
|
|
The Last Stand (2013)
|
|
|
|
|
5.39
|
1:47:13
|
1,920 x 796
|
2,826 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,374 kbps
|
|
The Last Starfighter (1984)
|
|
|
|
|
31.29
|
1:40:30
|
3,840 x 1,632
|
41,219 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,352 kbps
|
|
The Last Station (2009)
|
|
|
|
4.56
|
1:52:49
|
1,920 x 812
|
2,516 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,274 kbps
|
|
The Last Valley (1971)
|
|
|
|
7.79
|
2:05:43
|
1,920 x 808
|
8,629 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
239 kbps
|
|
The Last Vermeer (2020)
|
|
|
|
7.96
|
1:57:32
|
3,840 x 2,076
|
6,906 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,784 kbps
|
|
The Last Voyage of the Demeter (2023)
|
|
|
|
2.57
|
1:58:39
|
1,920 x 800
|
1,313 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,786 kbps
|
|
The Last Waltz (1978)
|
|
|
|
|
25.04
|
1:57:12
|
3,840 x 2,076
|
26,608 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,976 kbps
|
|
The Last Wave (1977)
|
|
|
|
25.57
|
1:45:01
|
3,840 x 2,076
|
34,257 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
598 kbps
|
|
The Last Word (2008)
|
|
|
|
3.72
|
1:33:45
|
1,920 x 800
|
4,736 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
942 kbps
|
|
The Last Word (2017)
|
|
|
|
3.02
|
1:48:09
|
1,920 x 800
|
7,124 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,495 kbps
|
|
The Laundromat (2019)
|
|
|
|
|
2.65
|
1:36:03
|
1,920 x 1,080
|
3,303 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Lawnmower Man (1992)
|
|
|
|
11.42
|
2:20:53
|
1,920 x 1,036
|
10,307 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,300 kbps
|
|
The Layover (2017)
|
|
|
|
3.91
|
1:28:02
|
1,920 x 796
|
3,438 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,917 kbps
|
|
The Lazarus Effect (2015)
|
|
|
|
2.43
|
1:23:12
|
1,920 x 800
|
1,398 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,776 kbps
|
|
The League of Extraordinary Gentlemen (2003)
|
|
|
|
6.36
|
1:50:07
|
1,920 x 812
|
4,624 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,637 kbps
|
|
The Ledge (2011)
|
|
|
|
2.03
|
1:40:50
|
1,920 x 1,080
|
1,907 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
973 kbps
|
|
The Legend of Bagger Vance (2000)
|
|
|
|
8.23
|
2:06:30
|
1,920 x 1,080
|
6,421 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,895 kbps
|
|
The Legend of Billie Jean (1985)
|
|
|
|
|
6.70
|
1:35:13
|
1,920 x 1,080
|
9,885 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Legend of Tarzan (2016)
|
|
|
|
|
8.92
|
1:49:59
|
3,840 x 1,600
|
8,614 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,000 kbps
|
|
The Legend of Zorro (2005)
|
|
|
|
|
|
10.88
|
2:10:27
|
3,840 x 1,632
|
8,551 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,384 kbps
|
|
The LEGO Batman Movie (2017)
|
|
|
|
|
6.79
|
1:44:28
|
3,840 x 1,600
|
6,994 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,312 kbps
|
|
The LEGO Movie (2014)
|
|
|
|
|
|
5.45
|
1:40:33
|
3,840 x 1,600
|
6,219 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,534 kbps
|
|
The LEGO Movie 2: The Second Part (2019)
|
|
|
|
|
3.49
|
1:47:09
|
3,840 x 1,604
|
2,947 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,712 kbps
|
|
The LEGO Ninjago Movie (2017)
|
|
|
|
|
6.29
|
1:41:29
|
3,840 x 1,600
|
6,599 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,265 kbps
|
|
The Lie (2020)
|
|
|
|
|
3.12
|
1:35:04
|
3,840 x 1,584
|
4,050 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Life Aquatic with Steve Zissou (2004)
|
|
|
|
5.37
|
1:58:45
|
1,920 x 820
|
5,357 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,114 kbps
|
|
The Life Before Her Eyes (2008)
|
|
|
|
5.29
|
1:29:44
|
1,920 x 800
|
5,013 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,411 kbps
|
|
The Life of David Gale (2003)
|
|
|
|
15.86
|
2:10:18
|
1,920 x 816
|
16,134 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,289 kbps
|
|
The Lifeguard (2013)
|
|
|
|
|
2.80
|
1:39:23
|
1,920 x 1,080
|
3,587 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Light at the Edge of the World (1971)
|
|
|
|
8.02
|
2:08:36
|
1,920 x 804
|
8,586 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
338 kbps
|
|
The Light Between Oceans (2016)
|
|
|
|
6.43
|
2:12:51
|
1,920 x 800
|
2,787 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,139 kbps
|
|
The Lighthouse (2019)
|
|
|
|
|
14.51
|
1:49:09
|
2,592 x 2,160
|
15,825 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,202 kbps
|
|
The Limey (1999)
|
|
|
|
|
38.11
|
1:28:44
|
3,840 x 2,160
|
60,070 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,420 kbps
|
|
The Lineup (1958)
|
|
|
|
6.90
|
1:26:32
|
1,920 x 1,036
|
11,155 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
257 kbps
|
|
The Lion King (1994)
|
|
|
|
|
5.39
|
1:28:24
|
3,840 x 2,160
|
5,520 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,207 kbps
|
|
The Lion King (2019)
|
|
|
|
|
9.42
|
1:58:15
|
3,840 x 2,160
|
9,692 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,707 kbps
|
|
The Lion King II: Simba's Pride (1998)
|
|
|
|
2.14
|
1:20:50
|
1,920 x 1,080
|
2,261 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,528 kbps
|
|
The Little Mermaid (1989)
|
|
|
|
|
7.95
|
1:22:50
|
3,840 x 2,160
|
10,779 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,951 kbps
|
|
The Little Mermaid (2023)
|
|
|
|
|
11.51
|
2:15:14
|
3,840 x 1,604
|
10,408 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,770 kbps
|
|
The Little Mermaid II: Return to the Sea (2000)
|
|
|
|
2.26
|
1:15:13
|
1,912 x 1,080
|
2,918 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,383 kbps
|
|
The Little Mermaid: Ariel's Beginning (2008)
|
|
|
|
3.13
|
1:17:31
|
1,912 x 1,080
|
2,405 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,374 kbps
|
|
The Little Rascals (1994)
|
|
|
|
10.12
|
1:22:28
|
1,920 x 1,040
|
14,331 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
3,234 kbps
|
|
The Little Rascals Save the Day (2014)
|
|
|
|
6.09
|
1:37:44
|
1,904 x 1,080
|
5,669 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,248 kbps
|
|
The Little Shop of Horrors (1960)
|
|
|
|
2.95
|
1:11:49
|
1,420 x 1,080
|
5,657 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
229 kbps
|
|
The Little Things (2021)
|
|
|
|
|
7.21
|
2:07:48
|
3,840 x 1,608
|
5,304 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,768 kbps
|
|
The Lives of Others (2006)
|
|
|
|
|
8.13
|
2:17:36
|
1,920 x 800
|
7,326 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,132 kbps
|
|
The Living Daylights (1987)
|
|
|
|
14.90
|
2:10:53
|
3,840 x 1,632
|
14,907 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,385 kbps
|
|
The Lobster (2015)
|
|
|
|
6.67
|
1:58:42
|
1,920 x 1,028
|
7,023 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,017 kbps
|
|
The Locksmith (2023)
|
|
|
|
4.08
|
1:32:03
|
1,920 x 800
|
3,766 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,578 kbps
|
|
The Loft (2015)
|
|
|
|
4.44
|
1:42:59
|
1,920 x 800
|
2,846 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,322 kbps
|
|
The Lone Ranger (2013)
|
|
|
|
10.00
|
2:29:33
|
1,920 x 800
|
5,118 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,454 kbps
|
|
The Loneliest Boy in the World (2022)
|
|
|
|
2.60
|
1:30:05
|
1,920 x 800
|
2,541 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,582 kbps
|
|
The Lonely Guy (1984)
|
|
|
|
|
2.66
|
1:30:28
|
1,920 x 1,040
|
3,521 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
692 kbps
|
|
The Lonely Lady (1983)
|
|
|
|
10.42
|
1:31:35
|
1,920 x 1,036
|
15,931 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
360 kbps
|
|
The Long Good Friday (1982)
|
|
|
|
19.34
|
1:54:01
|
1,920 x 1,036
|
23,952 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
327 kbps
|
|
The Long Kiss Goodnight (1996)
|
|
|
|
7.54
|
2:00:33
|
1,920 x 800
|
5,153 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,804 kbps
|
|
The Long Wait (1954)
|
|
|
|
67.24
|
1:34:16
|
3,780 x 2,160
|
101,407 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
710 kbps
|
|
The Long Walk Home (1991)
|
|
|
|
8.37
|
1:36:04
|
1,904 x 1,080
|
12,248 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Longest Day (1962)
|
|
|
|
|
11.01
|
2:58:20
|
1,920 x 816
|
6,432 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,403 kbps
|
|
The Longest Yard (1974)
|
|
|
|
|
33.00
|
2:01:08
|
3,840 x 2,076
|
38,585 kbps
|
|
1.0
|
|
19 bits / 48 kHz
|
405 kbps
|
|
The Longest Yard (2005)
|
|
|
|
6.97
|
1:53:29
|
1,920 x 816
|
5,386 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,410 kbps
|
|
The Look of Love (2013)
|
|
|
|
3.16
|
1:41:02
|
1,920 x 816
|
3,204 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,277 kbps
|
|
The Lookout (2007)
|
|
|
|
7.14
|
1:38:40
|
1,920 x 800
|
7,700 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,663 kbps
|
|
The Lorax (1972)
|
|
|
|
2.51
|
24:58
|
1,480 x 1,080
|
13,620 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
767 kbps
|
|
The Lorax (2012)
|
|
|
|
4.24
|
1:26:12
|
1,920 x 1,040
|
3,517 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,528 kbps
|
|
The Lord of the Rings (1978)
|
|
|
|
13.60
|
2:13:20
|
1,904 x 1,080
|
13,358 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,241 kbps
|
|
The Lord of the Rings: The Fellowship of the Ring (2001)
|
|
|
|
|
|
17.38
|
3:48:18
|
3,840 x 1,608
|
9,234 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,655 kbps
|
|
The Lord of the Rings: The Return of the King (2003)
|
|
|
|
|
|
21.97
|
4:23:18
|
3,840 x 1,608
|
10,280 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,657 kbps
|
|
The Lord of the Rings: The Two Towers (2002)
|
|
|
|
|
|
16.40
|
3:55:32
|
3,840 x 1,608
|
8,286 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,675 kbps
|
|
The Lords of Flatbush (1975)
|
|
|
|
3.86
|
1:24:03
|
1,904 x 1,080
|
6,244 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
331 kbps
|
|
The Losers (2010)
|
|
|
|
7.13
|
1:37:00
|
1,920 x 800
|
7,167 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,351 kbps
|
|
The Lost Boys (1987)
|
|
|
|
|
16.58
|
1:37:26
|
3,840 x 1,608
|
20,519 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,836 kbps
|
|
The Lost City (2022)
|
|
|
|
|
5.58
|
1:51:45
|
3,840 x 1,608
|
4,586 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,557 kbps
|
|
The Lost City of Z (2016)
|
|
|
|
|
13.59
|
2:21:16
|
3,840 x 1,604
|
10,626 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
The Lost Continent (1968)
|
|
|
|
6.40
|
1:37:03
|
1,920 x 1,036
|
9,240 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
206 kbps
|
|
The Lost Daughter (2021)
|
|
|
|
|
2.64
|
2:01:26
|
1,796 x 1,080
|
2,121 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
991 kbps
|
|
The Lost Girls (2022)
|
|
|
|
3.66
|
1:47:23
|
1,920 x 804
|
2,161 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,716 kbps
|
|
The Lost Tribe (2010)
|
|
|
|
5.07
|
1:29:38
|
1,920 x 816
|
6,505 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,594 kbps
|
|
The Lost World (1960)
|
|
|
|
7.36
|
1:36:12
|
1,920 x 814
|
10,428 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
522 kbps
|
|
The Lost World: Jurassic Park (1997)
|
|
|
|
|
|
24.93
|
2:08:40
|
3,840 x 2,076
|
22,478 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,258 kbps
|
|
The Love Bug (1969)
|
|
|
|
|
10.77
|
1:47:40
|
1,786 x 1,080
|
11,479 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,839 kbps
|
|
The Love Punch (2013)
|
|
|
|
3.41
|
1:34:23
|
1,920 x 800
|
3,818 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,349 kbps
|
|
The Lovebirds (2020)
|
|
|
|
3.98
|
1:34:36
|
1,920 x 1,080
|
3,301 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,718 kbps
|
|
The Loved Ones (2010)
|
|
|
|
2.33
|
1:24:06
|
1,920 x 800
|
2,602 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,365 kbps
|
|
The Lovely Bones (2009)
|
|
|
|
|
11.31
|
2:15:30
|
1,920 x 804
|
8,751 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,197 kbps
|
|
The Lover (1992)
|
|
|
|
|
|
36.94
|
1:55:14
|
3,840 x 2,076
|
42,677 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,208 kbps
|
|
The Lovers (2017)
|
|
|
|
3.47
|
1:37:36
|
1,920 x 1,036
|
2,603 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,480 kbps
|
|
The Lovers! (1973)
|
|
|
|
6.85
|
1:29:34
|
1,440 x 1,080
|
10,622 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
332 kbps
|
|
The Machine (2014)
|
|
|
|
3.85
|
1:30:28
|
1,920 x 1,080
|
3,029 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,062 kbps
|
|
The Machinist (2004)
|
|
|
|
4.72
|
1:41:56
|
1,920 x 808
|
5,442 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,191 kbps
|
|
The Madagascar Penguins in a Christmas Caper (2005)
|
|
|
|
0.60
|
10:23
|
1,904 x 1,080
|
4,872 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,408 kbps
|
|
The Magic Christian (1969)
|
|
|
|
18.40
|
1:32:01
|
1,920 x 1,036
|
28,354 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
278 kbps
|
|
The Magic Flute (2022)
|
|
|
|
4.11
|
2:04:55
|
1,920 x 796
|
1,829 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,881 kbps
|
|
The Magic of Belle Isle (2012)
|
|
|
|
4.80
|
1:49:19
|
1,920 x 1,036
|
3,578 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,700 kbps
|
|
The Magic of Flight (1996)
|
|
|
|
1.64
|
39:20
|
1,920 x 1,076
|
4,223 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,732 kbps
|
|
The Magnificent Seven (1960)
|
|
|
|
|
28.93
|
2:07:45
|
3,840 x 1,632
|
29,454 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,959 kbps
|
|
The Magnificent Seven (2016)
|
|
|
|
|
|
17.92
|
2:12:50
|
3,840 x 1,604
|
16,478 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,824 kbps
|
|
The Magus (1968)
|
|
|
|
13.65
|
1:56:17
|
1,920 x 808
|
16,235 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
572 kbps
|
|
The Maiden Heist (2010)
|
|
|
|
|
5.06
|
1:30:19
|
1,920 x 800
|
6,678 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,338 kbps
|
|
The Malibu Bikini Shop (1987)
|
|
|
|
1.75
|
1:39:07
|
1,280 x 696
|
2,305 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Maltese Falcon (1941)
|
|
|
|
|
27.89
|
1:40:33
|
2,960 x 2,160
|
39,203 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
510 kbps
|
|
The Man Called Flintstone (1966)
|
|
|
|
1.74
|
1:29:00
|
720 x 480
|
2,605 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Man from Earth: Holocene (2017)
|
|
|
|
2.61
|
1:39:05
|
1,920 x 1,080
|
2,882 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
880 kbps
|
|
The Man from Planet X (1951)
|
|
|
|
4.43
|
1:10:52
|
1,432 x 1,080
|
8,376 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
574 kbps
|
|
The Man from Rome (2022)
|
|
|
|
3.05
|
2:00:27
|
1,920 x 800
|
2,618 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,005 kbps
|
|
The Man from Toronto (2022)
|
|
|
|
|
|
|
4.52
|
1:50:00
|
3,840 x 1,596
|
5,099 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Man from U.N.C.L.E. (2015)
|
|
|
|
|
7.14
|
1:56:26
|
3,840 x 1,596
|
5,852 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,926 kbps
|
|
The Man in the Iron Mask (1998)
|
|
|
|
7.51
|
2:12:16
|
1,920 x 1,040
|
4,368 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,762 kbps
|
|
The Man Who Could Cheat Death (1959)
|
|
|
|
7.45
|
1:22:52
|
1,920 x 952
|
12,684 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
186 kbps
|
|
The Man Who Fell to Earth (1976)
|
|
|
|
|
29.03
|
2:18:54
|
3,840 x 1,632
|
28,589 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,326 kbps
|
|
The Man Who Killed Hitler and Then the Bigfoot (2018)
|
|
|
|
|
11.92
|
1:39:53
|
3,840 x 1,600
|
16,082 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,026 kbps
|
|
The Man Who Knew Too Little (1997)
|
|
|
|
|
4.81
|
1:33:42
|
1,920 x 1,080
|
6,012 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,336 kbps
|
|
The Man Who Knew Too Much (1956)
|
|
|
|
|
19.76
|
2:00:00
|
3,840 x 2,076
|
21,971 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
The Man Who Loved Women (1983)
|
|
|
|
8.04
|
1:50:31
|
1,920 x 1,080
|
10,193 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Man Who Shot Liberty Valance (1962)
|
|
|
|
|
26.51
|
2:03:20
|
3,840 x 2,076
|
28,449 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,316 kbps
|
|
The Man Who Wasn't There (1983)
|
|
|
|
8.08
|
1:51:26
|
1,920 x 800
|
9,731 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
646 kbps
|
|
The Man Who Wasn't There (2001)
|
|
|
|
3.92
|
1:56:06
|
1,920 x 1,032
|
3,870 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
966 kbps
|
|
The Man with One Red Shoe (1985)
|
|
|
|
5.49
|
1:32:31
|
1,920 x 1,036
|
8,267 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Man with the Golden Gun (1974)
|
|
|
|
23.00
|
2:05:14
|
3,840 x 2,076
|
23,079 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,212 kbps
|
|
The Man with the Iron Fists (2012)
|
|
|
|
4.97
|
1:47:26
|
1,920 x 800
|
3,025 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,590 kbps
|
|
The Man with the Iron Fists 2 (2015)
|
|
|
|
6.10
|
1:30:26
|
1,920 x 1,080
|
6,345 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,307 kbps
|
|
The Man with Two Brains (1983)
|
|
|
|
|
4.55
|
1:29:45
|
1,920 x 1,080
|
6,554 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
705 kbps
|
|
The Man Without a Face (1993)
|
|
|
|
|
4.75
|
1:54:43
|
1,920 x 1,080
|
4,604 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,323 kbps
|
|
The Manchurian Candidate (1962)
|
|
|
|
|
41.76
|
2:06:19
|
3,840 x 2,076
|
46,027 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
The Manchurian Candidate (2004)
|
|
|
|
|
|
38.45
|
2:09:53
|
3,840 x 2,076
|
40,981 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,392 kbps
|
|
The Mandela Effect (2019)
|
|
|
|
2.94
|
1:19:55
|
1,920 x 796
|
4,619 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Mangler (1995)
|
|
|
|
9.13
|
1:45:51
|
1,920 x 1,036
|
10,874 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,472 kbps
|
|
The Manhattan Project (1986)
|
|
|
|
|
8.70
|
1:58:05
|
1,920 x 1,040
|
10,102 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
444 kbps
|
|
The Manster (1959)
|
|
|
|
4.52
|
1:12:57
|
1,800 x 1,080
|
8,192 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
673 kbps
|
|
The Many Adventures of Winnie the Pooh (1977)
|
|
|
|
3.27
|
1:13:59
|
1,788 x 1,080
|
3,982 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,345 kbps
|
|
The Many Saints of Newark (2021)
|
|
|
|
|
7.51
|
2:00:16
|
3,840 x 1,608
|
7,442 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,493 kbps
|
|
The Map of Tiny Perfect Things (2021)
|
|
|
|
|
6.75
|
1:39:03
|
3,840 x 2,080
|
9,109 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Marksman (2021)
|
|
|
|
6.81
|
1:47:25
|
3,840 x 1,608
|
6,381 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,696 kbps
|
|
The Martian (2015)
|
|
|
|
|
|
|
13.08
|
2:31:21
|
3,840 x 1,600
|
9,525 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,849 kbps
|
|
The Marvels (2023)
|
|
|
|
|
|
4.32
|
1:44:45
|
3,840 x 1,608
|
4,234 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,659 kbps
|
|
The Mask (1994)
|
|
|
|
3.84
|
1:41:12
|
1,920 x 1,080
|
4,047 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,387 kbps
|
|
The Mask of Zorro (1998)
|
|
|
|
|
39.16
|
2:17:35
|
3,840 x 1,600
|
37,160 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,586 kbps
|
|
The Matador (2006)
|
|
|
|
5.16
|
1:37:46
|
1,920 x 816
|
4,737 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,815 kbps
|
|
The Matchbreaker (2016)
|
|
|
|
2.38
|
1:34:54
|
1,920 x 800
|
2,442 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,153 kbps
|
|
The Matrix (1999)
|
|
|
|
|
|
24.49
|
2:16:19
|
3,840 x 1,600
|
23,118 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,597 kbps
|
|
The Matrix Reloaded (2003)
|
|
|
|
|
|
23.29
|
2:18:17
|
3,840 x 1,600
|
22,299 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,805 kbps
|
|
The Matrix Resurrections (2021)
|
|
|
|
|
|
7.64
|
2:27:58
|
3,840 x 1,608
|
5,940 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,447 kbps
|
|
The Matrix Revolutions (2003)
|
|
|
|
|
|
24.31
|
2:09:16
|
3,840 x 1,600
|
24,945 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,978 kbps
|
|
The Maze Runner (2014)
|
|
|
|
|
13.11
|
1:53:27
|
3,840 x 1,600
|
11,561 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,961 kbps
|
|
The Mean Season (1985)
|
|
|
|
7.00
|
1:43:58
|
1,920 x 1,038
|
9,270 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
365 kbps
|
|
The Mechanic (1972)
|
|
|
|
8.64
|
1:39:59
|
1,920 x 1,036
|
11,679 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
698 kbps
|
|
The Mechanic (2011)
|
|
|
|
|
13.61
|
1:32:30
|
3,840 x 1,592
|
17,463 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,598 kbps
|
|
The Medallion (2003)
|
|
|
|
4.06
|
1:28:27
|
1,920 x 802
|
5,891 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
678 kbps
|
|
The Meddler (2015)
|
|
|
|
2.97
|
1:43:29
|
1,920 x 800
|
2,847 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,261 kbps
|
|
The Meg (2018)
|
|
|
|
|
9.44
|
1:53:14
|
3,840 x 1,608
|
10,380 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,550 kbps
|
|
The Men Who Stare at Goats (2009)
|
|
|
|
|
4.34
|
1:33:46
|
1,920 x 816
|
3,584 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,044 kbps
|
|
The Menu (2022)
|
|
|
|
|
4.20
|
1:47:08
|
3,840 x 1,632
|
4,836 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Messengers (2007)
|
|
|
|
4.60
|
1:30:26
|
1,920 x 1,036
|
6,125 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,159 kbps
|
|
The Meteor Man (1993)
|
|
|
|
|
5.00
|
1:40:04
|
1,920 x 1,040
|
6,414 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
735 kbps
|
|
The Meyerowitz Stories (New and Selected) (2017)
|
|
|
|
6.13
|
1:52:41
|
1,920 x 1,032
|
7,400 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Midnight Man (2016)
|
|
|
|
2.18
|
1:32:56
|
1,920 x 800
|
811 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,551 kbps
|
|
The Midnight Meat Train (2008)
|
|
|
|
15.48
|
1:43:07
|
1,920 x 812
|
17,134 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,363 kbps
|
|
The Midnight Patrol (1933)
|
|
|
|
0.29
|
19:45
|
1,418 x 1,080
|
1,848 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
277 kbps
|
|
The Midnight Sky (2020)
|
|
|
|
|
4.85
|
1:56:59
|
3,840 x 1,818
|
5,149 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Mighty (1998)
|
|
|
|
4.52
|
1:40:30
|
1,912 x 1,080
|
4,965 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,471 kbps
|
|
The Mighty Ducks (1992)
|
|
|
|
6.38
|
1:43:34
|
1,920 x 1,036
|
5,210 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,599 kbps
|
|
The Mighty Quinn (1989)
|
|
|
|
8.56
|
1:38:42
|
1,920 x 1,040
|
11,060 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,348 kbps
|
|
The Million Dollar Hotel (2000)
|
|
|
|
6.14
|
2:02:20
|
1,920 x 816
|
5,950 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,233 kbps
|
|
The Mind's Eye (2015)
|
|
|
|
3.63
|
1:27:26
|
1,920 x 800
|
4,756 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,183 kbps
|
|
The Minute You Wake Up Dead (2022)
|
|
|
|
4.92
|
1:30:07
|
3,840 x 1,596
|
7,430 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Miracle Season (2018)
|
|
|
|
4.98
|
1:41:04
|
1,920 x 804
|
3,576 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,471 kbps
|
|
The Mirror Crack'd (1980)
|
|
|
|
9.70
|
1:45:59
|
1,920 x 1,004
|
12,836 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
262 kbps
|
|
The Misfits (1961)
|
|
|
|
|
11.64
|
2:04:58
|
3,600 x 2,160
|
13,061 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
The Misfits (2021)
|
|
|
|
4.06
|
1:34:23
|
1,920 x 796
|
2,778 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,375 kbps
|
|
The Mist (2007)
|
|
|
|
|
18.20
|
2:06:12
|
3,840 x 2,076
|
19,467 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,173 kbps
|
|
The Moderns (1988)
|
|
|
|
|
11.12
|
2:06:26
|
1,920 x 1,032
|
9,810 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,785 kbps
|
|
The Money Pit (1986)
|
|
|
|
8.34
|
1:30:54
|
1,920 x 1,040
|
12,043 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,088 kbps
|
|
The Monuments Men (2014)
|
|
|
|
|
|
4.14
|
1:58:23
|
1,920 x 796
|
2,857 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,150 kbps
|
|
The Morning After (1986)
|
|
|
|
7.57
|
1:42:44
|
1,920 x 1,036
|
10,214 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
327 kbps
|
|
The Mortal Instruments: City of Bones (2013)
|
|
|
|
7.13
|
2:10:16
|
1,920 x 800
|
4,600 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,232 kbps
|
|
The Mortuary Collection (2020)
|
|
|
|
|
14.83
|
1:50:56
|
3,840 x 1,608
|
17,951 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,189 kbps
|
|
The Motel Life (2013)
|
|
|
|
4.55
|
1:25:12
|
1,920 x 788
|
5,168 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,476 kbps
|
|
The Moth Diaries (2011)
|
|
|
|
5.39
|
1:22:07
|
1,920 x 1,080
|
6,046 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,342 kbps
|
|
The Mother (2023)
|
|
|
|
|
|
4.61
|
1:55:48
|
3,840 x 1,604
|
4,910 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Mothman Prophecies (2002)
|
|
|
|
4.45
|
1:58:47
|
1,920 x 800
|
2,413 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,952 kbps
|
|
The Mountain Between Us (2017)
|
|
|
|
|
7.47
|
1:51:49
|
3,840 x 1,604
|
6,055 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,500 kbps
|
|
The Mule (2018)
|
|
|
|
|
|
13.70
|
1:56:26
|
3,840 x 1,608
|
14,071 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,769 kbps
|
|
The Mummy (1999)
|
|
|
|
|
21.15
|
2:04:49
|
3,840 x 1,632
|
19,073 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,175 kbps
|
|
The Mummy (2017)
|
|
|
|
|
19.87
|
1:50:06
|
3,840 x 1,600
|
22,750 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,086 kbps
|
|
The Mummy Returns (2001)
|
|
|
|
|
26.70
|
2:09:33
|
3,840 x 1,632
|
23,981 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,517 kbps
|
|
The Mummy: Tomb of the Dragon Emperor (2008)
|
|
|
|
|
17.42
|
1:51:39
|
3,840 x 1,600
|
19,561 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,765 kbps
|
|
The Munsters (2022)
|
|
|
|
11.27
|
1:49:47
|
1,920 x 1,080
|
11,818 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,878 kbps
|
|
The Muppet Christmas Carol (1992)
|
|
|
|
6.89
|
1:25:57
|
1,920 x 1,036
|
8,483 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,989 kbps
|
|
The Muppet Movie (1979)
|
|
|
|
15.03
|
1:35:10
|
1,920 x 1,036
|
21,424 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,185 kbps
|
|
The Muppets (2011)
|
|
|
|
5.57
|
1:42:44
|
1,920 x 1,072
|
3,728 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,034 kbps
|
|
The Muppets Take Manhattan (1984)
|
|
|
|
|
29.81
|
1:34:22
|
3,840 x 2,076
|
42,805 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,414 kbps
|
|
The Muppets' Wizard of Oz (2005)
|
|
|
|
3.27
|
1:40:05
|
1,440 x 1,080
|
4,028 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Music Box (1932)
|
|
|
|
0.94
|
29:33
|
1,418 x 1,080
|
4,294 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
The Music Never Stopped (2011)
|
|
|
|
2.56
|
1:44:41
|
1,920 x 800
|
2,232 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,267 kbps
|
|
The Musketeer (2001)
|
|
|
|
|
4.13
|
1:44:20
|
1,920 x 800
|
4,190 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,477 kbps
|
|
The Muthers (1976)
|
|
|
|
15.36
|
1:22:47
|
1,920 x 1,080
|
25,879 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
678 kbps
|
|
The Mutilator (1984)
|
|
|
|
5.13
|
1:26:18
|
1,920 x 1,040
|
7,825 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
691 kbps
|
|
The Naked Cage (1986)
|
|
|
|
6.23
|
1:36:56
|
1,920 x 1,036
|
8,914 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
286 kbps
|
|
The Naked Gun 2½: The Smell of Fear (1991)
|
|
|
|
|
11.42
|
1:25:06
|
1,920 x 1,080
|
15,730 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,482 kbps
|
|
The Naked Gun: From the Files of Police Squad! (1988)
|
|
|
|
|
9.16
|
1:25:02
|
1,920 x 1,080
|
11,840 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,573 kbps
|
|
The Naked Kiss (1964)
|
|
|
|
7.59
|
1:30:51
|
1,916 x 1,080
|
11,404 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
553 kbps
|
|
The Natural (1984)
|
|
|
|
|
37.59
|
2:23:40
|
3,840 x 2,076
|
35,652 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
1,806 kbps
|
|
The Necessary Death of Charlie Countryman (2013)
|
|
|
|
3.96
|
1:43:36
|
1,920 x 1,080
|
4,177 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,294 kbps
|
|
The Negotiator (1998)
|
|
|
|
4.08
|
2:19:35
|
1,920 x 800
|
2,824 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,358 kbps
|
|
The Neighbor (2018)
|
|
|
|
1.28
|
1:37:27
|
1,920 x 804
|
1,161 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
718 kbps
|
|
The Neon Demon (2016)
|
|
|
|
8.56
|
1:57:04
|
3,840 x 1,608
|
9,599 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
867 kbps
|
|
The Nest (2020)
|
|
|
|
2.69
|
1:47:31
|
1,920 x 1,036
|
2,800 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
776 kbps
|
|
The Net (1995)
|
|
|
|
|
13.22
|
1:54:19
|
1,920 x 1,040
|
12,906 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,644 kbps
|
|
The NeverEnding Story (1984)
|
|
|
|
|
|
12.30
|
1:41:12
|
3,840 x 1,632
|
14,127 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,271 kbps
|
|
The New Adventures of Pippi Longstocking (1988)
|
|
|
|
12.96
|
1:41:19
|
1,920 x 1,036
|
17,065 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,243 kbps
|
|
The New Guy (2002)
|
|
|
|
4.25
|
1:28:31
|
1,920 x 1,032
|
6,643 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The New Kids (1985)
|
|
|
|
5.10
|
1:29:28
|
1,920 x 1,036
|
7,875 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
288 kbps
|
|
The New Mutants (2020)
|
|
|
|
|
6.06
|
1:34:04
|
3,840 x 2,076
|
6,579 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,635 kbps
|
|
The New World (2006)
|
|
|
|
11.56
|
2:52:04
|
1,920 x 816
|
6,280 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,333 kbps
|
|
The Next Karate Kid (1994)
|
|
|
|
|
13.82
|
1:47:21
|
1,920 x 1,038
|
15,162 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,265 kbps
|
|
The Next Three Days (2010)
|
|
|
|
8.07
|
2:13:09
|
1,920 x 816
|
4,997 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,678 kbps
|
|
The Nice Guys (2016)
|
|
|
|
|
5.37
|
1:55:54
|
3,840 x 1,600
|
3,489 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,138 kbps
|
|
The Night Before (2015)
|
|
|
|
|
11.26
|
1:41:15
|
3,840 x 1,604
|
14,423 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,498 kbps
|
|
The Night Clerk (2020)
|
|
|
|
|
2.36
|
1:30:12
|
1,920 x 1,032
|
2,837 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
908 kbps
|
|
The Night Crew (2016)
|
|
|
|
4.14
|
1:32:51
|
1,920 x 800
|
5,026 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,361 kbps
|
|
The Night House (2021)
|
|
|
|
|
5.78
|
1:47:01
|
3,840 x 1,600
|
5,061 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,671 kbps
|
|
The Night of the Hunter (1955)
|
|
|
|
|
23.34
|
1:32:26
|
3,840 x 2,076
|
34,783 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,360 kbps
|
|
The Night Sitter (2018)
|
|
|
|
1.68
|
1:28:13
|
1,920 x 816
|
2,279 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Night Walker (1964)
|
|
|
|
7.36
|
1:25:48
|
1,920 x 1,036
|
11,594 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
680 kbps
|
|
The Nightingale (2019)
|
|
|
|
4.96
|
2:16:16
|
1,468 x 1,080
|
2,760 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,451 kbps
|
|
The Nightmare Before Christmas (1993)
|
|
|
|
|
|
15.29
|
1:16:39
|
3,600 x 2,160
|
23,617 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,941 kbps
|
|
The Nine Lives of Fritz the Cat (1974)
|
|
|
|
6.31
|
1:16:13
|
1,920 x 1,036
|
11,065 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
783 kbps
|
|
The Ninth Gate (2000)
|
|
|
|
7.46
|
2:13:15
|
1,920 x 808
|
3,916 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,096 kbps
|
|
The Northman (2022)
|
|
|
|
|
13.19
|
2:16:54
|
3,840 x 1,920
|
10,626 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,162 kbps
|
|
The November Man (2014)
|
|
|
|
|
4.93
|
1:48:21
|
1,920 x 800
|
3,311 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,195 kbps
|
|
The Nude Bomb (1980)
|
|
|
|
8.14
|
1:33:46
|
1,920 x 1,032
|
12,186 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
242 kbps
|
|
The Numbers Station (2013)
|
|
|
|
4.17
|
1:28:56
|
1,920 x 780
|
3,975 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,744 kbps
|
|
The Nun (2018)
|
|
|
|
|
6.19
|
1:36:35
|
3,840 x 1,604
|
7,724 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,448 kbps
|
|
The Nun II (2023)
|
|
|
|
|
3.12
|
1:49:43
|
3,840 x 1,604
|
2,820 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,250 kbps
|
|
The Nut Job (2014)
|
|
|
|
3.00
|
1:25:55
|
1,920 x 1,036
|
3,653 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,341 kbps
|
|
The Nut Job 2: Nutty by Nature (2017)
|
|
|
|
4.98
|
1:31:13
|
1,920 x 1,036
|
4,328 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,482 kbps
|
|
The Nutcracker and the Four Realms (2018)
|
|
|
|
|
14.12
|
1:39:16
|
3,840 x 2,076
|
18,682 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,674 kbps
|
|
The Nutty Professor (1963)
|
|
|
|
|
22.18
|
1:47:25
|
3,840 x 2,076
|
26,551 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
The Nutty Professor (1996)
|
|
|
|
|
4.27
|
1:35:10
|
1,920 x 1,040
|
5,173 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,248 kbps
|
|
The Oath (2018)
|
|
|
|
|
1.98
|
1:33:22
|
1,920 x 806
|
2,582 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Objective (2008)
|
|
|
|
5.03
|
1:30:01
|
1,920 x 1,076
|
6,840 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,155 kbps
|
|
The Odd Couple (1968)
|
|
|
|
3.99
|
1:45:27
|
1,920 x 816
|
4,738 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
683 kbps
|
|
The Odd Couple II (1998)
|
|
|
|
6.67
|
1:36:18
|
1,920 x 812
|
8,663 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,243 kbps
|
|
The Odd Life of Timothy Green (2012)
|
|
|
|
6.00
|
1:44:37
|
1,920 x 1,040
|
5,368 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,837 kbps
|
|
The Offence (1973)
|
|
|
|
7.20
|
1:58:44
|
1,800 x 1,080
|
8,174 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
503 kbps
|
|
The Old Guard (2020)
|
|
|
|
|
5.41
|
2:04:16
|
3,840 x 1,600
|
5,450 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Old Way (2023)
|
|
|
|
|
13.60
|
1:35:25
|
3,840 x 1,604
|
17,431 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
The Omega Man (1971)
|
|
|
|
8.31
|
1:38:01
|
1,920 x 796
|
11,950 kbps
|
|
1.0
|
|
48 kHz
|
192 kbps
|
|
The One (2001)
|
|
|
|
4.46
|
1:27:18
|
1,920 x 800
|
5,646 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,664 kbps
|
|
The One and Only Ivan (2020)
|
|
|
|
|
4.54
|
1:33:30
|
3,840 x 1,604
|
6,684 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
The One I Love (2014)
|
|
|
|
3.27
|
1:31:19
|
1,920 x 804
|
2,426 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,707 kbps
|
|
The Onion Field (1980)
|
|
|
|
10.99
|
2:06:17
|
1,920 x 1,024
|
12,221 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
237 kbps
|
|
The Only Living Boy in New York (2017)
|
|
|
|
|
3.25
|
1:28:23
|
3,840 x 2,080
|
4,627 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Operative (2019)
|
|
|
|
4.62
|
1:56:57
|
1,920 x 804
|
2,876 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,786 kbps
|
|
The Order (2001)
|
|
|
|
|
5.33
|
1:29:24
|
1,920 x 1,080
|
7,249 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,286 kbps
|
|
The Order (2003)
|
|
|
|
4.51
|
1:42:18
|
1,920 x 1,040
|
2,958 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,357 kbps
|
|
The Organization (1971)
|
|
|
|
4.73
|
1:47:57
|
1,920 x 1,040
|
6,070 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
206 kbps
|
|
The Other Boleyn Girl (2008)
|
|
|
|
7.11
|
1:55:35
|
1,920 x 1,040
|
6,062 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,747 kbps
|
|
The Other Guys (2010)
|
|
|
|
|
6.25
|
1:56:15
|
1,920 x 800
|
6,424 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,270 kbps
|
|
The Other Woman (2014)
|
|
|
|
5.88
|
1:49:13
|
1,920 x 800
|
4,682 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,024 kbps
|
|
The Other Zoey (2023)
|
|
|
|
|
2.68
|
1:30:37
|
3,840 x 2,160
|
3,781 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Others (2001)
|
|
|
|
35.25
|
1:44:09
|
3,840 x 2,076
|
47,182 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,277 kbps
|
|
The Outfit (2022)
|
|
|
|
|
5.32
|
1:44:57
|
3,840 x 1,920
|
5,996 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,255 kbps
|
|
The Outlaw Josey Wales (1976)
|
|
|
|
10.05
|
2:15:51
|
1,920 x 800
|
7,515 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,074 kbps
|
|
The Outpost (2020)
|
|
|
|
20.46
|
2:06:51
|
3,840 x 2,072
|
19,746 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,350 kbps
|
|
The Outsiders (1983)
|
|
|
|
|
32.20
|
1:54:55
|
3,840 x 1,600
|
38,747 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,370 kbps
|
|
The Owners (2020)
|
|
|
|
3.05
|
1:31:55
|
1,920 x 804
|
1,688 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,060 kbps
|
|
The Pacifier (2005)
|
|
|
|
5.28
|
1:35:21
|
1,920 x 800
|
6,460 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,470 kbps
|
|
The Paper (1994)
|
|
|
|
11.85
|
1:51:29
|
1,920 x 1,040
|
11,763 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,446 kbps
|
|
The Paperboy (2012)
|
|
|
|
10.31
|
1:46:45
|
1,920 x 800
|
12,574 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,257 kbps
|
|
The Parallax View (1974)
|
|
|
|
10.49
|
1:42:08
|
1,920 x 804
|
14,040 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
658 kbps
|
|
The Parent Trap (1961)
|
|
|
|
|
14.71
|
2:09:08
|
1,784 x 1,080
|
13,649 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,658 kbps
|
|
The Parent Trap (1998)
|
|
|
|
|
9.36
|
2:08:01
|
1,920 x 1,032
|
6,808 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,649 kbps
|
|
The Parole Officer (2001)
|
|
|
|
5.08
|
1:34:19
|
1,920 x 1,038
|
6,981 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
725 kbps
|
|
The Parts You Lose (2019)
|
|
|
|
2.49
|
1:33:59
|
1,920 x 800
|
1,193 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,595 kbps
|
|
The Party (1968)
|
|
|
|
6.98
|
1:39:04
|
1,920 x 820
|
9,778 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
307 kbps
|
|
The Passion of the Christ (2004)
|
|
|
|
|
|
7.80
|
2:06:32
|
1,920 x 796
|
5,422 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,405 kbps
|
|
The Patriot (1998)
|
|
|
|
4.43
|
1:30:10
|
1,920 x 800
|
6,583 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Patriot (2000)
|
|
|
|
|
24.53
|
2:44:47
|
3,840 x 1,600
|
18,086 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,218 kbps
|
|
The Patsy (1964)
|
|
|
|
|
1.76
|
1:41:24
|
720 x 576
|
2,295 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Peacemaker (1997)
|
|
|
|
|
|
8.08
|
2:03:50
|
3,840 x 1,634
|
5,550 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,781 kbps
|
|
The Peanut Butter Falcon (2019)
|
|
|
|
3.94
|
1:36:57
|
1,920 x 802
|
2,752 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,064 kbps
|
|
The Peanuts Movie (2015)
|
|
|
|
|
3.87
|
1:28:06
|
3,840 x 2,076
|
3,550 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,733 kbps
|
|
The Pelican Brief (1993)
|
|
|
|
4.48
|
2:21:09
|
1,920 x 800
|
3,247 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,293 kbps
|
|
The People Under the Stairs (1991)
|
|
|
|
|
31.68
|
1:41:55
|
3,840 x 2,076
|
41,483 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,017 kbps
|
|
The People vs. Larry Flynt (1997)
|
|
|
|
|
5.80
|
2:09:29
|
1,920 x 796
|
5,063 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,346 kbps
|
|
The Perfect Storm (2000)
|
|
|
|
6.17
|
2:09:49
|
1,920 x 798
|
5,084 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,722 kbps
|
|
The Perfect Weapon (1991)
|
|
|
|
3.30
|
1:24:05
|
1,898 x 1,080
|
4,999 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
612 kbps
|
|
The Perfection (2018)
|
|
|
|
7.86
|
1:30:34
|
3,840 x 1,600
|
11,776 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Perks of Being a Wallflower (2012)
|
|
|
|
11.32
|
1:42:40
|
1,920 x 1,080
|
12,552 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,232 kbps
|
|
The Personal History of David Copperfield (2020)
|
|
|
|
5.61
|
1:59:45
|
1,920 x 804
|
3,853 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,849 kbps
|
|
The Phantom (1996)
|
|
|
|
8.22
|
1:40:18
|
1,920 x 816
|
6,588 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,147 kbps
|
|
The Philadelphia Experiment (1984)
|
|
|
|
|
5.56
|
1:41:12
|
1,920 x 1,080
|
7,422 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The Philadelphia Experiment (2012)
|
|
|
|
|
3.02
|
1:29:01
|
1,920 x 1,072
|
3,478 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,385 kbps
|
|
The Philadelphia Story (1940)
|
|
|
|
7.50
|
1:52:28
|
1,480 x 1,080
|
8,986 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
563 kbps
|
|
The Pianist (2002)
|
|
|
|
|
|
26.33
|
2:29:23
|
3,840 x 2,072
|
24,209 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,021 kbps
|
|
The Pick-up Artist (1987)
|
|
|
|
6.44
|
1:21:29
|
1,920 x 1,038
|
9,970 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,346 kbps
|
|
The Pig Who Cried Werewolf (2011)
|
|
|
|
0.28
|
06:49
|
1,888 x 1,080
|
2,514 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,314 kbps
|
|
The Pillow Book (1996)
|
|
|
|
2.66
|
2:06:19
|
1,436 x 1,080
|
2,454 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
558 kbps
|
|
The Pink Panther (1963)
|
|
|
|
12.11
|
1:55:08
|
1,920 x 816
|
11,897 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,158 kbps
|
|
The Pink Panther (2006)
|
|
|
|
|
3.91
|
1:32:46
|
1,920 x 1,040
|
4,680 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,349 kbps
|
|
The Pink Panther 2 (2009)
|
|
|
|
7.46
|
1:32:02
|
1,920 x 1,038
|
8,657 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,951 kbps
|
|
The Pink Panther Strikes Again (1976)
|
|
|
|
5.63
|
1:43:23
|
1,920 x 816
|
7,555 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
235 kbps
|
|
The Pirate Fairy (2014)
|
|
|
|
5.23
|
1:18:05
|
1,920 x 1,080
|
5,315 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,268 kbps
|
|
The Pit (1981)
|
|
|
|
28.10
|
1:36:22
|
1,920 x 1,080
|
41,446 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
301 kbps
|
|
The Place Beyond the Pines (2012)
|
|
|
|
11.02
|
2:20:30
|
1,920 x 800
|
7,922 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,305 kbps
|
|
The Plague Dogs (1985)
|
|
|
|
6.03
|
1:42:56
|
1,920 x 1,036
|
7,709 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
682 kbps
|
|
The Player (1992)
|
|
|
|
15.75
|
2:04:27
|
1,920 x 1,036
|
16,806 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,313 kbps
|
|
The Pledge (2001)
|
|
|
|
3.97
|
2:03:25
|
1,920 x 796
|
4,054 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
553 kbps
|
|
The Poison Rose (2019)
|
|
|
|
5.12
|
1:37:51
|
1,920 x 812
|
4,285 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,207 kbps
|
|
The Poker House (2008)
|
|
|
|
3.99
|
1:33:10
|
1,904 x 1,080
|
4,813 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,312 kbps
|
|
The Polar Express (2004)
|
|
|
|
|
4.52
|
1:39:55
|
3,840 x 1,608
|
4,874 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,597 kbps
|
|
The Pool Boys (2009)
|
|
|
|
3.83
|
1:28:06
|
1,920 x 1,024
|
5,060 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,156 kbps
|
|
The Pope of Greenwich Village (1984)
|
|
|
|
4.21
|
2:00:38
|
1,920 x 1,040
|
4,415 kbps
|
|
1.0
|
|
22 bits / 48 kHz
|
577 kbps
|
|
The Poseidon Adventure (1972)
|
|
|
|
|
6.78
|
1:57:01
|
1,920 x 816
|
6,435 kbps
|
|
3/1
|
|
24 bits / 48 kHz
|
1,852 kbps
|
|
The Postcard Killings (2020)
|
|
|
|
4.89
|
1:44:09
|
1,920 x 796
|
4,186 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,532 kbps
|
|
The Postman (1997)
|
|
|
|
8.48
|
2:57:50
|
1,920 x 792
|
5,367 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,457 kbps
|
|
The Postman Always Rings Twice (1981)
|
|
|
|
6.03
|
2:01:16
|
1,904 x 1,080
|
6,859 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
262 kbps
|
|
The Predator (2018)
|
|
|
|
|
|
12.96
|
1:46:57
|
3,840 x 1,604
|
14,271 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,066 kbps
|
|
The President's Analyst (1967)
|
|
|
|
4.63
|
1:42:51
|
1,920 x 800
|
5,801 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
649 kbps
|
|
The Presidio (1988)
|
|
|
|
5.75
|
1:36:43
|
1,920 x 800
|
5,323 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,186 kbps
|
|
The Prestige (2006)
|
|
|
|
|
14.42
|
2:10:19
|
3,840 x 1,596
|
12,783 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,058 kbps
|
|
The Prince (2014)
|
|
|
|
2.53
|
1:30:40
|
1,920 x 800
|
2,693 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,299 kbps
|
|
The Prince and the Pauper (1978)
|
|
|
|
5.74
|
1:47:55
|
1,920 x 808
|
7,150 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
469 kbps
|
|
The Prince and the Showgirl (1957)
|
|
|
|
10.41
|
1:57:12
|
1,920 x 1,028
|
12,260 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
457 kbps
|
|
The Prince of Egypt (1998)
|
|
|
|
|
5.03
|
1:39:12
|
3,840 x 2,076
|
3,875 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,382 kbps
|
|
The Prince of Tides (1991)
|
|
|
|
19.39
|
2:12:02
|
1,920 x 1,032
|
19,724 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,295 kbps
|
|
The Princess (2022)
|
|
|
|
|
7.79
|
1:33:58
|
3,840 x 1,920
|
11,100 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Princess and the Frog (2009)
|
|
|
|
|
4.34
|
1:37:28
|
3,840 x 2,158
|
3,555 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,819 kbps
|
|
The Princess Bride (1987)
|
|
|
|
|
|
32.72
|
1:38:27
|
3,840 x 2,076
|
46,450 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,125 kbps
|
|
The Principal (1987)
|
|
|
|
5.79
|
1:50:16
|
1,920 x 1,040
|
6,208 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,306 kbps
|
|
The Prisoner of Second Avenue (1975)
|
|
|
|
3.88
|
1:38:05
|
1,920 x 800
|
5,088 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
568 kbps
|
|
The Private Life of Sherlock Holmes (1970)
|
|
|
|
7.45
|
2:05:21
|
1,920 x 816
|
8,236 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
274 kbps
|
|
The Prodigy (2019)
|
|
|
|
2.92
|
1:31:46
|
1,920 x 804
|
1,774 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,782 kbps
|
|
The Producers (1968)
|
|
|
|
8.64
|
1:29:22
|
1,920 x 1,038
|
11,756 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,079 kbps
|
|
The Professor (2018)
|
|
|
|
4.18
|
1:31:38
|
1,920 x 1,036
|
3,778 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,746 kbps
|
|
The Promotion (2008)
|
|
|
|
|
3.46
|
1:25:49
|
1,920 x 1,080
|
5,128 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Prophecy (1995)
|
|
|
|
|
17.13
|
1:37:31
|
3,840 x 1,632
|
21,711 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,431 kbps
|
|
The Prophecy II (1998)
|
|
|
|
|
23.83
|
1:23:18
|
3,840 x 2,076
|
39,501 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,457 kbps
|
|
The Prophet's Game (2001)
|
|
|
|
10.51
|
1:48:11
|
3,840 x 2,072
|
12,497 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,405 kbps
|
|
The Proposal (2009)
|
|
|
|
5.54
|
1:47:48
|
1,920 x 800
|
4,324 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,029 kbps
|
|
The Proposition (1998)
|
|
|
|
1.34
|
1:51:51
|
720 x 462
|
768 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
945 kbps
|
|
The Protégé (2021)
|
|
|
|
|
7.39
|
1:48:55
|
3,840 x 1,604
|
7,068 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,645 kbps
|
|
The Public (2018)
|
|
|
|
6.06
|
1:59:32
|
1,920 x 800
|
6,397 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
863 kbps
|
|
The Punisher (2004)
|
|
|
|
|
17.14
|
2:03:34
|
3,840 x 1,630
|
17,147 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,704 kbps
|
|
The Puppet Masters (1994)
|
|
|
|
4.21
|
1:48:58
|
1,920 x 816
|
4,496 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,028 kbps
|
|
The Purge (2013)
|
|
|
|
|
|
10.12
|
1:25:12
|
3,840 x 1,600
|
12,788 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,209 kbps
|
|
The Purge: Anarchy (2014)
|
|
|
|
|
|
10.90
|
1:43:32
|
3,840 x 1,600
|
11,273 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,791 kbps
|
|
The Purge: Election Year (2016)
|
|
|
|
|
|
13.06
|
1:48:49
|
3,840 x 1,600
|
12,976 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,196 kbps
|
|
The Purifiers (2005)
|
|
|
|
4.64
|
1:20:59
|
1,920 x 796
|
7,553 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Pursuit of D.B. Cooper (1981)
|
|
|
|
10.95
|
1:40:32
|
1,920 x 1,032
|
14,915 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
673 kbps
|
|
The Quarry (2020)
|
|
|
|
|
7.12
|
1:43:05
|
1,920 x 796
|
7,420 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,465 kbps
|
|
The Quest (1996)
|
|
|
|
5.81
|
1:34:35
|
1,920 x 816
|
4,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,878 kbps
|
|
The Quick and the Dead (1995)
|
|
|
|
|
25.94
|
1:45:06
|
3,840 x 2,076
|
32,590 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,737 kbps
|
|
The Quiet Earth (1985)
|
|
|
|
5.13
|
1:31:03
|
1,920 x 1,040
|
4,959 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,099 kbps
|
|
The Quiet Ones (2014)
|
|
|
|
4.22
|
1:38:12
|
1,920 x 1,064
|
3,578 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,570 kbps
|
|
The Rage: Carrie 2 (1999)
|
|
|
|
8.69
|
1:44:52
|
1,920 x 1,014
|
8,839 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,029 kbps
|
|
The Railway Man (2013)
|
|
|
|
4.24
|
1:56:32
|
1,920 x 800
|
2,602 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,600 kbps
|
|
The Rain Killer (1990)
|
|
|
|
1.80
|
1:33:27
|
1,904 x 1,080
|
2,400 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
355 kbps
|
|
The Rainmaker (1997)
|
|
|
|
3.64
|
2:15:30
|
1,920 x 808
|
2,598 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,249 kbps
|
|
The Raven (2012)
|
|
|
|
3.63
|
1:50:52
|
1,920 x 800
|
1,887 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,793 kbps
|
|
The Real Blonde (1998)
|
|
|
|
4.90
|
1:45:47
|
1,920 x 1,040
|
6,404 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Real McCoy (1993)
|
|
|
|
6.74
|
1:45:03
|
1,920 x 1,032
|
7,886 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,301 kbps
|
|
The Rebel (1961)
|
|
|
|
7.51
|
1:45:43
|
1,792 x 1,080
|
9,819 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
347 kbps
|
|
The Rebels of PT-218 (2021)
|
|
|
|
2.29
|
1:28:13
|
1,920 x 800
|
2,477 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,230 kbps
|
|
The Rebound (2009)
|
|
|
|
2.80
|
1:34:44
|
1,920 x 816
|
2,999 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,229 kbps
|
|
The Recall (2017)
|
|
|
|
2.79
|
1:31:07
|
1,920 x 800
|
3,091 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,285 kbps
|
|
The Reckoning (2021)
|
|
|
|
3.78
|
1:50:57
|
1,920 x 804
|
1,592 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,284 kbps
|
|
The Recruit (2003)
|
|
|
|
2.36
|
1:55:01
|
1,920 x 816
|
1,756 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,177 kbps
|
|
The Red Shoes (1948)
|
|
|
|
|
14.78
|
2:15:29
|
2,960 x 2,160
|
15,115 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
502 kbps
|
|
The Reliant (2019)
|
|
|
|
3.02
|
1:56:20
|
1,920 x 800
|
3,070 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Reluctant Astronaut (1968)
|
|
|
|
7.13
|
1:42:06
|
1,920 x 1,036
|
9,304 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
692 kbps
|
|
The Reluctant Dragon (1941)
|
|
|
|
4.06
|
1:13:37
|
1,436 x 1,080
|
7,711 kbps
|
|
1.0
|
|
48 kHz
|
192 kbps
|
|
The Reluctant Fundamentalist (2013)
|
|
|
|
|
5.14
|
2:10:08
|
1,920 x 800
|
2,525 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,125 kbps
|
|
The Remaining (2014)
|
|
|
|
2.44
|
1:27:50
|
1,920 x 1,040
|
2,664 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,307 kbps
|
|
The Remains of the Day (1993)
|
|
|
|
|
|
27.18
|
2:14:15
|
3,840 x 1,604
|
26,576 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,404 kbps
|
|
The Rental (2020)
|
|
|
|
|
3.08
|
1:28:27
|
3,840 x 1,600
|
3,974 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,002 kbps
|
|
The Replacement Killers (1998)
|
|
|
|
|
5.23
|
1:36:08
|
1,920 x 794
|
6,156 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,633 kbps
|
|
The Replacements (2000)
|
|
|
|
11.31
|
1:58:21
|
1,920 x 1,080
|
10,262 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,412 kbps
|
|
The Rescuers (1977)
|
|
|
|
5.11
|
1:17:14
|
1,792 x 1,080
|
6,649 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,817 kbps
|
|
The Resident (2011)
|
|
|
|
4.16
|
1:31:19
|
1,920 x 808
|
3,480 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,048 kbps
|
|
The Resort (2021)
|
|
|
|
3.22
|
1:15:44
|
1,920 x 800
|
3,635 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,448 kbps
|
|
The Resurrected (1991)
|
|
|
|
2.53
|
1:45:32
|
1,920 x 1,036
|
2,856 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
573 kbps
|
|
The Retirement Plan (2023)
|
|
|
|
6.38
|
1:42:53
|
3,840 x 1,920
|
8,231 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Retrievers (2001)
|
|
|
|
1.86
|
1:25:50
|
960 x 720
|
2,181 kbps
|
|
2.0
|
|
20 bits / 48 kHz
|
921 kbps
|
|
The Return (1982)
|
|
|
|
5.58
|
1:30:24
|
1,904 x 1,080
|
8,337 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
497 kbps
|
|
The Return of Jafar (1994)
|
|
|
|
4.74
|
1:09:06
|
1,920 x 1,080
|
6,120 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,700 kbps
|
|
The Return of the Living Dead (1985)
|
|
|
|
|
28.09
|
1:30:27
|
3,840 x 2,064
|
41,617 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,844 kbps
|
|
The Return of the Pink Panther (1975)
|
|
|
|
10.96
|
1:52:54
|
1,920 x 816
|
13,621 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
The Revenant (2016)
|
|
|
|
|
|
14.26
|
2:36:21
|
3,840 x 1,604
|
9,091 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,961 kbps
|
|
The Rewrite (2015)
|
|
|
|
3.72
|
1:47:00
|
1,920 x 800
|
2,712 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,257 kbps
|
|
The Rhythm Section (2020)
|
|
|
|
4.17
|
1:49:36
|
1,920 x 804
|
1,623 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,817 kbps
|
|
The Ridiculous 6 (2015)
|
|
|
|
8.28
|
2:00:02
|
3,840 x 1,600
|
9,491 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Rift (1990)
|
|
|
|
5.85
|
1:23:03
|
1,796 x 1,080
|
8,701 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,390 kbps
|
|
The Ring (2002)
|
|
|
|
|
37.52
|
1:55:16
|
3,840 x 2,072
|
43,383 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,213 kbps
|
|
The Ring Two (2005)
|
|
|
|
|
15.97
|
1:49:31
|
3,840 x 2,072
|
17,999 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,867 kbps
|
|
The Ringer (2005)
|
|
|
|
|
6.79
|
1:34:16
|
1,920 x 816
|
7,103 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,201 kbps
|
|
The Rising Hawk (2019)
|
|
|
|
|
11.07
|
2:04:56
|
1,920 x 852
|
9,490 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,195 kbps
|
|
The Ritual Killer (2023)
|
|
|
|
3.98
|
1:31:38
|
1,920 x 800
|
2,925 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,295 kbps
|
|
The River Wild (1994)
|
|
|
|
7.90
|
1:51:22
|
1,920 x 816
|
8,797 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,360 kbps
|
|
The Road (2009)
|
|
|
|
2.36
|
1:51:21
|
1,920 x 816
|
1,707 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,327 kbps
|
|
The Road to Wellville (1994)
|
|
|
|
6.64
|
2:00:05
|
1,904 x 1,080
|
6,665 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,246 kbps
|
|
The Roaring Twenties (1939)
|
|
|
|
|
30.05
|
1:46:47
|
2,960 x 2,160
|
39,875 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
406 kbps
|
|
The Rock (1996)
|
|
|
|
|
8.22
|
2:16:30
|
1,920 x 818
|
6,965 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,654 kbps
|
|
The Rocker (2008)
|
|
|
|
8.96
|
1:42:18
|
1,920 x 1,040
|
9,183 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,355 kbps
|
|
The Rocketeer (1991)
|
|
|
|
8.01
|
1:48:32
|
1,920 x 818
|
6,848 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,709 kbps
|
|
The Rocky Horror Picture Show (1975)
|
|
|
|
14.79
|
1:40:09
|
1,780 x 1,080
|
16,889 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,250 kbps
|
|
The Romantics (2010)
|
|
|
|
10.50
|
1:36:35
|
1,920 x 1,080
|
12,827 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,734 kbps
|
|
The Rookie (1990)
|
|
|
|
6.74
|
2:00:46
|
1,920 x 792
|
4,415 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,569 kbps
|
|
The Rookie (2002)
|
|
|
|
4.62
|
2:08:04
|
1,920 x 816
|
3,703 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,464 kbps
|
|
The Room (2019)
|
|
|
|
2.26
|
1:39:11
|
1,920 x 804
|
2,307 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
958 kbps
|
|
The Room Upstairs (1987)
|
|
|
|
0.77
|
1:41:18
|
720 x 462
|
696 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Roommate (2011)
|
|
|
|
3.12
|
1:31:16
|
1,920 x 800
|
2,779 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,112 kbps
|
|
The Rover (2014)
|
|
|
|
4.63
|
1:42:36
|
1,920 x 796
|
3,850 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,612 kbps
|
|
The Royal Tenenbaums (2001)
|
|
|
|
8.69
|
1:49:55
|
1,920 x 800
|
8,111 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,202 kbps
|
|
The Rugrats Movie (1998)
|
|
|
|
8.09
|
1:19:55
|
1,920 x 1,036
|
11,011 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,480 kbps
|
|
The Rules of Attraction (2002)
|
|
|
|
6.76
|
1:50:51
|
1,920 x 1,072
|
7,594 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,130 kbps
|
|
The Runaways (2010)
|
|
|
|
6.17
|
1:46:37
|
1,920 x 816
|
5,426 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,862 kbps
|
|
The Rundown (2003)
|
|
|
|
|
6.05
|
1:44:15
|
1,920 x 816
|
4,620 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,681 kbps
|
|
The Runner from Ravenshead (1998)
|
|
|
|
3.00
|
1:21:29
|
1,920 x 1,080
|
5,046 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Running Man (1987)
|
|
|
|
|
|
29.26
|
1:40:48
|
3,840 x 2,160
|
37,110 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,436 kbps
|
|
The Russia House (1990)
|
|
|
|
9.26
|
2:03:05
|
1,920 x 816
|
9,500 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,265 kbps
|
|
The Russian Bride (2019)
|
|
|
|
3.97
|
1:41:26
|
1,920 x 856
|
4,288 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,316 kbps
|
|
The Saint (1997)
|
|
|
|
8.99
|
1:56:10
|
1,920 x 820
|
7,426 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,645 kbps
|
|
The Sandlot (1993)
|
|
|
|
|
8.32
|
1:41:08
|
1,920 x 816
|
8,048 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,722 kbps
|
|
The Sandlot: Heading Home (2007)
|
|
|
|
5.19
|
1:36:30
|
1,920 x 1,036
|
7,065 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Santa Clause (1994)
|
|
|
|
|
|
14.70
|
1:37:07
|
3,840 x 2,076
|
18,189 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,470 kbps
|
|
The Santa Clause 2 (2002)
|
|
|
|
|
|
16.47
|
1:44:22
|
3,840 x 2,076
|
19,458 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,470 kbps
|
|
The Santa Clause 3: The Escape Clause (2006)
|
|
|
|
|
|
8.62
|
1:31:56
|
3,840 x 2,076
|
12,079 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,470 kbps
|
|
The Santa Squad (2020)
|
|
|
|
4.34
|
1:30:34
|
1,920 x 1,080
|
6,628 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Sasquatch Gang (2006)
|
|
|
|
4.07
|
1:27:39
|
1,920 x 816
|
6,261 kbps
|
|
2.0
|
|
48 kHz
|
384 kbps
|
|
The Scarlet Blade (1963)
|
|
|
|
4.09
|
1:22:50
|
1,920 x 816
|
6,398 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
666 kbps
|
|
The School for Good and Evil (2022)
|
|
|
|
|
9.93
|
2:26:31
|
3,840 x 1,920
|
8,918 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
The Score (2001)
|
|
|
|
|
23.79
|
2:04:04
|
3,840 x 1,632
|
24,069 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,373 kbps
|
|
The Score (2021)
|
|
|
|
3.60
|
1:39:59
|
1,920 x 800
|
2,421 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,727 kbps
|
|
The Scorpion King (2002)
|
|
|
|
|
23.92
|
1:31:23
|
3,840 x 1,632
|
32,420 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,054 kbps
|
|
The Scorpion King 2: Rise of a Warrior (2008)
|
|
|
|
10.52
|
1:48:45
|
1,920 x 1,080
|
10,116 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,732 kbps
|
|
The Scorpion King 3: Battle for Redemption (2012)
|
|
|
|
6.14
|
1:45:17
|
1,920 x 1,076
|
6,566 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,778 kbps
|
|
The Scorpion King 4: Quest for Power (2015)
|
|
|
|
6.04
|
1:44:51
|
1,920 x 1,080
|
4,978 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,270 kbps
|
|
The Scorpion King: Book of Souls (2018)
|
|
|
|
6.34
|
1:41:52
|
1,920 x 1,080
|
4,959 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,948 kbps
|
|
The Scribbler (2014)
|
|
|
|
2.83
|
1:29:27
|
1,920 x 808
|
3,278 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,252 kbps
|
|
The Search for One-eye Jimmy (1996)
|
|
|
|
7.41
|
1:24:44
|
1,920 x 1,080
|
11,924 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
600 kbps
|
|
The Search for Santa Paws (2010)
|
|
|
|
7.03
|
1:36:28
|
1,920 x 1,080
|
7,141 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,291 kbps
|
|
The Secret Garden (2017)
|
|
|
|
4.00
|
1:29:36
|
1,920 x 1,076
|
5,999 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Secret Garden (2020)
|
|
|
|
14.17
|
1:39:45
|
3,840 x 2,072
|
17,639 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,699 kbps
|
|
The Secret Life of Pets (2016)
|
|
|
|
|
|
5.01
|
1:26:27
|
3,840 x 2,072
|
5,575 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,722 kbps
|
|
The Secret Life of Pets 2 (2019)
|
|
|
|
|
|
3.95
|
1:26:04
|
3,840 x 2,076
|
4,919 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,644 kbps
|
|
The Secret Life of Walter Mitty (2013)
|
|
|
|
|
6.24
|
1:54:35
|
1,920 x 800
|
4,053 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,736 kbps
|
|
The Secret Life of Words (2005)
|
|
|
|
3.27
|
1:55:15
|
1,920 x 1,036
|
2,992 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,071 kbps
|
|
The Secret of Moonacre (2009)
|
|
|
|
5.74
|
1:42:57
|
1,920 x 816
|
6,452 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,513 kbps
|
|
The Secret of My Success (1987)
|
|
|
|
|
9.40
|
1:50:25
|
1,920 x 1,042
|
10,881 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,311 kbps
|
|
The Secret War of Harry Frigg (1968)
|
|
|
|
5.28
|
1:49:58
|
1,920 x 800
|
6,638 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
240 kbps
|
|
The Secret: Dare to Dream (2020)
|
|
|
|
4.84
|
1:47:36
|
1,920 x 804
|
3,439 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,005 kbps
|
|
The Secrets We Keep (2020)
|
|
|
|
3.91
|
1:37:39
|
1,920 x 804
|
4,768 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
962 kbps
|
|
The Seduction (1982)
|
|
|
|
5.69
|
1:44:05
|
1,920 x 816
|
7,539 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
293 kbps
|
|
The Selfish Giant (2013)
|
|
|
|
2.48
|
1:30:35
|
1,920 x 1,036
|
3,203 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
716 kbps
|
|
The Sender (1982)
|
|
|
|
6.35
|
1:31:44
|
1,920 x 1,076
|
8,593 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,313 kbps
|
|
The Sense of an Ending (2017)
|
|
|
|
3.35
|
1:48:37
|
1,920 x 800
|
1,508 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,901 kbps
|
|
The Servant (1963)
|
|
|
|
|
44.81
|
1:55:37
|
3,600 x 2,160
|
55,206 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
280 kbps
|
|
The Seventh Sign (1988)
|
|
|
|
4.94
|
1:36:58
|
1,920 x 808
|
6,729 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
556 kbps
|
|
The Shack (2017)
|
|
|
|
4.60
|
2:12:20
|
1,920 x 804
|
2,182 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,790 kbps
|
|
The Shadow of the Cat (1961)
|
|
|
|
3.96
|
1:18:44
|
1,800 x 1,080
|
6,549 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
650 kbps
|
|
The Shallows (2016)
|
|
|
|
|
|
8.04
|
1:26:16
|
3,840 x 1,604
|
10,606 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,722 kbps
|
|
The Shape of Water (2017)
|
|
|
|
|
|
|
14.46
|
2:03:19
|
3,840 x 2,076
|
13,514 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,264 kbps
|
|
The Shawshank Redemption (1994)
|
|
|
|
|
|
13.79
|
2:22:33
|
3,840 x 2,076
|
10,223 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,627 kbps
|
|
The Shed (2019)
|
|
|
|
4.08
|
1:37:11
|
1,920 x 788
|
3,236 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,780 kbps
|
|
The Sheltering Sky (1990)
|
|
|
|
15.67
|
2:17:53
|
1,904 x 1,080
|
13,079 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,185 kbps
|
|
The Shining (1980)
|
|
|
|
|
21.30
|
2:23:46
|
3,840 x 2,160
|
17,703 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,507 kbps
|
|
The Shipping News (2002)
|
|
|
|
6.25
|
1:51:35
|
1,920 x 816
|
7,001 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,012 kbps
|
|
The Shootist (1976)
|
|
|
|
4.02
|
1:39:02
|
1,920 x 1,080
|
5,087 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
721 kbps
|
|
The Short History of the Long Road (2020)
|
|
|
|
3.30
|
1:34:43
|
1,920 x 1,036
|
2,114 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,878 kbps
|
|
The Siege (1998)
|
|
|
|
|
6.54
|
1:55:59
|
1,920 x 812
|
4,346 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,723 kbps
|
|
The Signal (2007)
|
|
|
|
6.36
|
1:43:16
|
1,904 x 1,080
|
7,503 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,311 kbps
|
|
The Signal (2014)
|
|
|
|
3.19
|
1:37:12
|
1,920 x 800
|
2,148 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,551 kbps
|
|
The Silence (2019)
|
|
|
|
3.20
|
1:30:48
|
1,920 x 804
|
2,195 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,850 kbps
|
|
The Silence of the Hams (1994)
|
|
|
|
9.46
|
1:21:20
|
1,920 x 1,032
|
15,137 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,506 kbps
|
|
The Silence of the Lambs (1991)
|
|
|
|
|
35.38
|
1:58:34
|
3,840 x 2,076
|
41,515 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,207 kbps
|
|
The Silencers (1966)
|
|
|
|
7.55
|
1:42:28
|
1,920 x 1,022
|
10,249 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
304 kbps
|
|
The Silencing (2020)
|
|
|
|
3.62
|
1:34:32
|
1,920 x 796
|
2,568 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,914 kbps
|
|
The Silent Twins (2022)
|
|
|
|
|
4.86
|
1:53:29
|
3,576 x 2,160
|
5,742 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Simpsons Movie (2007)
|
|
|
|
|
3.22
|
1:26:45
|
1,920 x 798
|
2,284 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,031 kbps
|
|
The Sisters Brothers (2018)
|
|
|
|
|
15.87
|
2:02:08
|
3,840 x 1,604
|
15,594 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,008 kbps
|
|
The Six Wives of Henry Lefay (2009)
|
|
|
|
3.71
|
1:35:09
|
1,920 x 800
|
2,386 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,192 kbps
|
|
The Sixth Man (1997)
|
|
|
|
7.53
|
1:48:17
|
1,920 x 1,036
|
9,194 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
766 kbps
|
|
The Sixth Sense (1999)
|
|
|
|
3.23
|
1:47:23
|
1,920 x 1,032
|
3,010 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,299 kbps
|
|
The Skeleton Twins (2014)
|
|
|
|
|
4.97
|
1:33:06
|
1,920 x 800
|
4,856 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,788 kbps
|
|
The Skeleton's Compass (2022)
|
|
|
|
2.18
|
1:21:14
|
1,920 x 800
|
2,627 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,218 kbps
|
|
The Skulls (2000)
|
|
|
|
8.83
|
1:46:44
|
1,920 x 1,036
|
8,273 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,569 kbps
|
|
The Skulls II (2002)
|
|
|
|
5.41
|
1:39:22
|
1,920 x 1,036
|
4,371 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,422 kbps
|
|
The Skulls III (2004)
|
|
|
|
6.20
|
1:41:58
|
1,920 x 1,036
|
5,432 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,275 kbps
|
|
The Sky Is Everywhere (2022)
|
|
|
|
|
5.72
|
1:43:35
|
3,840 x 1,836
|
7,132 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Slammin' Salmon (2009)
|
|
|
|
|
5.45
|
1:38:26
|
1,920 x 1,080
|
6,660 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,270 kbps
|
|
The Sleepover (2020)
|
|
|
|
|
11.44
|
1:40:34
|
3,840 x 1,920
|
15,489 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Slumber Party Massacre (1982)
|
|
|
|
|
22.86
|
1:16:11
|
3,840 x 2,072
|
42,315 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
631 kbps
|
|
The Smallest Show on Earth (1957)
|
|
|
|
6.89
|
1:20:38
|
1,792 x 1,080
|
12,011 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
228 kbps
|
|
The Smell of Success (2009)
|
|
|
|
2.16
|
1:30:45
|
1,920 x 816
|
2,173 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,239 kbps
|
|
The Smurfs (2011)
|
|
|
|
|
|
18.59
|
1:42:44
|
3,840 x 2,160
|
23,080 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,824 kbps
|
|
The Smurfs 2 (2013)
|
|
|
|
|
12.05
|
1:44:54
|
3,840 x 2,076
|
13,655 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,786 kbps
|
|
The Snowman (1982)
|
|
|
|
11.58
|
26:44
|
1,904 x 1,080
|
61,440 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
578 kbps
|
|
The Social Network (2010)
|
|
|
|
|
|
3.88
|
2:00:28
|
3,840 x 1,600
|
2,022 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,579 kbps
|
|
The Soldier (1982)
|
|
|
|
7.58
|
1:27:25
|
1,920 x 1,028
|
12,126 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
286 kbps
|
|
The Son (2022)
|
|
|
|
2.36
|
2:02:45
|
1,920 x 800
|
1,649 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,105 kbps
|
|
The Son of No One (2011)
|
|
|
|
3.90
|
1:33:45
|
1,920 x 816
|
4,797 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,163 kbps
|
|
The Sound of Music (1965)
|
|
|
|
20.79
|
2:54:41
|
1,920 x 872
|
13,484 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,551 kbps
|
|
The Space Between Us (2017)
|
|
|
|
|
6.66
|
2:00:43
|
1,920 x 800
|
3,639 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,260 kbps
|
|
The Spanish Prisoner (1998)
|
|
|
|
4.88
|
1:49:47
|
1,920 x 1,080
|
5,119 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,249 kbps
|
|
The Spectacular Now (2013)
|
|
|
|
3.36
|
1:35:04
|
1,920 x 800
|
2,432 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,624 kbps
|
|
The Spiderwick Chronicles (2008)
|
|
|
|
5.47
|
1:35:47
|
1,920 x 816
|
4,895 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,285 kbps
|
|
The Spirit (2008)
|
|
|
|
4.16
|
1:42:37
|
1,920 x 800
|
4,388 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,412 kbps
|
|
The Spirit of Christmas (2015)
|
|
|
|
2.37
|
1:31:18
|
1,920 x 1,080
|
2,855 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
858 kbps
|
|
The SpongeBob Movie: Sponge on the Run (2021)
|
|
|
|
5.31
|
1:31:31
|
1,920 x 1,036
|
5,245 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,055 kbps
|
|
The SpongeBob Movie: Sponge Out of Water (2015)
|
|
|
|
4.95
|
1:32:34
|
1,920 x 1,080
|
4,046 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,602 kbps
|
|
The SpongeBob SquarePants Movie (2004)
|
|
|
|
4.39
|
1:27:12
|
1,920 x 1,080
|
3,921 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,289 kbps
|
|
The Spy Next Door (2010)
|
|
|
|
10.37
|
1:34:21
|
1,920 x 1,080
|
11,877 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,854 kbps
|
|
The Spy Who Dumped Me (2018)
|
|
|
|
|
|
15.37
|
1:56:55
|
3,840 x 1,604
|
17,228 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,587 kbps
|
|
The Spy Who Loved Me (1977)
|
|
|
|
16.27
|
2:05:41
|
3,840 x 1,632
|
14,970 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,555 kbps
|
|
The Squid and the Whale (2005)
|
|
|
|
8.30
|
1:21:26
|
1,920 x 1,036
|
11,332 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,253 kbps
|
|
The Stanford Prison Experiment (2015)
|
|
|
|
6.46
|
2:01:53
|
1,920 x 800
|
5,535 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,047 kbps
|
|
The Starling (2021)
|
|
|
|
|
6.89
|
1:42:59
|
3,840 x 1,600
|
8,789 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Starving Games (2013)
|
|
|
|
5.18
|
1:22:17
|
1,920 x 1,038
|
7,697 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,318 kbps
|
|
The Station Agent (2003)
|
|
|
|
4.47
|
1:29:37
|
1,916 x 1,080
|
6,499 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Stepford Wives (2004)
|
|
|
|
5.18
|
1:32:53
|
1,916 x 1,080
|
4,638 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,347 kbps
|
|
The Sting (1973)
|
|
|
|
|
48.49
|
2:09:04
|
3,840 x 2,076
|
51,509 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,273 kbps
|
|
The Stone Killer (1973)
|
|
|
|
5.82
|
1:35:09
|
1,920 x 1,040
|
8,406 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
347 kbps
|
|
The Stoned Age (1994)
|
|
|
|
3.00
|
1:30:46
|
1,916 x 1,080
|
4,498 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Stooge (1952)
|
|
|
|
12.42
|
1:39:55
|
1,464 x 1,080
|
17,595 kbps
|
|
1.0
|
|
48 kHz
|
192 kbps
|
|
The Straight Story (1999)
|
|
|
|
4.12
|
1:52:18
|
1,920 x 804
|
4,154 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,101 kbps
|
|
The Stranger (2010)
|
|
|
|
4.12
|
1:30:19
|
1,920 x 1,080
|
3,352 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,170 kbps
|
|
The Strangers (2008)
|
|
|
|
2.82
|
1:27:35
|
1,920 x 816
|
1,623 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,985 kbps
|
|
The Strongest Man in the World (1975)
|
|
|
|
|
5.28
|
1:32:00
|
1,792 x 1,080
|
7,898 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
The Stud (1978)
|
|
|
|
20.05
|
1:35:47
|
1,920 x 1,080
|
29,665 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
299 kbps
|
|
The Stuff (1985)
|
|
|
|
20.88
|
1:26:31
|
1,920 x 1,048
|
33,857 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
688 kbps
|
|
The Stunt Man (1980)
|
|
|
|
10.00
|
2:10:42
|
1,920 x 1,036
|
9,916 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,037 kbps
|
|
The Sublet (2015)
|
|
|
|
2.86
|
1:21:18
|
1,920 x 816
|
2,299 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,736 kbps
|
|
The Substitute (1996)
|
|
|
|
|
6.37
|
1:54:11
|
1,920 x 1,036
|
7,659 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
319 kbps
|
|
The Sugarland Express (1974)
|
|
|
|
8.91
|
1:50:00
|
1,920 x 816
|
10,924 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
676 kbps
|
|
The Suicide Squad (2021)
|
|
|
|
|
11.14
|
2:12:07
|
3,840 x 2,024
|
10,271 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,797 kbps
|
|
The Sum of All Fears (2002)
|
|
|
|
|
|
|
16.80
|
2:03:42
|
3,840 x 1,604
|
15,853 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,581 kbps
|
|
The Sun Is Also a Star (2019)
|
|
|
|
1.83
|
1:40:03
|
1,920 x 796
|
2,236 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Sunset Limited (2011)
|
|
|
|
8.97
|
1:30:55
|
1,920 x 1,080
|
13,088 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,028 kbps
|
|
The Sunshine Boys (1976)
|
|
|
|
9.26
|
1:51:03
|
1,920 x 1,074
|
11,288 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
652 kbps
|
|
The Super (1991)
|
|
|
|
4.06
|
1:25:55
|
1,916 x 1,080
|
6,541 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Super Mario Bros. Movie (2023)
|
|
|
|
|
5.31
|
1:32:25
|
3,840 x 1,608
|
6,320 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,894 kbps
|
|
The Sure Thing (1985)
|
|
|
|
5.80
|
1:34:55
|
1,916 x 1,080
|
7,768 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
983 kbps
|
|
The Survivalist (2015)
|
|
|
|
3.75
|
1:43:32
|
1,920 x 800
|
4,341 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
840 kbps
|
|
The Survivalist (2021)
|
|
|
|
2.14
|
1:30:33
|
1,920 x 800
|
2,003 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,382 kbps
|
|
The Swan Princess (1994)
|
|
|
|
11.76
|
1:29:09
|
1,920 x 1,036
|
17,147 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,734 kbps
|
|
The Sweeney (2013)
|
|
|
|
3.87
|
1:52:31
|
1,920 x 800
|
3,643 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,282 kbps
|
|
The Sweetest Christmas (2017)
|
|
|
|
3.35
|
1:26:38
|
1,920 x 1,080
|
4,886 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Sweetest Thing (2002)
|
|
|
|
2.72
|
1:24:29
|
1,920 x 1,076
|
4,488 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
The Swing of Things (2020)
|
|
|
|
|
4.16
|
1:33:26
|
1,920 x 800
|
3,214 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,154 kbps
|
|
The Swinging Cheerleaders (1974)
|
|
|
|
18.39
|
1:31:26
|
1,792 x 1,080
|
28,709 kbps
|
|
1.0
|
|
12 bits / 16 kHz
|
82 kbps
|
|
The Sword in the Stone (1964)
|
|
|
|
10.82
|
1:19:34
|
3,780 x 2,160
|
16,796 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,673 kbps
|
|
The System (2022)
|
|
|
|
4.46
|
1:37:36
|
3,840 x 2,064
|
6,155 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Tailor of Panama (2001)
|
|
|
|
6.30
|
1:49:37
|
1,920 x 804
|
7,058 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,167 kbps
|
|
The Taking of Pelham 123 (2009)
|
|
|
|
8.21
|
1:45:55
|
1,920 x 800
|
8,072 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,016 kbps
|
|
The Taking of Pelham One Two Three (1974)
|
|
|
|
|
|
15.37
|
1:44:22
|
3,840 x 1,596
|
18,039 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,043 kbps
|
|
The Talented Mr. Ripley (1999)
|
|
|
|
9.70
|
2:19:07
|
1,920 x 1,032
|
8,528 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,457 kbps
|
|
The Tall Man (2012)
|
|
|
|
2.14
|
1:45:41
|
1,920 x 800
|
1,705 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,197 kbps
|
|
The Tall Men (1955)
|
|
|
|
7.85
|
2:02:10
|
1,920 x 740
|
7,997 kbps
|
|
3/1
|
|
16 bits / 48 kHz
|
1,200 kbps
|
|
The Telephone Book (1971)
|
|
|
|
18.24
|
1:27:42
|
1,920 x 1,024
|
29,587 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
The Ten Commandments (1956)
|
|
|
|
|
26.66
|
3:51:37
|
3,840 x 2,160
|
13,803 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,672 kbps
|
|
The Terminal (2004)
|
|
|
|
|
28.79
|
2:08:46
|
3,840 x 2,160
|
28,545 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,465 kbps
|
|
The Terminator (1984)
|
|
|
|
|
10.29
|
1:47:03
|
1,920 x 1,036
|
10,217 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,543 kbps
|
|
The Texas Chainsaw Massacre (1974)
|
|
|
|
24.19
|
1:23:22
|
3,840 x 2,072
|
41,303 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
236 kbps
|
|
The Texas Chainsaw Massacre (2003)
|
|
|
|
6.47
|
1:38:17
|
1,912 x 1,080
|
7,933 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,488 kbps
|
|
The Texas Chainsaw Massacre 2 (1986)
|
|
|
|
|
68.79
|
1:40:37
|
3,840 x 2,076
|
96,566 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,305 kbps
|
|
The Theory of Everything (2014)
|
|
|
|
|
5.71
|
2:03:25
|
1,920 x 800
|
3,776 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,848 kbps
|
|
The Thin Blue Line (1988)
|
|
|
|
12.79
|
1:41:42
|
1,920 x 1,080
|
16,694 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,302 kbps
|
|
The Thin Line (2017)
|
|
|
|
2.62
|
1:52:24
|
1,920 x 1,080
|
2,689 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Thin Red Line (1998)
|
|
|
|
11.61
|
2:50:47
|
1,920 x 816
|
6,001 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,727 kbps
|
|
The Thing (1982)
|
|
|
|
|
22.99
|
1:48:35
|
3,840 x 1,632
|
26,141 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,166 kbps
|
|
The Thing (2011)
|
|
|
|
3.81
|
1:43:01
|
1,920 x 800
|
2,233 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,064 kbps
|
|
The Thinning (2016)
|
|
|
|
3.87
|
1:23:44
|
3,840 x 1,608
|
6,238 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Thirteenth Floor (1999)
|
|
|
|
2.77
|
1:40:30
|
1,920 x 800
|
2,474 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,472 kbps
|
|
The Three Musketeers (1973)
|
|
|
|
|
33.07
|
1:47:01
|
3,840 x 2,076
|
43,909 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
335 kbps
|
|
The Three Stooges (2012)
|
|
|
|
|
9.40
|
1:32:05
|
1,920 x 1,040
|
11,673 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,941 kbps
|
|
The Thrill of It All (1963)
|
|
|
|
8.59
|
1:47:42
|
1,920 x 1,036
|
10,743 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
679 kbps
|
|
The Ticket (2016)
|
|
|
|
1.66
|
1:39:21
|
1,920 x 792
|
1,478 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
914 kbps
|
|
The Tiger's Tail (2006)
|
|
|
|
8.60
|
1:47:25
|
1,920 x 1,036
|
7,965 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,497 kbps
|
|
The Tigger Movie (2000)
|
|
|
|
4.51
|
1:17:07
|
1,904 x 1,080
|
4,810 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,560 kbps
|
|
The Time Guardian (1987)
|
|
|
|
3.84
|
1:27:31
|
1,920 x 800
|
5,591 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
690 kbps
|
|
The Time Machine (1960)
|
|
|
|
9.18
|
1:42:40
|
1,920 x 1,080
|
9,973 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,828 kbps
|
|
The Time Machine (2002)
|
|
|
|
5.72
|
1:35:47
|
1,920 x 800
|
4,800 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,748 kbps
|
|
The Time Traveler's Wife (2009)
|
|
|
|
5.37
|
1:47:25
|
1,920 x 800
|
4,222 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,940 kbps
|
|
The Time Travelers (1964)
|
|
|
|
4.58
|
1:23:34
|
1,920 x 1,036
|
7,207 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
641 kbps
|
|
The Titan (2018)
|
|
|
|
3.48
|
1:37:18
|
1,920 x 792
|
1,918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,201 kbps
|
|
The To Do List (2013)
|
|
|
|
|
4.45
|
1:43:53
|
1,920 x 1,080
|
3,163 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,965 kbps
|
|
The Toll (2021)
|
|
|
|
3.17
|
1:20:52
|
1,920 x 804
|
2,900 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,712 kbps
|
|
The Tomorrow War (2021)
|
|
|
|
|
4.66
|
2:18:06
|
3,840 x 1,600
|
4,188 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Tourist (2010)
|
|
|
|
|
4.62
|
1:43:28
|
1,920 x 800
|
3,269 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,126 kbps
|
|
The Town (2010)
|
|
|
|
8.04
|
2:30:33
|
1,920 x 800
|
6,438 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,207 kbps
|
|
The Town That Dreaded Sundown (1976)
|
|
|
|
4.32
|
1:29:54
|
1,920 x 816
|
6,589 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
289 kbps
|
|
The Toxic Avenger (1984)
|
|
|
|
|
24.69
|
1:22:10
|
3,840 x 2,064
|
42,296 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,819 kbps
|
|
The Toxic Avenger Part II (1989)
|
|
|
|
|
|
28.38
|
1:48:39
|
3,840 x 2,064
|
35,965 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,421 kbps
|
|
The Toxic Avenger Part III: The Last Temptation of Toxie (1989)
|
|
|
|
|
28.79
|
1:43:31
|
3,840 x 2,064
|
39,099 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
715 kbps
|
|
The Toy (1982)
|
|
|
|
12.71
|
1:41:58
|
1,920 x 1,040
|
17,542 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
297 kbps
|
|
The Train (1964)
|
|
|
|
|
23.69
|
2:13:08
|
3,600 x 2,160
|
24,883 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
588 kbps
|
|
The Transformers: The Movie (1986)
|
|
|
|
|
11.51
|
1:25:01
|
3,840 x 2,076
|
15,598 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,784 kbps
|
|
The Transporter (2002)
|
|
|
|
3.66
|
1:32:33
|
1,920 x 816
|
3,743 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,911 kbps
|
|
The Transporter Refueled (2015)
|
|
|
|
|
5.21
|
1:35:54
|
1,920 x 796
|
4,227 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,544 kbps
|
|
The Trap (1966)
|
|
|
|
7.89
|
1:45:32
|
1,920 x 816
|
10,443 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
259 kbps
|
|
The Treasure of Jamaica Reef (1974)
|
|
|
|
7.37
|
1:32:23
|
1,920 x 724
|
10,665 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
757 kbps
|
|
The Treatment (2006)
|
|
|
|
10.41
|
1:26:09
|
1,904 x 1,080
|
15,596 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,697 kbps
|
|
The Tree in a Test Tube (1942)
|
|
|
|
0.62
|
10:37
|
1,418 x 1,080
|
8,033 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
294 kbps
|
|
The Tree of Life (2011)
|
|
|
|
14.76
|
3:08:41
|
1,920 x 1,036
|
8,525 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,669 kbps
|
|
The Trials of Cate McCall (2013)
|
|
|
|
3.89
|
1:33:22
|
1,920 x 1,040
|
3,155 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,807 kbps
|
|
The Tribes of Palos Verdes (2017)
|
|
|
|
2.78
|
1:43:34
|
1,920 x 796
|
2,748 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,090 kbps
|
|
The Trigger Effect (1996)
|
|
|
|
3.94
|
1:34:28
|
1,920 x 1,036
|
4,702 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,271 kbps
|
|
The Trouble with Harry (1955)
|
|
|
|
|
15.64
|
1:39:24
|
3,840 x 2,076
|
21,993 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
536 kbps
|
|
The Truman Show (1998)
|
|
|
|
|
16.54
|
1:42:54
|
3,840 x 2,076
|
19,805 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,194 kbps
|
|
The Trust (2016)
|
|
|
|
|
8.05
|
1:31:43
|
1,920 x 1,036
|
11,052 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,506 kbps
|
|
The Truth About Cats & Dogs (1996)
|
|
|
|
5.05
|
1:37:01
|
1,920 x 1,036
|
6,227 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,221 kbps
|
|
The Truth About Emanuel (2013)
|
|
|
|
2.55
|
1:35:44
|
1,920 x 816
|
2,899 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
917 kbps
|
|
The Tunnel (2011)
|
|
|
|
4.60
|
1:34:05
|
1,920 x 816
|
2,630 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,367 kbps
|
|
The Tutor (2023)
|
|
|
|
3.07
|
1:32:33
|
3,840 x 1,600
|
4,112 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Tuxedo (2002)
|
|
|
|
|
21.51
|
1:38:45
|
3,840 x 2,080
|
27,648 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,528 kbps
|
|
The TV Set (2006)
|
|
|
|
5.13
|
1:28:18
|
1,920 x 818
|
7,543 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
766 kbps
|
|
The Twilight Saga: Breaking Dawn – Part 1 (2011)
|
|
|
|
|
13.46
|
1:57:06
|
3,840 x 1,600
|
13,726 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,721 kbps
|
|
The Twilight Saga: Breaking Dawn – Part 2 (2012)
|
|
|
|
|
11.11
|
1:55:11
|
3,840 x 1,600
|
10,955 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,852 kbps
|
|
The Twilight Saga: Eclipse (2010)
|
|
|
|
|
12.53
|
2:03:55
|
3,840 x 1,600
|
11,705 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,763 kbps
|
|
The Twilight Saga: New Moon (2009)
|
|
|
|
|
17.76
|
2:10:36
|
3,840 x 1,600
|
16,740 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,726 kbps
|
|
The Two Faces of January (2014)
|
|
|
|
|
3.33
|
1:36:38
|
1,920 x 804
|
1,807 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,122 kbps
|
|
The Two Jakes (1990)
|
|
|
|
13.65
|
2:17:31
|
1,904 x 1,080
|
11,197 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,007 kbps
|
|
The Ugly Truth (2009)
|
|
|
|
5.19
|
1:35:58
|
1,920 x 800
|
5,666 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,068 kbps
|
|
The Ultimate Weapon (1998)
|
|
|
|
4.90
|
1:34:46
|
1,920 x 1,036
|
6,711 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
688 kbps
|
|
The Unbearable Weight of Massive Talent (2022)
|
|
|
|
|
|
6.50
|
1:46:51
|
3,840 x 1,604
|
6,297 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,407 kbps
|
|
The Unbelievable Truth (1990)
|
|
|
|
9.79
|
1:30:16
|
1,904 x 1,080
|
14,482 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,049 kbps
|
|
The Unborn (2009)
|
|
|
|
3.85
|
1:28:44
|
1,920 x 796
|
3,340 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,875 kbps
|
|
The Underdoggs (2024)
|
|
|
|
|
5.90
|
1:36:23
|
3,840 x 1,920
|
8,121 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Unhealer (2021)
|
|
|
|
2.39
|
1:32:50
|
1,920 x 812
|
2,441 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,237 kbps
|
|
The Uninvited (1944)
|
|
|
|
7.49
|
1:39:26
|
1,480 x 1,080
|
10,288 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
495 kbps
|
|
The United States vs. Billie Holiday (2021)
|
|
|
|
|
8.50
|
2:11:03
|
1,920 x 804
|
6,250 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,032 kbps
|
|
The UnMiracle (2017)
|
|
|
|
1.80
|
1:36:10
|
1,920 x 1,012
|
2,287 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Untouchables (1987)
|
|
|
|
|
23.18
|
1:59:27
|
3,840 x 1,600
|
24,739 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,042 kbps
|
|
The Upside (2017)
|
|
|
|
6.15
|
2:06:04
|
1,920 x 1,032
|
4,010 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,969 kbps
|
|
The Upside of Anger (2005)
|
|
|
|
4.68
|
1:56:46
|
1,920 x 812
|
4,704 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,033 kbps
|
|
The Usual Suspects (1995)
|
|
|
|
|
|
24.27
|
1:45:43
|
3,840 x 1,604
|
29,655 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,206 kbps
|
|
The Vagrant (1992)
|
|
|
|
4.24
|
1:31:22
|
1,920 x 1,036
|
6,025 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
621 kbps
|
|
The Valet (2022)
|
|
|
|
|
5.42
|
2:02:52
|
3,840 x 1,604
|
6,052 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
The Vanishing (1993)
|
|
|
|
9.90
|
1:49:40
|
1,920 x 1,036
|
11,898 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
963 kbps
|
|
The Vanishing of Sidney Hall (2018)
|
|
|
|
2.63
|
2:00:32
|
1,920 x 804
|
2,113 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,014 kbps
|
|
The Vast of Night (2020)
|
|
|
|
|
6.89
|
1:30:58
|
3,840 x 1,600
|
10,193 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Vault (2021)
|
|
|
|
3.57
|
1:58:16
|
1,920 x 804
|
2,992 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,333 kbps
|
|
The Veil (2016)
|
|
|
|
4.27
|
1:33:31
|
1,920 x 792
|
3,460 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,079 kbps
|
|
The Vengeance of Fu Manchu (1967)
|
|
|
|
12.84
|
1:31:18
|
1,792 x 1,080
|
19,443 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
691 kbps
|
|
The Very Excellent Mr. Dundee (2020)
|
|
|
|
2.83
|
1:28:06
|
1,920 x 804
|
3,262 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,334 kbps
|
|
The Victim (2011)
|
|
|
|
3.15
|
1:22:48
|
1,920 x 1,036
|
4,258 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,189 kbps
|
|
The Vikings (1958)
|
|
|
|
12.24
|
1:56:04
|
1,920 x 816
|
14,382 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
718 kbps
|
|
The Village (2004)
|
|
|
|
2.98
|
1:47:58
|
1,920 x 1,034
|
3,572 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Village in the Woods (2019)
|
|
|
|
2.56
|
1:20:24
|
1,920 x 804
|
1,401 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,164 kbps
|
|
The Violent Heart (2021)
|
|
|
|
1.55
|
1:42:04
|
1,920 x 796
|
1,782 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
The Virgin Suicides (1999)
|
|
|
|
|
17.05
|
1:36:59
|
3,580 x 2,160
|
22,004 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,153 kbps
|
|
The Virtuoso (2021)
|
|
|
|
4.38
|
1:49:41
|
1,920 x 800
|
3,063 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,658 kbps
|
|
The Visit (2015)
|
|
|
|
|
3.89
|
1:34:02
|
1,920 x 1,036
|
3,490 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,425 kbps
|
|
The Visitor (2007)
|
|
|
|
5.36
|
1:43:45
|
1,920 x 1,040
|
4,916 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,486 kbps
|
|
The Voices (2015)
|
|
|
|
3.31
|
1:44:43
|
1,920 x 856
|
3,138 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,380 kbps
|
|
The Vow (2012)
|
|
|
|
5.15
|
1:43:54
|
1,920 x 800
|
5,905 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,183 kbps
|
|
The Voyeurs (2021)
|
|
|
|
|
|
21.95
|
1:56:20
|
3,840 x 1,600
|
26,371 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The VVitch (2015)
|
|
|
|
|
14.55
|
1:32:08
|
3,600 x 2,160
|
19,855 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,749 kbps
|
|
The Wackness (2008)
|
|
|
|
3.98
|
1:38:45
|
1,920 x 818
|
4,378 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,388 kbps
|
|
The Wanderers (1979)
|
|
|
|
5.70
|
2:03:42
|
1,920 x 1,080
|
6,311 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
280 kbps
|
|
The War at Home (1996)
|
|
|
|
4.30
|
2:03:14
|
1,920 x 820
|
4,321 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
669 kbps
|
|
The War Below (2021)
|
|
|
|
2.45
|
1:36:41
|
1,920 x 804
|
2,354 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,266 kbps
|
|
The War Between Men and Women (1972)
|
|
|
|
|
8.23
|
1:45:12
|
1,920 x 1,080
|
11,021 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
184 kbps
|
|
The War of the Roses (1989)
|
|
|
|
9.42
|
1:56:33
|
1,920 x 1,036
|
8,763 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,803 kbps
|
|
The War of the Worlds (1953)
|
|
|
|
|
9.71
|
1:25:25
|
2,960 x 2,160
|
13,537 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,738 kbps
|
|
The War with Grandpa (2020)
|
|
|
|
|
5.41
|
1:35:02
|
1,920 x 1,036
|
5,308 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,834 kbps
|
|
The Ward (2010)
|
|
|
|
4.87
|
1:28:55
|
1,920 x 816
|
6,599 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
The Warrior's Way (2010)
|
|
|
|
7.75
|
1:40:14
|
1,920 x 800
|
7,798 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,270 kbps
|
|
The Warriors (1979)
|
|
|
|
|
28.38
|
1:34:01
|
3,840 x 2,160
|
41,618 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,599 kbps
|
|
The Watch (2012)
|
|
|
|
|
4.36
|
1:41:57
|
1,920 x 816
|
2,896 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,226 kbps
|
|
The Watcher (2000)
|
|
|
|
4.30
|
1:36:59
|
1,920 x 1,040
|
4,937 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,403 kbps
|
|
The Water Diviner (2014)
|
|
|
|
|
6.44
|
1:51:27
|
1,920 x 800
|
5,613 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,656 kbps
|
|
The Water Horse: Legend of the Deep (2007)
|
|
|
|
6.43
|
1:51:49
|
1,920 x 800
|
6,683 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,548 kbps
|
|
The Water Man (2021)
|
|
|
|
3.84
|
1:31:27
|
1,920 x 788
|
3,013 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,993 kbps
|
|
The Waterboy (1998)
|
|
|
|
|
6.15
|
1:29:39
|
1,920 x 1,040
|
6,132 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,689 kbps
|
|
The Wave (2020)
|
|
|
|
|
1.79
|
1:27:27
|
1,920 x 804
|
1,610 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,321 kbps
|
|
The Way (2010)
|
|
|
|
9.85
|
2:00:54
|
1,920 x 1,036
|
10,743 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
918 kbps
|
|
The Way of the Gun (2000)
|
|
|
|
6.49
|
2:00:05
|
1,916 x 1,080
|
3,858 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,881 kbps
|
|
The Way Way Back (2013)
|
|
|
|
8.39
|
1:43:28
|
1,920 x 1,038
|
8,550 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,058 kbps
|
|
The Way We Were (1973)
|
|
|
|
|
26.87
|
1:58:16
|
3,840 x 1,604
|
29,407 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,110 kbps
|
|
The Weather Man (2005)
|
|
|
|
5.14
|
1:41:44
|
1,912 x 1,080
|
6,593 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Wedding Date (2005)
|
|
|
|
7.34
|
1:29:04
|
1,920 x 1,040
|
8,405 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,396 kbps
|
|
The Wedding Planner (2001)
|
|
|
|
13.11
|
1:43:42
|
1,920 x 814
|
17,035 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,068 kbps
|
|
The Wedding Ringer (2015)
|
|
|
|
8.15
|
1:41:15
|
3,840 x 1,600
|
10,122 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,397 kbps
|
|
The Wedding Singer (1998)
|
|
|
|
3.71
|
1:40:11
|
1,920 x 1,036
|
4,032 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,268 kbps
|
|
The Wedding Year (2019)
|
|
|
|
3.67
|
1:30:45
|
1,920 x 800
|
2,963 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,822 kbps
|
|
The Whale (2022)
|
|
|
|
|
20.82
|
1:56:50
|
2,880 x 2,160
|
22,267 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,592 kbps
|
|
The Whisperer in Darkness (2011)
|
|
|
|
7.45
|
1:43:10
|
1,904 x 1,080
|
9,221 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,113 kbps
|
|
The Whistleblower (2010)
|
|
|
|
|
4.70
|
1:51:58
|
1,920 x 816
|
3,093 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,911 kbps
|
|
The Whole Nine Yards (2000)
|
|
|
|
|
3.75
|
1:38:36
|
1,920 x 1,032
|
4,433 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,003 kbps
|
|
The Whole Ten Yards (2004)
|
|
|
|
|
6.09
|
1:38:33
|
1,920 x 1,080
|
7,737 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,109 kbps
|
|
The Wicker Man (1973)
|
|
|
|
|
23.16
|
1:41:05
|
3,840 x 2,076
|
32,185 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,593 kbps
|
|
The Wilby Conspiracy (1975)
|
|
|
|
5.67
|
1:45:16
|
1,800 x 1,080
|
7,487 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
225 kbps
|
|
The Wild One (1953)
|
|
|
|
15.15
|
1:19:06
|
1,440 x 1,080
|
26,726 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
688 kbps
|
|
The Wind (1986)
|
|
|
|
8.57
|
1:32:02
|
1,920 x 1,036
|
11,691 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,641 kbps
|
|
The Witches (1990)
|
|
|
|
5.71
|
1:31:21
|
1,904 x 1,080
|
8,458 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
496 kbps
|
|
The Witches (2020)
|
|
|
|
|
5.00
|
1:44:10
|
3,840 x 1,608
|
3,830 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,035 kbps
|
|
The Witches of Eastwick (1987)
|
|
|
|
|
7.64
|
1:58:01
|
1,920 x 794
|
5,721 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,543 kbps
|
|
The Wizard (1989)
|
|
|
|
|
6.73
|
1:39:58
|
1,920 x 1,040
|
8,199 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,429 kbps
|
|
The Wizard of Lies (2017)
|
|
|
|
2.48
|
2:12:43
|
1,920 x 1,080
|
1,640 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,031 kbps
|
|
The Wizard of Oz (1939)
|
|
|
|
|
21.13
|
1:41:45
|
2,960 x 2,160
|
26,601 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,118 kbps
|
|
The Wolf Hour (2019)
|
|
|
|
3.39
|
1:38:52
|
1,920 x 804
|
2,148 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,758 kbps
|
|
The Wolf Man (1941)
|
|
|
|
|
18.21
|
1:09:55
|
2,912 x 2,160
|
36,700 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
572 kbps
|
|
The Wolf of Wall Street (2013)
|
|
|
|
|
|
16.83
|
2:59:53
|
3,840 x 1,600
|
10,713 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,677 kbps
|
|
The Wolverine (2013)
|
|
|
|
|
|
7.14
|
2:18:05
|
1,920 x 796
|
2,793 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,611 kbps
|
|
The Woman (2011)
|
|
|
|
|
13.30
|
1:43:06
|
3,840 x 2,160
|
17,219 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,242 kbps
|
|
The Woman in Black (2012)
|
|
|
|
2.14
|
1:35:20
|
1,920 x 816
|
2,004 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,210 kbps
|
|
The Woman in Red (1984)
|
|
|
|
5.10
|
1:26:37
|
1,920 x 1,032
|
7,854 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
565 kbps
|
|
The Woman in the Window (2021)
|
|
|
|
|
9.47
|
1:40:17
|
3,840 x 1,608
|
12,737 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Wonder (2022)
|
|
|
|
|
23.00
|
1:48:12
|
3,840 x 1,600
|
29,647 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
The Woods (2006)
|
|
|
|
3.09
|
1:31:04
|
1,920 x 808
|
3,694 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,163 kbps
|
|
The World According to Garp (1982)
|
|
|
|
8.72
|
2:16:23
|
1,904 x 1,080
|
7,818 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,336 kbps
|
|
The World Is Not Enough (1999)
|
|
|
|
15.47
|
2:08:08
|
3,840 x 1,632
|
15,720 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,564 kbps
|
|
The World of Henry Orient (1964)
|
|
|
|
5.22
|
1:46:42
|
1,920 x 816
|
6,413 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
596 kbps
|
|
The World We Make (2019)
|
|
|
|
2.11
|
1:48:31
|
1,920 x 800
|
2,338 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
The World's End (2013)
|
|
|
|
|
16.39
|
1:49:04
|
3,840 x 1,632
|
17,337 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,171 kbps
|
|
The World's Greatest Athlete (1973)
|
|
|
|
5.49
|
1:32:14
|
1,916 x 1,080
|
8,293 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
The Wraith (1986)
|
|
|
|
4.55
|
1:32:30
|
1,920 x 1,080
|
6,440 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
607 kbps
|
|
The Wrecking Crew (1968)
|
|
|
|
10.38
|
1:44:57
|
1,920 x 1,080
|
13,875 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
285 kbps
|
|
The Wrestler (2008)
|
|
|
|
12.17
|
1:49:14
|
1,920 x 800
|
12,965 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,985 kbps
|
|
The Wrong Friend (2018)
|
|
|
|
4.53
|
1:27:51
|
1,920 x 1,080
|
6,734 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Wrong Guy (1997)
|
|
|
|
4.50
|
1:31:44
|
1,920 x 1,032
|
6,493 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
522 kbps
|
|
The Wrong Man (1956)
|
|
|
|
17.50
|
1:45:30
|
1,904 x 1,080
|
23,537 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
213 kbps
|
|
The Wrong Missy (2020)
|
|
|
|
|
7.98
|
1:30:02
|
3,840 x 1,600
|
12,053 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Wrong Todd (2019)
|
|
|
|
|
2.14
|
1:28:12
|
1,920 x 1,076
|
2,769 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
709 kbps
|
|
The X-Files: I Want to Believe (2008)
|
|
|
|
6.11
|
1:48:08
|
1,920 x 800
|
5,060 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,029 kbps
|
|
The Yards (2000)
|
|
|
|
|
3.56
|
1:53:24
|
1,920 x 800
|
3,542 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
953 kbps
|
|
The Year Without a Santa Claus (1974)
|
|
|
|
4.27
|
50:53
|
1,472 x 1,080
|
11,369 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
The Young and Prodigious T.S. Spivet (2015)
|
|
|
|
7.33
|
1:45:03
|
1,920 x 800
|
6,366 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,617 kbps
|
|
The Zero Theorem (2014)
|
|
|
|
6.32
|
1:46:27
|
1,824 x 1,080
|
7,076 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,418 kbps
|
|
The Zookeeper's Wife (2017)
|
|
|
|
5.12
|
2:06:28
|
1,920 x 800
|
2,989 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,810 kbps
|
|
Their Finest (2017)
|
|
|
|
5.04
|
1:56:59
|
1,920 x 802
|
3,455 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,713 kbps
|
|
Their First Mistake (1932)
|
|
|
|
0.35
|
21:04
|
1,418 x 1,080
|
2,201 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
207 kbps
|
|
Thelma & Louise (1991)
|
|
|
|
|
27.85
|
2:09:41
|
3,840 x 1,608
|
27,757 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,989 kbps
|
|
Them That Follow (2019)
|
|
|
|
2.76
|
1:37:59
|
1,920 x 816
|
3,396 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Them! (1954)
|
|
|
|
10.73
|
1:32:33
|
1,920 x 1,080
|
15,964 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
639 kbps
|
|
Then Came You (2018)
|
|
|
|
2.86
|
1:36:51
|
1,920 x 800
|
3,197 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,033 kbps
|
|
There's Someone Inside Your House (2021)
|
|
|
|
|
2.50
|
1:34:04
|
3,840 x 1,608
|
3,006 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
There's Something About Mary (1998)
|
|
|
|
|
7.49
|
2:10:41
|
1,920 x 1,040
|
5,003 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,204 kbps
|
|
There's Something Wrong with the Children (2023)
|
|
|
|
2.45
|
1:32:16
|
1,920 x 1,040
|
3,162 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
These Final Hours (2014)
|
|
|
|
2.63
|
1:26:39
|
1,920 x 796
|
3,305 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,034 kbps
|
|
These Streets We Haunt (2021)
|
|
|
|
1.30
|
1:47:28
|
1,920 x 808
|
1,503 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
They (2002)
|
|
|
|
3.09
|
1:29:55
|
1,920 x 800
|
3,735 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,186 kbps
|
|
They Call Me Mister Tibbs! (1970)
|
|
|
|
10.09
|
1:48:33
|
1,920 x 1,036
|
13,084 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
225 kbps
|
|
They Crawl Beneath (2022)
|
|
|
|
2.15
|
1:27:24
|
1,920 x 800
|
1,871 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,642 kbps
|
|
They Live (1988)
|
|
|
|
|
|
18.48
|
1:34:04
|
3,840 x 1,632
|
25,254 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,875 kbps
|
|
They Might Be Giants (1971)
|
|
|
|
4.57
|
1:31:29
|
1,920 x 1,032
|
6,925 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
218 kbps
|
|
They Nest (2000)
|
|
|
|
7.91
|
1:32:16
|
1,920 x 1,080
|
12,053 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
They/Them/Us (2022)
|
|
|
|
1.73
|
1:29:41
|
1,920 x 1,032
|
2,382 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Thick as Thieves (2009)
|
|
|
|
7.35
|
1:43:19
|
1,920 x 816
|
8,811 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,368 kbps
|
|
Thief (1981)
|
|
|
|
13.67
|
2:04:41
|
1,920 x 1,036
|
12,623 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
3,065 kbps
|
|
Thieves Like Us (1974)
|
|
|
|
7.48
|
2:02:31
|
1,920 x 1,040
|
8,460 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
277 kbps
|
|
Things Are Tough All Over (1982)
|
|
|
|
6.08
|
1:29:45
|
1,920 x 816
|
9,467 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Things Change (1988)
|
|
|
|
7.72
|
1:40:29
|
1,920 x 1,040
|
10,352 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
642 kbps
|
|
Things Don't Stay Fixed (2021)
|
|
|
|
2.20
|
1:40:10
|
1,920 x 792
|
2,756 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Things Heard & Seen (2021)
|
|
|
|
|
4.91
|
1:59:46
|
3,840 x 2,160
|
5,084 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Things to Come (1936)
|
|
|
|
8.45
|
1:37:07
|
1,480 x 1,080
|
11,973 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
481 kbps
|
|
Things to Do in Denver When You're Dead (1995)
|
|
|
|
4.79
|
1:55:28
|
1,920 x 1,040
|
5,366 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
577 kbps
|
|
Things You Can Tell Just by Looking at Her (2000)
|
|
|
|
4.61
|
1:49:29
|
1,920 x 1,032
|
5,384 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Think Like a Dog (2020)
|
|
|
|
4.57
|
1:30:54
|
1,920 x 1,036
|
4,132 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,055 kbps
|
|
Third Person (2014)
|
|
|
|
3.92
|
2:16:45
|
1,920 x 812
|
1,595 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,505 kbps
|
|
Thirteen (2003)
|
|
|
|
10.17
|
1:40:07
|
1,920 x 1,040
|
13,295 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,252 kbps
|
|
Thirteen Days (2000)
|
|
|
|
9.76
|
2:25:36
|
1,920 x 1,080
|
8,488 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,105 kbps
|
|
This Boy's Life (1993)
|
|
|
|
2.77
|
1:54:42
|
1,920 x 780
|
2,859 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
593 kbps
|
|
This Is 40 (2012)
|
|
|
|
|
4.91
|
2:17:04
|
1,920 x 800
|
2,407 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,723 kbps
|
|
This Is Colour (1942)
|
|
|
|
1.48
|
18:11
|
1,436 x 1,080
|
11,064 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
574 kbps
|
|
This Is Me... Now (2024)
|
|
|
|
|
4.15
|
1:05:24
|
3,840 x 1,632
|
8,498 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
This Is Not a Movie (2011)
|
|
|
|
4.16
|
1:39:07
|
1,920 x 816
|
4,795 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,211 kbps
|
|
This Is Spinal Tap (1984)
|
|
|
|
|
5.51
|
1:23:06
|
1,920 x 1,038
|
7,006 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,488 kbps
|
|
This Is the End (2013)
|
|
|
|
|
2.88
|
1:46:41
|
1,920 x 800
|
2,396 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,465 kbps
|
|
This Is Where I Leave You (2014)
|
|
|
|
5.15
|
1:43:19
|
1,920 x 796
|
4,266 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,862 kbps
|
|
This Means War (2012)
|
|
|
|
|
8.30
|
1:44:00
|
1,920 x 800
|
8,228 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,195 kbps
|
|
Thor (2011)
|
|
|
|
|
|
6.05
|
1:54:49
|
3,840 x 1,632
|
5,917 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,627 kbps
|
|
Thor: Hammer of the Gods (2009)
|
|
|
|
4.92
|
1:26:11
|
1,920 x 1,080
|
6,807 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,371 kbps
|
|
Thor: Love and Thunder (2022)
|
|
|
|
|
|
5.11
|
1:58:44
|
3,840 x 1,608
|
4,500 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,653 kbps
|
|
Thor: Ragnarok (2017)
|
|
|
|
|
|
11.00
|
2:10:31
|
3,840 x 1,608
|
10,506 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,553 kbps
|
|
Thor: The Dark World (2013)
|
|
|
|
|
|
|
4.50
|
1:52:03
|
3,840 x 1,600
|
4,099 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,641 kbps
|
|
Thoroughbreds (2018)
|
|
|
|
|
2.95
|
1:32:04
|
3,840 x 1,596
|
2,380 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,209 kbps
|
|
Those Fantastic Flying Fools (1967)
|
|
|
|
6.54
|
1:59:09
|
1,920 x 816
|
7,308 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
547 kbps
|
|
Those Who Walk Away (2022)
|
|
|
|
2.49
|
1:34:45
|
1,920 x 800
|
2,744 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
639 kbps
|
|
Those Who Wish Me Dead (2021)
|
|
|
|
|
6.20
|
1:39:39
|
3,840 x 1,608
|
5,681 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,226 kbps
|
|
Threads (1984)
|
|
|
|
6.83
|
1:57:11
|
1,440 x 1,080
|
7,738 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
601 kbps
|
|
Threat Level Midnight (2011)
|
|
|
|
|
0.64
|
26:00
|
1,904 x 1,080
|
3,327 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Three Billboards Outside Ebbing, Missouri (2017)
|
|
|
|
|
|
11.10
|
1:55:21
|
3,840 x 1,604
|
10,736 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,038 kbps
|
|
Three Days of the Condor (1975)
|
|
|
|
|
|
24.46
|
1:57:27
|
3,840 x 1,604
|
26,616 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,191 kbps
|
|
Three Fugitives (1989)
|
|
|
|
4.17
|
1:36:20
|
1,920 x 1,024
|
5,978 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Three Identical Strangers (2018)
|
|
|
|
4.13
|
1:36:34
|
1,920 x 1,016
|
3,278 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,850 kbps
|
|
Three Kings (1999)
|
|
|
|
12.09
|
1:54:47
|
1,920 x 800
|
11,505 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,575 kbps
|
|
Three Men and a Baby (1987)
|
|
|
|
8.27
|
1:42:29
|
1,920 x 1,032
|
10,917 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Three Men and a Little Lady (1990)
|
|
|
|
6.00
|
1:43:43
|
1,920 x 1,040
|
7,645 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Three O'Clock High (1987)
|
|
|
|
4.80
|
1:29:42
|
1,920 x 1,040
|
7,125 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
529 kbps
|
|
Three Thousand Years of Longing (2022)
|
|
|
|
|
6.66
|
1:48:23
|
3,840 x 1,608
|
7,547 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,241 kbps
|
|
Threshold (2021)
|
|
|
|
5.57
|
1:18:05
|
1,920 x 960
|
7,927 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,280 kbps
|
|
Thriller (2019)
|
|
|
|
5.09
|
1:26:47
|
1,920 x 804
|
5,203 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,186 kbps
|
|
Through Black Spruce (2018)
|
|
|
|
4.40
|
1:51:02
|
1,920 x 1,036
|
2,657 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,011 kbps
|
|
Through the Fire (1997)
|
|
|
|
5.47
|
1:27:58
|
1,920 x 1,036
|
8,194 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
707 kbps
|
|
Through the Glass Darkly (2020)
|
|
|
|
3.88
|
1:43:30
|
3,840 x 1,600
|
4,986 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Throw Momma from the Train (1987)
|
|
|
|
|
6.06
|
1:27:44
|
1,920 x 1,040
|
8,530 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,352 kbps
|
|
Thumbelina (1994)
|
|
|
|
8.34
|
1:26:32
|
1,920 x 1,040
|
10,589 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,200 kbps
|
|
Thunder and Lightning (1977)
|
|
|
|
7.94
|
1:34:13
|
1,920 x 1,036
|
11,815 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
255 kbps
|
|
Thunder Force (2021)
|
|
|
|
|
8.67
|
1:45:17
|
3,840 x 1,608
|
11,010 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Thunderball (1965)
|
|
|
|
|
13.78
|
2:10:21
|
3,840 x 1,632
|
14,087 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,045 kbps
|
|
Thunderbirds (2004)
|
|
|
|
6.15
|
1:34:44
|
1,920 x 1,040
|
5,460 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,833 kbps
|
|
Thunderbolt and Lightfoot (1974)
|
|
|
|
|
23.18
|
1:54:42
|
3,840 x 1,604
|
27,479 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,593 kbps
|
|
Thursday (1998)
|
|
|
|
5.54
|
1:27:48
|
1,920 x 1,032
|
7,631 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,405 kbps
|
|
THX 1138 (1971)
|
|
|
|
4.01
|
1:28:31
|
1,920 x 816
|
3,567 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,913 kbps
|
|
Ticker (2001)
|
|
|
|
4.07
|
1:32:01
|
1,908 x 1,080
|
4,853 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,483 kbps
|
|
Ticket to Paradise (2022)
|
|
|
|
|
|
4.94
|
1:44:02
|
3,840 x 1,608
|
5,331 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,456 kbps
|
|
Ticking Clock (2011)
|
|
|
|
5.02
|
1:41:08
|
1,920 x 1,080
|
4,131 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,973 kbps
|
|
Ticks (1993)
|
|
|
|
|
20.60
|
1:27:43
|
3,840 x 2,076
|
32,299 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,324 kbps
|
|
Tideland (2006)
|
|
|
|
8.17
|
2:00:30
|
1,920 x 818
|
6,638 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,070 kbps
|
|
Tiger Claws (1992)
|
|
|
|
9.27
|
1:32:26
|
1,920 x 1,036
|
13,677 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
673 kbps
|
|
Tiger Claws II (1996)
|
|
|
|
6.86
|
1:28:45
|
1,920 x 1,036
|
9,649 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,410 kbps
|
|
Tiger Claws III (2000)
|
|
|
|
6.16
|
1:34:29
|
1,920 x 1,036
|
7,879 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,454 kbps
|
|
Tightrope (1984)
|
|
|
|
8.68
|
1:54:21
|
1,904 x 1,080
|
9,568 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,299 kbps
|
|
Tijuana Jackson: Purpose Over Prison (2020)
|
|
|
|
2.50
|
1:36:38
|
1,920 x 1,076
|
3,321 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Till Death (2021)
|
|
|
|
3.57
|
1:28:50
|
3,840 x 1,716
|
3,099 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,659 kbps
|
|
Tim (1979)
|
|
|
|
6.33
|
1:48:23
|
1,920 x 1,038
|
7,860 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
506 kbps
|
|
Tim and Eric's Billion Dollar Movie (2012)
|
|
|
|
5.60
|
1:33:56
|
1,904 x 1,080
|
5,494 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,037 kbps
|
|
Time Addicts (2023)
|
|
|
|
2.63
|
1:32:27
|
1,920 x 800
|
1,336 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,738 kbps
|
|
Time Apart (2020)
|
|
|
|
1.23
|
1:23:25
|
1,920 x 812
|
1,922 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Time Bandits (1981)
|
|
|
|
|
|
53.10
|
1:55:55
|
3,840 x 2,076
|
61,856 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,600 kbps
|
|
Time Collectors: Return of the Giants (2012)
|
|
|
|
6.55
|
1:47:23
|
1,920 x 1,078
|
8,507 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Time for Me to Come Home for Christmas (2018)
|
|
|
|
2.19
|
1:24:00
|
1,920 x 1,080
|
3,092 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Time Lapse (2015)
|
|
|
|
2.69
|
1:44:08
|
1,920 x 1,072
|
2,505 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,185 kbps
|
|
Time Now (2021)
|
|
|
|
1.45
|
1:30:45
|
1,920 x 792
|
1,902 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Time Sleeper (2020)
|
|
|
|
2.01
|
1:33:22
|
1,920 x 1,080
|
2,862 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Time Trap (2018)
|
|
|
|
2.62
|
1:27:32
|
1,920 x 812
|
3,000 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,281 kbps
|
|
Time Walker (1982)
|
|
|
|
2.88
|
1:25:47
|
1,904 x 1,080
|
4,528 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
275 kbps
|
|
Timebomb (1991)
|
|
|
|
3.98
|
1:36:08
|
1,920 x 1,036
|
5,464 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
466 kbps
|
|
Timecop (1994)
|
|
|
|
|
5.18
|
1:37:55
|
1,920 x 814
|
3,598 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,974 kbps
|
|
TimeCrafters: The Treasure of Pirate's Cove (2020)
|
|
|
|
3.27
|
1:33:29
|
1,920 x 1,076
|
4,626 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Timeline (2003)
|
|
|
|
15.42
|
1:55:29
|
1,920 x 1,080
|
15,665 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,447 kbps
|
|
Timelock (1996)
|
|
|
|
3.76
|
1:36:20
|
1,920 x 1,080
|
5,367 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
TiMER (2010)
|
|
|
|
3.51
|
1:39:54
|
1,920 x 1,076
|
3,922 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,113 kbps
|
|
Timerider: The Adventure of Lyle Swann (1983)
|
|
|
|
5.74
|
1:33:24
|
1,920 x 1,040
|
8,303 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
490 kbps
|
|
TimeScapes (2012)
|
|
|
|
8.79
|
48:22
|
3,840 x 2,160
|
22,712 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,309 kbps
|
|
Timmy Failure: Mistakes Were Made (2020)
|
|
|
|
3.93
|
1:39:31
|
3,840 x 1,604
|
5,172 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Tin Can (2020)
|
|
|
|
7.52
|
1:44:35
|
1,616 x 1,080
|
9,848 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Tin Men (1987)
|
|
|
|
3.62
|
1:52:21
|
1,920 x 1,040
|
3,975 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tina (2021)
|
|
|
|
16.67
|
1:58:06
|
1,920 x 1,080
|
17,600 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,601 kbps
|
|
Tinker Tailor Soldier Spy (2011)
|
|
|
|
|
|
42.79
|
2:07:22
|
3,840 x 1,632
|
45,270 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,356 kbps
|
|
Tiptoes (2004)
|
|
|
|
3.23
|
1:30:04
|
1,916 x 1,080
|
4,486 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Titanic (1997)
|
|
|
|
|
|
29.87
|
3:14:45
|
3,840 x 1,632
|
20,490 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,565 kbps
|
|
To Be or Not to Be (1983)
|
|
|
|
6.35
|
1:47:16
|
1,920 x 1,036
|
5,397 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,081 kbps
|
|
To Catch a Thief (1955)
|
|
|
|
9.00
|
1:46:30
|
1,920 x 1,080
|
11,043 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,050 kbps
|
|
To Die For (1995)
|
|
|
|
|
41.57
|
1:46:40
|
3,840 x 2,076
|
52,630 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,156 kbps
|
|
To Have and Have Not (1944)
|
|
|
|
11.22
|
1:40:04
|
1,476 x 1,080
|
15,492 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
556 kbps
|
|
To Hell and Back (1955)
|
|
|
|
9.54
|
1:46:16
|
1,920 x 816
|
11,691 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,153 kbps
|
|
To Kill a Mockingbird (1963)
|
|
|
|
|
19.76
|
2:09:13
|
3,840 x 2,076
|
21,133 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
758 kbps
|
|
To Leslie (2022)
|
|
|
|
9.26
|
1:59:21
|
1,920 x 800
|
7,926 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,181 kbps
|
|
To Live and Die in L.A. (1985)
|
|
|
|
|
30.49
|
1:55:39
|
3,840 x 2,076
|
35,777 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
1,960 kbps
|
|
To Sir, with Love (1967)
|
|
|
|
|
|
22.90
|
1:45:03
|
3,840 x 2,076
|
29,297 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
1,904 kbps
|
|
To Sir, with Love II (1996)
|
|
|
|
5.27
|
1:32:33
|
1,440 x 1,080
|
4,813 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,346 kbps
|
|
To the Bone (2017)
|
|
|
|
2.33
|
1:47:47
|
1,920 x 1,036
|
2,456 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
To the Wonder (2013)
|
|
|
|
7.31
|
1:52:35
|
1,920 x 816
|
5,718 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,570 kbps
|
|
To Your Last Death (2020)
|
|
|
|
1.81
|
1:31:39
|
1,920 x 1,080
|
2,381 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Together (2019)
|
|
|
|
0.35
|
19:11
|
1,920 x 800
|
2,368 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Together (2021)
|
|
|
|
|
4.02
|
1:32:12
|
3,840 x 1,920
|
3,675 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,557 kbps
|
|
Together Together (2021)
|
|
|
|
7.63
|
1:30:32
|
3,840 x 1,920
|
11,684 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Tokarev (2014)
|
|
|
|
3.22
|
1:38:27
|
1,920 x 816
|
3,317 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,361 kbps
|
|
Tom & Jerry (2021)
|
|
|
|
|
6.82
|
1:41:02
|
3,840 x 2,076
|
7,973 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,685 kbps
|
|
Tom and Huck (1995)
|
|
|
|
2.78
|
1:31:46
|
1,920 x 816
|
4,078 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Tom and Jerry Meet Sherlock Holmes (2010)
|
|
|
|
1.63
|
49:51
|
1,920 x 1,076
|
4,040 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tom and Jerry: The Fast and the Furry (2005)
|
|
|
|
4.57
|
1:14:36
|
1,920 x 1,080
|
5,071 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,699 kbps
|
|
Tomb Raider (2018)
|
|
|
|
|
9.78
|
1:57:49
|
3,840 x 1,604
|
10,176 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,699 kbps
|
|
Tomboy (1985)
|
|
|
|
7.89
|
1:31:06
|
1,904 x 1,080
|
11,244 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,158 kbps
|
|
Tombstone (1993)
|
|
|
|
9.85
|
2:09:38
|
1,920 x 800
|
7,322 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,551 kbps
|
|
Tomcats (2001)
|
|
|
|
7.66
|
1:34:42
|
1,920 x 1,040
|
10,091 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,484 kbps
|
|
Tommy (1975)
|
|
|
|
11.89
|
1:51:31
|
1,920 x 1,036
|
11,056 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
4,202 kbps
|
|
Tommy Boy (1995)
|
|
|
|
|
6.30
|
1:37:04
|
1,920 x 1,080
|
7,899 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,391 kbps
|
|
Tomorrow Never Dies (1997)
|
|
|
|
13.04
|
1:59:21
|
3,840 x 1,632
|
13,914 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,727 kbps
|
|
Tomorrow, When the War Began (2010)
|
|
|
|
4.46
|
1:43:40
|
1,920 x 800
|
2,989 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,173 kbps
|
|
Tomorrowland (2015)
|
|
|
|
|
7.18
|
2:10:03
|
1,920 x 872
|
3,783 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,124 kbps
|
|
Too Close For Christmas (2020)
|
|
|
|
2.61
|
1:28:38
|
1,920 x 1,080
|
3,569 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Too Late (2015)
|
|
|
|
8.23
|
1:47:40
|
1,920 x 788
|
10,300 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Too Young to Die? (1990)
|
|
|
|
3.59
|
1:31:50
|
1,920 x 1,072
|
4,935 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
656 kbps
|
|
Toolbox Murders (2004)
|
|
|
|
2.58
|
1:34:56
|
1,916 x 1,080
|
3,446 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Tooth Fairy (2010)
|
|
|
|
7.54
|
1:41:29
|
1,920 x 1,036
|
7,631 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,001 kbps
|
|
Tootsie (1982)
|
|
|
|
9.67
|
1:57:20
|
1,920 x 800
|
11,144 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
655 kbps
|
|
Top Gun (1986)
|
|
|
|
|
|
21.59
|
1:49:27
|
3,840 x 1,600
|
24,920 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,322 kbps
|
|
Top Gun: Maverick (2022)
|
|
|
|
|
|
7.22
|
2:10:15
|
3,840 x 2,024
|
4,983 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,942 kbps
|
|
Top Secret! (1984)
|
|
|
|
10.17
|
1:30:07
|
1,920 x 1,072
|
12,978 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,177 kbps
|
|
Topaz (1969)
|
|
|
|
|
28.67
|
2:05:33
|
3,840 x 2,076
|
32,055 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
640 kbps
|
|
Tora! Tora! Tora! (1970)
|
|
|
|
|
16.33
|
2:28:53
|
1,920 x 814
|
12,512 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,185 kbps
|
|
Torn Curtain (1966)
|
|
|
|
|
23.95
|
2:07:44
|
3,840 x 2,076
|
26,213 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
627 kbps
|
|
Tornado Alley (2011)
|
|
|
|
15.25
|
43:27
|
3,840 x 2,160
|
47,026 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,232 kbps
|
|
Torque (2004)
|
|
|
|
7.60
|
1:24:04
|
1,920 x 804
|
9,413 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,529 kbps
|
|
Total Recall (1990)
|
|
|
|
|
|
40.71
|
1:53:17
|
3,840 x 2,076
|
49,592 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,853 kbps
|
|
Total Recall (2012)
|
|
|
|
|
3.95
|
2:10:16
|
1,920 x 800
|
2,664 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,675 kbps
|
|
Totally Killer (2023)
|
|
|
|
|
|
10.05
|
1:45:03
|
3,840 x 1,920
|
13,236 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Totem (2017)
|
|
|
|
1.45
|
1:30:19
|
1,920 x 1,080
|
1,650 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Touch of Evil (1958)
|
|
|
|
|
17.80
|
1:50:36
|
3,840 x 2,076
|
22,428 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
614 kbps
|
|
Touched with Fire (2015)
|
|
|
|
3.19
|
1:46:25
|
1,920 x 800
|
3,558 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
728 kbps
|
|
Tough Guys (1986)
|
|
|
|
7.50
|
1:44:05
|
1,920 x 820
|
9,752 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
555 kbps
|
|
Tough Guys Don't Dance (1987)
|
|
|
|
6.35
|
1:49:34
|
1,920 x 1,036
|
6,779 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,517 kbps
|
|
Towed in a Hole (1932)
|
|
|
|
0.63
|
21:10
|
1,418 x 1,080
|
4,047 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
207 kbps
|
|
Tower Block (2012)
|
|
|
|
4.42
|
1:30:06
|
1,920 x 1,080
|
4,345 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,668 kbps
|
|
Tower Heist (2011)
|
|
|
|
|
5.97
|
1:44:33
|
1,920 x 800
|
5,052 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,116 kbps
|
|
Tower of Silence (2019)
|
|
|
|
3.63
|
1:46:55
|
1,920 x 800
|
4,221 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Town & Country (2001)
|
|
|
|
2.89
|
1:44:39
|
1,904 x 1,080
|
3,734 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Toxic Skies (2008)
|
|
|
|
3.49
|
1:30:07
|
1,904 x 1,080
|
4,983 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
552 kbps
|
|
Toxicity (2019)
|
|
|
|
1.33
|
1:22:02
|
1,920 x 1,080
|
2,091 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Toy Soldiers (1984)
|
|
|
|
4.82
|
1:25:17
|
1,904 x 1,080
|
7,428 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
663 kbps
|
|
Toy Soldiers (1991)
|
|
|
|
8.19
|
1:52:04
|
1,920 x 1,040
|
8,121 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,342 kbps
|
|
Toy Story (1995)
|
|
|
|
|
|
7.20
|
1:21:06
|
3,840 x 2,160
|
8,874 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,832 kbps
|
|
Toy Story 2 (1999)
|
|
|
|
|
|
6.93
|
1:32:26
|
3,840 x 2,160
|
7,279 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,430 kbps
|
|
Toy Story 3 (2010)
|
|
|
|
|
|
7.35
|
1:43:01
|
3,840 x 2,160
|
7,247 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,956 kbps
|
|
Toy Story 4 (2019)
|
|
|
|
|
|
7.48
|
1:40:03
|
3,840 x 1,608
|
7,167 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,531 kbps
|
|
Toys (1992)
|
|
|
|
4.46
|
2:01:51
|
1,920 x 1,080
|
4,593 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tracers (2015)
|
|
|
|
4.71
|
1:34:03
|
1,920 x 800
|
4,029 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,136 kbps
|
|
Track 29 (1988)
|
|
|
|
8.73
|
1:30:14
|
1,920 x 1,040
|
12,460 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,395 kbps
|
|
Tracks (2014)
|
|
|
|
4.03
|
1:52:33
|
1,920 x 792
|
4,051 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,080 kbps
|
|
Trade of Innocents (2012)
|
|
|
|
3.99
|
1:30:27
|
1,920 x 800
|
3,371 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,937 kbps
|
|
Trading Paint (2019)
|
|
|
|
3.31
|
1:27:15
|
1,920 x 804
|
2,215 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,209 kbps
|
|
Trading Places (1983)
|
|
|
|
|
28.56
|
1:56:20
|
3,840 x 2,160
|
32,470 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,549 kbps
|
|
Traffic (2001)
|
|
|
|
26.75
|
2:27:47
|
1,920 x 1,080
|
24,471 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,436 kbps
|
|
Trail of the Pink Panther (1982)
|
|
|
|
5.18
|
1:36:50
|
1,920 x 816
|
6,602 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,052 kbps
|
|
Trailer Made (2016)
|
|
|
|
1.88
|
1:22:17
|
1,920 x 816
|
3,038 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Train (2008)
|
|
|
|
4.85
|
1:34:43
|
1,920 x 1,080
|
5,886 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,437 kbps
|
|
Training Day (2001)
|
|
|
|
|
12.57
|
2:02:04
|
3,840 x 1,632
|
13,161 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,570 kbps
|
|
Trainspotting (1996)
|
|
|
|
|
27.49
|
1:34:09
|
3,840 x 2,076
|
38,407 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,384 kbps
|
|
Traitor (2008)
|
|
|
|
9.66
|
1:54:08
|
1,920 x 800
|
8,535 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,581 kbps
|
|
Trance (2013)
|
|
|
|
4.89
|
1:41:19
|
1,920 x 800
|
2,888 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,022 kbps
|
|
Trancers (1984)
|
|
|
|
|
18.61
|
1:16:32
|
3,840 x 2,160
|
33,833 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,347 kbps
|
|
Transcendence (2014)
|
|
|
|
|
3.55
|
1:59:17
|
1,920 x 800
|
2,963 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,297 kbps
|
|
Transformers (2007)
|
|
|
|
|
|
36.90
|
2:23:27
|
3,840 x 1,600
|
33,635 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,181 kbps
|
|
Transformers: Age of Extinction (2014)
|
|
|
|
|
|
|
26.89
|
2:45:07
|
3,840 x 1,600
|
20,197 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,111 kbps
|
|
Transformers: Dark of the Moon (2011)
|
|
|
|
|
|
33.94
|
2:34:23
|
3,840 x 1,600
|
28,433 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,035 kbps
|
|
Transformers: Revenge of the Fallen (2009)
|
|
|
|
|
|
32.02
|
2:29:53
|
3,840 x 1,600
|
27,620 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,959 kbps
|
|
Transformers: Rise of the Beasts (2023)
|
|
|
|
|
11.34
|
2:07:07
|
3,840 x 1,608
|
11,121 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,642 kbps
|
|
Transformers: The Last Knight (2017)
|
|
|
|
|
|
15.48
|
2:34:39
|
3,840 x 2,020
|
11,498 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,834 kbps
|
|
Transfusion (2023)
|
|
|
|
1.69
|
1:46:01
|
1,920 x 800
|
1,296 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
988 kbps
|
|
Transmorphers: Fall of Man (2009)
|
|
|
|
4.65
|
1:25:58
|
1,920 x 1,080
|
7,288 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Transmutators (2023)
|
|
|
|
5.37
|
1:29:16
|
1,920 x 1,080
|
8,394 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Transporter 2 (2005)
|
|
|
|
6.53
|
1:28:07
|
1,920 x 816
|
7,082 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,522 kbps
|
|
Transporter 3 (2008)
|
|
|
|
|
14.61
|
1:43:58
|
3,840 x 1,632
|
17,108 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,001 kbps
|
|
TransSiberian (2008)
|
|
|
|
8.62
|
1:50:54
|
1,920 x 808
|
7,554 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,577 kbps
|
|
Transylvania 6-5000 (1985)
|
|
|
|
4.71
|
1:34:19
|
1,920 x 1,044
|
6,883 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
267 kbps
|
|
Trapeze (1956)
|
|
|
|
6.86
|
1:46:01
|
1,920 x 816
|
8,932 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
327 kbps
|
|
Trapped by My Sugar Daddy (2022)
|
|
|
|
4.70
|
1:29:25
|
1,920 x 1,080
|
7,304 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Trapped Daughter (2021)
|
|
|
|
3.68
|
1:28:30
|
1,920 x 1,072
|
5,567 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Trapped in Paradise (1994)
|
|
|
|
3.31
|
1:51:21
|
1,920 x 808
|
4,129 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
Trauma Center (2019)
|
|
|
|
2.53
|
1:27:00
|
1,920 x 796
|
1,416 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,751 kbps
|
|
Tread (2020)
|
|
|
|
2.08
|
1:28:25
|
1,920 x 804
|
2,724 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Treasure Island (1950)
|
|
|
|
8.61
|
1:35:52
|
1,472 x 1,080
|
12,527 kbps
|
|
2.0
|
|
48 kHz
|
320 kbps
|
|
Treasure Island (1990)
|
|
|
|
9.37
|
2:11:18
|
1,920 x 1,080
|
9,987 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Treasure of the Amazon (1985)
|
|
|
|
8.83
|
1:45:27
|
1,920 x 1,036
|
11,257 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
731 kbps
|
|
Trees Lounge (1996)
|
|
|
|
2.51
|
1:34:44
|
1,920 x 1,040
|
3,670 kbps
|
|
2.0
|
|
48 kHz
|
125 kbps
|
|
Tremors (1990)
|
|
|
|
|
34.70
|
1:36:00
|
3,840 x 2,076
|
48,482 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,250 kbps
|
|
Tremors 2: Aftershocks (1996)
|
|
|
|
9.39
|
1:39:28
|
1,920 x 1,036
|
12,113 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,403 kbps
|
|
Tremors 3: Back to Perfection (2001)
|
|
|
|
8.54
|
1:43:36
|
1,920 x 1,036
|
8,205 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,592 kbps
|
|
Tremors 4: The Legend Begins (2004)
|
|
|
|
12.17
|
1:41:00
|
1,920 x 1,036
|
13,565 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,682 kbps
|
|
Tremors 5: Bloodlines (2015)
|
|
|
|
6.41
|
1:38:55
|
1,920 x 1,080
|
5,624 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,656 kbps
|
|
Tremors: A Cold Day in Hell (2018)
|
|
|
|
5.48
|
1:37:59
|
1,920 x 1,080
|
4,568 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,438 kbps
|
|
Tremors: Shrieker Island (2020)
|
|
|
|
6.40
|
1:42:24
|
1,920 x 960
|
5,485 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,466 kbps
|
|
Trespass (1992)
|
|
|
|
3.08
|
1:41:09
|
1,920 x 1,040
|
3,729 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
626 kbps
|
|
Trespass (2011)
|
|
|
|
3.64
|
1:30:39
|
1,920 x 796
|
4,527 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,219 kbps
|
|
Trespass Against Us (2016)
|
|
|
|
5.45
|
1:39:47
|
1,920 x 800
|
4,870 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,940 kbps
|
|
Trial by Jury (1994)
|
|
|
|
4.46
|
1:46:45
|
1,920 x 1,036
|
5,380 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
599 kbps
|
|
Triangle (2009)
|
|
|
|
5.33
|
1:38:52
|
1,920 x 814
|
6,172 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,545 kbps
|
|
Triangle of Sadness (2022)
|
|
|
|
|
|
20.58
|
2:26:55
|
3,840 x 1,604
|
17,676 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,375 kbps
|
|
Triassic Hunt (2021)
|
|
|
|
3.00
|
1:26:57
|
1,920 x 800
|
3,727 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,213 kbps
|
|
Trick 'r Treat (2007)
|
|
|
|
2.86
|
1:22:20
|
1,920 x 800
|
3,597 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,367 kbps
|
|
Trigger Point (2021)
|
|
|
|
1.37
|
1:22:18
|
1,920 x 800
|
1,749 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Trinity and Beyond: The Atomic Bomb Movie (1995)
|
|
|
|
|
8.53
|
1:33:51
|
1,920 x 1,080
|
12,561 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Troll: The Tale of a Tail (2018)
|
|
|
|
|
1.93
|
1:30:57
|
1,920 x 800
|
1,783 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,260 kbps
|
|
Trolls (2016)
|
|
|
|
|
4.96
|
1:32:27
|
3,840 x 1,624
|
5,161 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,508 kbps
|
|
Trolls Band Together (2023)
|
|
|
|
|
4.59
|
1:31:29
|
3,840 x 1,608
|
5,659 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,516 kbps
|
|
Trolls World Tour (2020)
|
|
|
|
|
5.17
|
1:30:44
|
3,840 x 1,632
|
6,525 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,622 kbps
|
|
TRON (1982)
|
|
|
|
|
7.69
|
1:35:47
|
1,920 x 866
|
8,453 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,042 kbps
|
|
TRON: Legacy (2010)
|
|
|
|
|
|
16.88
|
2:05:09
|
3,840 x 2,160
|
17,321 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,985 kbps
|
|
Troop Beverly Hills (1989)
|
|
|
|
19.78
|
1:45:56
|
1,920 x 1,036
|
25,520 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,210 kbps
|
|
Troop Zero (2020)
|
|
|
|
|
4.63
|
1:37:28
|
3,840 x 1,600
|
6,156 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tropic Thunder (2008)
|
|
|
|
|
7.65
|
2:01:09
|
1,920 x 818
|
5,702 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,335 kbps
|
|
Trouble with the Curve (2012)
|
|
|
|
5.85
|
1:51:13
|
1,920 x 800
|
4,558 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,971 kbps
|
|
True Crime (1999)
|
|
|
|
8.83
|
2:07:24
|
1,920 x 1,080
|
7,020 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,896 kbps
|
|
True Grit (2010)
|
|
|
|
|
6.34
|
1:50:20
|
1,920 x 816
|
5,168 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,055 kbps
|
|
True Lies (1994)
|
|
|
|
|
|
|
16.19
|
2:20:49
|
3,840 x 1,604
|
14,908 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,550 kbps
|
|
True Memoirs of an International Assassin (2016)
|
|
|
|
|
2.48
|
1:38:02
|
1,920 x 800
|
3,230 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
True Romance (1993)
|
|
|
|
|
20.68
|
2:00:54
|
3,840 x 1,632
|
22,316 kbps
|
|
5.1
|
|
18 bits / 48 kHz
|
2,165 kbps
|
|
True Story (2015)
|
|
|
|
9.06
|
1:39:26
|
1,920 x 1,036
|
10,099 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,945 kbps
|
|
Trust (1991)
|
|
|
|
6.71
|
1:46:23
|
1,920 x 1,080
|
8,702 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
319 kbps
|
|
Trust Me (2014)
|
|
|
|
1.36
|
1:29:05
|
1,920 x 812
|
1,796 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Truth (2015)
|
|
|
|
3.25
|
2:05:13
|
1,920 x 800
|
1,258 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,461 kbps
|
|
Truth (2020)
|
|
|
|
3.24
|
1:46:34
|
1,920 x 812
|
3,713 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Truth or Consequences, N.M. (1997)
|
|
|
|
8.23
|
1:46:51
|
1,920 x 1,032
|
7,504 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,518 kbps
|
|
Truth or Dare (2012)
|
|
|
|
4.19
|
1:35:26
|
1,920 x 800
|
2,943 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,348 kbps
|
|
Truth or Dare (2018)
|
|
|
|
3.72
|
1:40:33
|
1,920 x 804
|
2,041 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,252 kbps
|
|
Try Seventeen (2003)
|
|
|
|
2.78
|
1:33:30
|
1,916 x 1,080
|
3,619 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Tucker: The Man and His Dream (1988)
|
|
|
|
8.55
|
1:50:31
|
1,920 x 796
|
7,721 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,358 kbps
|
|
Tuff Turf (1985)
|
|
|
|
5.32
|
1:51:47
|
1,920 x 1,032
|
6,498 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
310 kbps
|
|
Tully (2018)
|
|
|
|
|
3.77
|
1:35:31
|
3,840 x 2,076
|
3,102 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,535 kbps
|
|
Tulsa (2020)
|
|
|
|
1.43
|
1:59:35
|
1,920 x 792
|
1,512 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Tumbledown (2016)
|
|
|
|
4.05
|
1:43:14
|
1,920 x 780
|
4,784 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
787 kbps
|
|
Turbo Kid (2015)
|
|
|
|
8.17
|
1:32:43
|
1,920 x 804
|
11,058 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,549 kbps
|
|
Turbo: A Power Rangers Movie (1997)
|
|
|
|
5.27
|
1:39:36
|
1,920 x 1,042
|
5,787 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,794 kbps
|
|
Turbulence (1997)
|
|
|
|
5.05
|
1:40:59
|
1,920 x 802
|
6,928 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Turbulence (2016)
|
|
|
|
3.64
|
1:32:10
|
1,918 x 1,080
|
5,421 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Turistas (2006)
|
|
|
|
9.79
|
1:35:51
|
1,920 x 800
|
12,840 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,777 kbps
|
|
Turkey Drop (2019)
|
|
|
|
2.37
|
1:24:57
|
1,920 x 1,076
|
3,731 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Turkey Shoot (1983)
|
|
|
|
7.39
|
1:33:19
|
1,920 x 818
|
10,610 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
734 kbps
|
|
Turner & Hooch (1989)
|
|
|
|
6.51
|
1:39:32
|
1,920 x 1,036
|
6,280 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,073 kbps
|
|
Turning Red (2022)
|
|
|
|
|
6.26
|
1:39:42
|
3,840 x 2,070
|
7,486 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,492 kbps
|
|
Tusk (2014)
|
|
|
|
|
2.94
|
1:44:56
|
1,920 x 800
|
2,072 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,939 kbps
|
|
Twelve Monkeys (1996)
|
|
|
|
|
45.30
|
2:09:27
|
3,840 x 2,076
|
46,600 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,496 kbps
|
|
Twelve O'Clock High (1950)
|
|
|
|
10.23
|
2:12:30
|
1,428 x 1,080
|
9,277 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,780 kbps
|
|
Twice Two (1933)
|
|
|
|
0.39
|
20:39
|
1,418 x 1,080
|
2,536 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
169 kbps
|
|
Twice Upon a Yesterday (1998)
|
|
|
|
3.09
|
1:31:53
|
1,920 x 1,080
|
4,584 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Twilight (2008)
|
|
|
|
|
16.93
|
2:01:49
|
3,840 x 1,600
|
17,209 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,676 kbps
|
|
Twilight Zone: The Movie (1983)
|
|
|
|
4.49
|
1:41:16
|
1,916 x 1,080
|
4,990 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,355 kbps
|
|
Twin Peaks: Fire Walk with Me (1992)
|
|
|
|
|
12.21
|
2:15:06
|
1,920 x 1,036
|
9,723 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,218 kbps
|
|
Twin Peaks: The Missing Pieces (2014)
|
|
|
|
7.98
|
1:31:24
|
1,920 x 1,076
|
8,996 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,498 kbps
|
|
Twins (1988)
|
|
|
|
|
13.99
|
1:46:44
|
1,920 x 1,040
|
15,666 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,091 kbps
|
|
Twister (1996)
|
|
|
|
|
13.30
|
1:52:56
|
1,920 x 792
|
14,744 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
2,120 kbps
|
|
Two Bits (1995)
|
|
|
|
2.04
|
1:23:45
|
1,920 x 812
|
3,255 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Two Distant Strangers (2021)
|
|
|
|
2.45
|
32:04
|
3,840 x 2,068
|
10,309 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Two Evil Eyes (1990)
|
|
|
|
|
63.78
|
2:00:03
|
3,840 x 2,072
|
73,621 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,440 kbps
|
|
Two for the Road (1967)
|
|
|
|
6.37
|
1:51:30
|
1,920 x 816
|
7,530 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
641 kbps
|
|
Two Hands (1999)
|
|
|
|
5.38
|
1:33:35
|
1,920 x 1,038
|
7,096 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,139 kbps
|
|
Two If by Sea (1996)
|
|
|
|
6.37
|
1:35:42
|
1,920 x 1,036
|
8,066 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,337 kbps
|
|
Two Lovers (2009)
|
|
|
|
2.95
|
1:50:09
|
1,920 x 800
|
2,925 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
909 kbps
|
|
Two Much (1995)
|
|
|
|
6.92
|
1:58:26
|
1,920 x 822
|
7,683 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
678 kbps
|
|
Two Ways Home (2020)
|
|
|
|
3.29
|
1:32:58
|
1,920 x 1,036
|
4,429 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Two Weeks Notice (2002)
|
|
|
|
7.13
|
1:41:12
|
1,904 x 1,080
|
7,052 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,035 kbps
|
|
Two-Lane Blacktop (1972)
|
|
|
|
7.05
|
1:42:37
|
1,920 x 814
|
6,621 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,215 kbps
|
|
Tyrannosaur (2011)
|
|
|
|
2.14
|
1:32:20
|
1,920 x 796
|
950 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,369 kbps
|
|
U Turn (1997)
|
|
|
|
13.51
|
2:04:25
|
1,920 x 1,040
|
11,964 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,575 kbps
|
|
U-571 (2000)
|
|
|
|
|
|
15.73
|
1:56:37
|
3,840 x 1,632
|
15,341 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,593 kbps
|
|
U.S. Marshals (1998)
|
|
|
|
11.27
|
2:11:07
|
1,920 x 1,080
|
8,499 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,810 kbps
|
|
UHF (1989)
|
|
|
|
|
6.99
|
1:37:10
|
1,920 x 1,014
|
8,971 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,327 kbps
|
|
Ultrasound (2022)
|
|
|
|
1.59
|
1:44:09
|
1,920 x 956
|
1,800 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Ultraviolet (2006)
|
|
|
|
3.66
|
1:34:28
|
1,920 x 1,040
|
3,983 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,560 kbps
|
|
Una (2016)
|
|
|
|
2.39
|
1:34:21
|
1,920 x 804
|
1,569 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,062 kbps
|
|
Unaccompanied Minors (2006)
|
|
|
|
4.25
|
1:29:46
|
1,920 x 798
|
6,140 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Unbelievable!!!!! (2020)
|
|
|
|
3.67
|
1:45:26
|
1,920 x 1,080
|
4,761 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Unbreakable (2000)
|
|
|
|
|
17.50
|
1:46:39
|
3,840 x 1,600
|
20,225 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,263 kbps
|
|
Uncertainty (2008)
|
|
|
|
4.87
|
1:45:18
|
1,920 x 816
|
5,403 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,215 kbps
|
|
Unchained (2021)
|
|
|
|
2.17
|
1:24:23
|
1,920 x 800
|
3,447 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Uncharted (2022)
|
|
|
|
|
|
10.25
|
1:55:53
|
3,840 x 1,608
|
10,106 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,554 kbps
|
|
Uncle Buck (1989)
|
|
|
|
7.40
|
1:39:39
|
1,920 x 1,040
|
9,327 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,308 kbps
|
|
Uncommon Valor (1983)
|
|
|
|
11.87
|
1:44:49
|
1,920 x 1,080
|
13,273 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,930 kbps
|
|
Uncovered (1995)
|
|
|
|
6.27
|
1:45:59
|
1,792 x 1,080
|
8,281 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Uncut Gems (2019)
|
|
|
|
|
24.98
|
2:15:20
|
3,840 x 1,600
|
23,936 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,481 kbps
|
|
Undead (2003)
|
|
|
|
10.27
|
1:36:25
|
1,904 x 1,080
|
11,669 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,582 kbps
|
|
Undefeatable (1993)
|
|
|
|
|
31.16
|
1:35:15
|
3,840 x 2,076
|
46,128 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
699 kbps
|
|
Under Fire (1983)
|
|
|
|
11.70
|
2:08:13
|
1,920 x 1,040
|
11,817 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,245 kbps
|
|
Under Siege (1992)
|
|
|
|
|
8.29
|
1:42:32
|
1,888 x 1,080
|
10,934 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Under Siege 2: Dark Territory (1995)
|
|
|
|
|
3.90
|
1:39:39
|
1,904 x 1,080
|
4,967 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Under Suspicion (1992)
|
|
|
|
2.96
|
1:39:58
|
1,920 x 800
|
3,690 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
546 kbps
|
|
Under Suspicion (2000)
|
|
|
|
8.13
|
1:50:58
|
1,920 x 1,080
|
9,387 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,102 kbps
|
|
Under the Silver Lake (2019)
|
|
|
|
5.35
|
2:19:22
|
1,920 x 800
|
2,429 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,064 kbps
|
|
Under the Skin (2014)
|
|
|
|
|
6.77
|
1:48:14
|
3,840 x 2,074
|
6,529 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,422 kbps
|
|
Under the Volcano (1984)
|
|
|
|
7.10
|
1:52:13
|
1,920 x 1,040
|
8,326 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
731 kbps
|
|
Undercover Blues (1993)
|
|
|
|
5.45
|
1:29:51
|
1,920 x 1,040
|
7,344 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
1,334 kbps
|
|
Undercover Bridesmaid (2012)
|
|
|
|
2.81
|
1:26:48
|
1,920 x 1,080
|
3,233 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,405 kbps
|
|
Undercover Brother (2002)
|
|
|
|
6.78
|
1:26:01
|
1,920 x 1,040
|
9,660 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,627 kbps
|
|
Undercover Cheerleader (2019)
|
|
|
|
1.90
|
1:26:37
|
1,920 x 1,080
|
2,922 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Undercover Heat (1995)
|
|
|
|
6.38
|
1:38:35
|
1,920 x 1,080
|
9,036 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Undergods (2021)
|
|
|
|
2.97
|
1:31:47
|
1,920 x 804
|
1,595 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,041 kbps
|
|
Undertow (2004)
|
|
|
|
9.02
|
1:48:21
|
1,920 x 1,038
|
10,735 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,182 kbps
|
|
Underwater (2020)
|
|
|
|
|
9.65
|
1:34:57
|
3,840 x 1,600
|
10,128 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,416 kbps
|
|
Underworld (2003)
|
|
|
|
|
23.53
|
2:13:37
|
3,840 x 1,600
|
22,089 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,114 kbps
|
|
Underworld: Awakening (2012)
|
|
|
|
|
6.76
|
1:28:33
|
3,840 x 1,604
|
7,584 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,335 kbps
|
|
Underworld: Blood Wars (2017)
|
|
|
|
|
4.00
|
1:31:29
|
3,840 x 1,600
|
3,127 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,133 kbps
|
|
Underworld: Evolution (2006)
|
|
|
|
|
15.74
|
1:46:23
|
3,840 x 1,596
|
17,956 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,222 kbps
|
|
Underworld: Rise of the Lycans (2009)
|
|
|
|
|
20.83
|
1:32:31
|
3,840 x 1,600
|
29,168 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,058 kbps
|
|
Unearth (2021)
|
|
|
|
2.88
|
1:34:16
|
1,920 x 740
|
1,370 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,005 kbps
|
|
Unfaithfully Yours (1984)
|
|
|
|
3.48
|
1:36:35
|
1,916 x 1,080
|
4,938 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Unfinished Business (2015)
|
|
|
|
4.30
|
1:30:56
|
1,920 x 794
|
3,928 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,843 kbps
|
|
Unforgettable (2017)
|
|
|
|
3.79
|
1:40:08
|
1,920 x 1,080
|
2,833 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,587 kbps
|
|
Unforgiven (1992)
|
|
|
|
|
10.76
|
2:10:40
|
3,840 x 1,596
|
10,269 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,519 kbps
|
|
Unfriended (2015)
|
|
|
|
2.70
|
1:22:33
|
1,920 x 1,080
|
2,094 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,583 kbps
|
|
Unhinged (2020)
|
|
|
|
|
4.97
|
1:31:05
|
3,840 x 1,600
|
6,248 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,560 kbps
|
|
Unidentified Flying Oddball (1979)
|
|
|
|
4.76
|
1:33:13
|
1,792 x 1,080
|
7,092 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Uninvited (1987)
|
|
|
|
41.75
|
1:33:07
|
3,840 x 2,160
|
63,884 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
293 kbps
|
|
United 93 (2006)
|
|
|
|
7.35
|
1:50:51
|
1,920 x 816
|
5,805 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,686 kbps
|
|
Universal Soldier (1992)
|
|
|
|
|
25.55
|
1:43:20
|
3,840 x 1,632
|
31,675 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,718 kbps
|
|
Unknown (2006)
|
|
|
|
4.67
|
1:25:16
|
1,920 x 816
|
4,205 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,630 kbps
|
|
Unknown (2011)
|
|
|
|
|
|
6.87
|
1:53:05
|
1,920 x 800
|
5,346 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,343 kbps
|
|
Unlawful Entry (1992)
|
|
|
|
6.21
|
1:51:43
|
1,920 x 1,080
|
6,529 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,431 kbps
|
|
Unlocked (2017)
|
|
|
|
4.33
|
1:38:22
|
1,920 x 796
|
2,974 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,331 kbps
|
|
Unplanned (2019)
|
|
|
|
2.63
|
1:49:16
|
1,920 x 800
|
2,512 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
930 kbps
|
|
Unsane (2018)
|
|
|
|
|
13.69
|
1:38:12
|
3,376 x 2,160
|
17,496 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,465 kbps
|
|
Unseen (2023)
|
|
|
|
1.82
|
1:16:01
|
1,920 x 800
|
2,785 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Unstoppable (2010)
|
|
|
|
14.53
|
1:38:30
|
1,920 x 800
|
17,732 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,384 kbps
|
|
Untamed Heart (1993)
|
|
|
|
3.46
|
1:42:08
|
1,920 x 1,028
|
4,320 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
525 kbps
|
|
Unthinkable (2010)
|
|
|
|
9.31
|
1:37:08
|
1,920 x 1,036
|
10,638 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,085 kbps
|
|
Until the End of the World (1991)
|
|
|
|
|
22.00
|
4:47:58
|
1,788 x 1,080
|
7,926 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,011 kbps
|
|
Until We Meet Again (2022)
|
|
|
|
1.30
|
1:31:55
|
1,920 x 796
|
1,645 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Untraceable (2008)
|
|
|
|
4.40
|
1:41:00
|
1,920 x 800
|
4,940 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,289 kbps
|
|
Unwelcome (2023)
|
|
|
|
4.23
|
1:43:56
|
1,920 x 804
|
4,304 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,516 kbps
|
|
Up (2009)
|
|
|
|
|
5.49
|
1:36:08
|
3,840 x 2,160
|
5,352 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,821 kbps
|
|
Up in Smoke (1978)
|
|
|
|
6.36
|
1:25:49
|
1,920 x 816
|
9,514 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,089 kbps
|
|
Up in the Air (2009)
|
|
|
|
6.07
|
1:49:21
|
1,920 x 1,040
|
5,291 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,653 kbps
|
|
Upgrade (2018)
|
|
|
|
|
5.83
|
1:39:58
|
3,840 x 1,608
|
5,210 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,717 kbps
|
|
Upgraded (2024)
|
|
|
|
|
4.77
|
1:45:38
|
3,840 x 1,600
|
6,013 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Uploaded (2021)
|
|
|
|
2.38
|
1:32:43
|
1,920 x 1,080
|
3,032 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Upside Down (2013)
|
|
|
|
|
6.52
|
1:48:34
|
1,920 x 816
|
7,150 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,448 kbps
|
|
Upstairs (2009)
|
|
|
|
6.22
|
1:32:04
|
1,904 x 1,080
|
9,002 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
673 kbps
|
|
Upstream Color (2013)
|
|
|
|
7.02
|
1:36:11
|
1,920 x 820
|
7,937 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,513 kbps
|
|
Uptown Girls (2003)
|
|
|
|
8.22
|
1:32:28
|
1,920 x 1,036
|
9,166 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,554 kbps
|
|
Urban Legend (1998)
|
|
|
|
3.50
|
1:39:39
|
1,920 x 800
|
3,737 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,295 kbps
|
|
Urkel Saves Santa: The Movie! (2023)
|
|
|
|
1.89
|
1:26:55
|
1,920 x 1,080
|
2,475 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Us (2019)
|
|
|
|
|
5.77
|
1:56:28
|
3,840 x 1,604
|
5,622 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,466 kbps
|
|
Used Cars (1980)
|
|
|
|
|
35.72
|
1:52:40
|
3,840 x 2,064
|
42,887 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,501 kbps
|
|
Useless Humans (2020)
|
|
|
|
1.51
|
1:17:01
|
1,920 x 788
|
2,158 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
V for Vendetta (2006)
|
|
|
|
|
11.45
|
2:12:34
|
3,840 x 1,604
|
10,770 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,585 kbps
|
|
V.I. Warshawski (1991)
|
|
|
|
6.01
|
1:28:52
|
1,920 x 1,036
|
9,147 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
531 kbps
|
|
V/H/S (2012)
|
|
|
|
6.87
|
1:56:14
|
1,920 x 1,080
|
7,065 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,395 kbps
|
|
V/H/S/94 (2021)
|
|
|
|
4.77
|
1:43:25
|
1,920 x 1,080
|
6,372 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Vacancy (2007)
|
|
|
|
2.09
|
1:25:06
|
1,920 x 800
|
2,173 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,335 kbps
|
|
Vacation (2015)
|
|
|
|
|
|
5.82
|
1:39:00
|
3,840 x 1,600
|
5,607 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,802 kbps
|
|
Vacation Friends (2021)
|
|
|
|
7.49
|
1:43:28
|
3,840 x 1,920
|
10,101 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Valentine (2001)
|
|
|
|
4.55
|
1:36:05
|
1,920 x 816
|
3,509 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,268 kbps
|
|
Valentine (2017)
|
|
|
|
4.09
|
1:37:37
|
1,920 x 800
|
2,747 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,255 kbps
|
|
Valentine's Day (2010)
|
|
|
|
8.41
|
2:04:39
|
1,920 x 1,080
|
6,610 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,045 kbps
|
|
Valerian and the City of a Thousand Planets (2017)
|
|
|
|
|
|
|
10.89
|
2:17:25
|
3,840 x 1,608
|
9,730 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,606 kbps
|
|
Valkyrie (2008)
|
|
|
|
7.70
|
2:00:21
|
1,920 x 1,036
|
6,047 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,107 kbps
|
|
Valley Girl (1983)
|
|
|
|
11.74
|
1:39:27
|
1,920 x 1,036
|
15,599 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,300 kbps
|
|
Valley of the Gods (2020)
|
|
|
|
3.26
|
2:06:42
|
1,920 x 804
|
2,195 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,491 kbps
|
|
Vamp U (2013)
|
|
|
|
4.83
|
1:36:08
|
1,920 x 1,076
|
3,338 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,852 kbps
|
|
Vampire Dad (2020)
|
|
|
|
1.91
|
1:20:22
|
1,920 x 1,080
|
3,213 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Vampire's Kiss (1989)
|
|
|
|
|
8.15
|
1:43:34
|
1,920 x 1,036
|
9,991 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,279 kbps
|
|
Vamps (2012)
|
|
|
|
11.17
|
1:32:39
|
1,920 x 1,036
|
14,859 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,398 kbps
|
|
Vampyres (1974)
|
|
|
|
17.66
|
1:27:36
|
1,920 x 1,036
|
28,382 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
481 kbps
|
|
Van Helsing (2004)
|
|
|
|
|
16.26
|
2:11:37
|
3,840 x 2,076
|
12,100 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
5,577 kbps
|
|
Van Wilder (2002)
|
|
|
|
|
|
28.30
|
1:33:52
|
3,840 x 2,076
|
40,159 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,001 kbps
|
|
Van Wilder: The Rise of Taj (2006)
|
|
|
|
6.36
|
1:37:16
|
1,904 x 1,080
|
6,192 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,165 kbps
|
|
Vanilla Sky (2001)
|
|
|
|
|
|
19.57
|
2:15:59
|
3,840 x 2,160
|
19,441 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,717 kbps
|
|
Vanishing on 7th Street (2011)
|
|
|
|
2.23
|
1:31:14
|
1,912 x 1,080
|
2,236 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,257 kbps
|
|
Vanishing Point (1971)
|
|
|
|
7.77
|
1:45:47
|
1,920 x 1,040
|
8,282 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,227 kbps
|
|
Vanquish (2021)
|
|
|
|
|
5.37
|
1:34:09
|
1,920 x 952
|
4,949 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,218 kbps
|
|
Vantage Point (2008)
|
|
|
|
|
5.15
|
1:30:05
|
1,920 x 800
|
6,585 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,598 kbps
|
|
Varsity Blues (1999)
|
|
|
|
|
19.57
|
1:44:39
|
3,840 x 2,160
|
23,224 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,532 kbps
|
|
Vault (2019)
|
|
|
|
5.93
|
1:39:12
|
1,920 x 816
|
5,095 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,460 kbps
|
|
Vegas Vacation (1997)
|
|
|
|
|
8.22
|
1:34:32
|
1,920 x 1,080
|
8,507 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,938 kbps
|
|
Vehicle 19 (2013)
|
|
|
|
3.38
|
1:25:10
|
1,920 x 792
|
4,610 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,077 kbps
|
|
Vendetta (2015)
|
|
|
|
3.11
|
1:30:21
|
1,920 x 1,080
|
3,874 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,050 kbps
|
|
Vengeance (2022)
|
|
|
|
4.59
|
1:47:39
|
1,920 x 800
|
3,375 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,728 kbps
|
|
Vengeance: A Love Story (2017)
|
|
|
|
3.13
|
1:38:32
|
1,920 x 1,036
|
3,523 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,023 kbps
|
|
Venom (2018)
|
|
|
|
|
5.78
|
1:52:09
|
3,840 x 1,600
|
5,607 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,770 kbps
|
|
Venom: Let There Be Carnage (2021)
|
|
|
|
|
5.67
|
1:37:18
|
3,840 x 2,076
|
5,365 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,979 kbps
|
|
Veronica Guerin (2003)
|
|
|
|
2.50
|
1:38:30
|
1,920 x 800
|
2,574 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,054 kbps
|
|
Veronica Mars (2014)
|
|
|
|
3.69
|
1:47:38
|
1,920 x 796
|
2,169 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,734 kbps
|
|
Vertical Limit (2000)
|
|
|
|
7.92
|
2:04:27
|
1,920 x 1,040
|
7,449 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,662 kbps
|
|
Vertigo (1958)
|
|
|
|
|
7.95
|
2:08:28
|
3,840 x 2,076
|
7,452 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,407 kbps
|
|
Very Bad Things (1998)
|
|
|
|
5.53
|
1:40:32
|
1,920 x 1,040
|
6,589 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,282 kbps
|
|
Vesper (2022)
|
|
|
|
|
9.21
|
1:53:47
|
3,840 x 1,608
|
7,402 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,177 kbps
|
|
VFW (2019)
|
|
|
|
|
30.74
|
1:32:02
|
3,840 x 1,608
|
44,451 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,370 kbps
|
|
Vibes (1988)
|
|
|
|
7.14
|
1:39:36
|
1,920 x 1,038
|
9,070 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,198 kbps
|
|
Vice (2015)
|
|
|
|
4.74
|
1:36:24
|
1,920 x 800
|
3,899 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,139 kbps
|
|
Vice (2018)
|
|
|
|
|
8.97
|
2:12:27
|
1,920 x 804
|
6,532 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,160 kbps
|
|
Vice Academy (1989)
|
|
|
|
9.18
|
1:29:47
|
1,920 x 1,036
|
13,976 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
664 kbps
|
|
Vice Academy Part 2 (1990)
|
|
|
|
10.76
|
1:32:47
|
1,920 x 1,036
|
15,245 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,360 kbps
|
|
Vice Academy Part 3 (1991)
|
|
|
|
9.05
|
1:28:41
|
1,920 x 1,036
|
13,250 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,356 kbps
|
|
Vice Versa (1988)
|
|
|
|
|
9.51
|
1:38:42
|
1,916 x 1,080
|
13,334 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
457 kbps
|
|
Vicky Cristina Barcelona (2008)
|
|
|
|
|
5.17
|
1:36:04
|
1,920 x 1,038
|
6,983 kbps
|
|
3.0
|
|
16 bits / 48 kHz
|
717 kbps
|
|
Videodrome (1983)
|
|
|
|
|
|
37.60
|
1:28:38
|
3,840 x 2,076
|
60,089 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
635 kbps
|
|
Vigilante (1983)
|
|
|
|
|
40.76
|
1:29:29
|
3,840 x 1,604
|
62,517 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,689 kbps
|
|
Vindicta (2023)
|
|
|
|
8.21
|
1:26:36
|
3,840 x 1,596
|
12,927 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Violation (2021)
|
|
|
|
4.66
|
1:47:48
|
1,920 x 796
|
3,142 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,051 kbps
|
|
Violent Night (2022)
|
|
|
|
|
5.88
|
1:51:32
|
3,840 x 1,608
|
4,962 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
Violet & Daisy (2011)
|
|
|
|
2.99
|
1:27:56
|
1,920 x 792
|
2,738 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,115 kbps
|
|
Violet (2021)
|
|
|
|
1.48
|
1:32:36
|
1,920 x 1,014
|
1,904 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Viral (2016)
|
|
|
|
3.11
|
1:25:35
|
1,920 x 804
|
2,252 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,945 kbps
|
|
Virtual Revolution (2016)
|
|
|
|
4.36
|
1:36:32
|
1,920 x 808
|
2,122 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,341 kbps
|
|
Virtual Weapon (1997)
|
|
|
|
3.70
|
1:33:22
|
1,784 x 1,080
|
4,319 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,346 kbps
|
|
Virtuosity (1995)
|
|
|
|
6.66
|
1:45:54
|
1,920 x 816
|
5,099 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,900 kbps
|
|
Virus (1999)
|
|
|
|
5.49
|
1:39:32
|
1,920 x 816
|
3,932 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,957 kbps
|
|
Vision Quest (1985)
|
|
|
|
8.02
|
1:47:15
|
1,920 x 1,080
|
9,415 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,284 kbps
|
|
Visioneers (2008)
|
|
|
|
5.23
|
1:34:15
|
1,920 x 1,080
|
7,496 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Visions (2016)
|
|
|
|
1.53
|
1:22:26
|
1,920 x 800
|
1,642 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,017 kbps
|
|
Visit to a Small Planet (1960)
|
|
|
|
|
6.85
|
1:25:24
|
1,920 x 1,042
|
11,194 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
286 kbps
|
|
Vivarium (2020)
|
|
|
|
3.45
|
1:38:38
|
1,920 x 792
|
2,310 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,701 kbps
|
|
Voice from the Stone (2017)
|
|
|
|
1.50
|
1:30:19
|
1,920 x 800
|
1,397 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
975 kbps
|
|
Volcano (1997)
|
|
|
|
9.89
|
1:43:50
|
1,920 x 1,036
|
12,226 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,411 kbps
|
|
Volition (2019)
|
|
|
|
1.53
|
1:32:06
|
1,920 x 796
|
1,736 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Volunteers (1985)
|
|
|
|
8.73
|
1:46:22
|
1,920 x 1,080
|
11,129 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
617 kbps
|
|
Voyage to the Bottom of the Sea (1961)
|
|
|
|
|
6.80
|
1:44:49
|
1,920 x 812
|
7,646 kbps
|
|
3/1
|
|
24 bits / 48 kHz
|
1,634 kbps
|
|
Voyagers (2021)
|
|
|
|
|
4.08
|
1:48:08
|
3,840 x 1,604
|
2,952 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,442 kbps
|
|
Wag the Dog (1998)
|
|
|
|
3.89
|
1:37:04
|
1,908 x 1,080
|
5,515 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Wagons East (1994)
|
|
|
|
4.91
|
1:47:50
|
1,916 x 1,080
|
6,292 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Waiting for Forever (2011)
|
|
|
|
5.37
|
1:34:06
|
1,920 x 1,036
|
4,991 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,173 kbps
|
|
Waiting... (2005)
|
|
|
|
|
2.92
|
1:33:58
|
1,920 x 1,080
|
2,866 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,578 kbps
|
|
Waitress! (1982)
|
|
|
|
5.39
|
1:27:37
|
1,920 x 1,036
|
8,614 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Wake in Fright (1971)
|
|
|
|
3.65
|
1:48:52
|
1,920 x 1,032
|
4,177 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
617 kbps
|
|
Wake of Death (2004)
|
|
|
|
|
4.86
|
1:30:28
|
1,912 x 1,080
|
6,097 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,596 kbps
|
|
Wake Up, Ron Burgundy: The Lost Movie (2004)
|
|
|
|
|
7.39
|
1:32:56
|
1,920 x 1,080
|
8,428 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,960 kbps
|
|
Wakefield (2017)
|
|
|
|
1.42
|
1:48:43
|
1,920 x 816
|
1,008 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
860 kbps
|
|
Waking the Dead (2000)
|
|
|
|
8.43
|
1:45:13
|
1,920 x 1,036
|
7,816 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,650 kbps
|
|
Walk Hard: The Dewey Cox Story (2007)
|
|
|
|
|
|
3.87
|
2:00:20
|
1,920 x 800
|
3,274 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,329 kbps
|
|
Walk of Fame (2017)
|
|
|
|
1.96
|
1:26:50
|
1,920 x 1,074
|
2,847 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Walk of Shame (2014)
|
|
|
|
|
4.15
|
1:34:29
|
1,920 x 800
|
3,325 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,966 kbps
|
|
Walk the Line (2005)
|
|
|
|
|
8.25
|
2:33:08
|
1,920 x 800
|
4,975 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,738 kbps
|
|
Walkabout (1971)
|
|
|
|
|
35.86
|
1:40:35
|
3,840 x 2,072
|
50,465 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
573 kbps
|
|
Walking Tall (1973)
|
|
|
|
10.70
|
2:05:00
|
1,920 x 1,080
|
10,924 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,329 kbps
|
|
Walking Tall (2004)
|
|
|
|
5.42
|
1:26:18
|
1,920 x 816
|
7,536 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,450 kbps
|
|
Walking Tall Part 2 (1975)
|
|
|
|
6.94
|
1:49:25
|
1,904 x 1,080
|
8,782 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
300 kbps
|
|
Walking Tall: Final Chapter (1977)
|
|
|
|
11.74
|
1:53:06
|
1,904 x 1,080
|
14,080 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
776 kbps
|
|
Walking Tall: The Payback (2007)
|
|
|
|
3.94
|
1:33:51
|
1,920 x 1,072
|
5,370 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Walking the Edge (1985)
|
|
|
|
12.19
|
1:33:39
|
1,920 x 1,036
|
17,919 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
711 kbps
|
|
Walking with Dinosaurs (2013)
|
|
|
|
6.92
|
1:27:23
|
1,920 x 800
|
7,683 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,649 kbps
|
|
Wall Street (1987)
|
|
|
|
7.50
|
2:05:45
|
1,920 x 1,036
|
7,375 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,163 kbps
|
|
Wall Street: Money Never Sleeps (2010)
|
|
|
|
|
7.53
|
2:12:58
|
1,920 x 816
|
5,344 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,767 kbps
|
|
WALL·E (2008)
|
|
|
|
|
4.47
|
1:38:13
|
3,840 x 1,604
|
3,513 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,998 kbps
|
|
Wanda (1970)
|
|
|
|
13.83
|
1:43:15
|
1,476 x 1,080
|
18,546 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
629 kbps
|
|
Wander (2020)
|
|
|
|
1.83
|
1:32:57
|
1,920 x 792
|
2,181 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Wander Darkly (2020)
|
|
|
|
3.90
|
1:37:03
|
1,920 x 1,036
|
3,088 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,669 kbps
|
|
Wanderlust (2012)
|
|
|
|
|
6.86
|
1:38:07
|
1,920 x 1,040
|
6,978 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,033 kbps
|
|
Wanted (2008)
|
|
|
|
|
18.13
|
1:49:56
|
3,840 x 1,632
|
19,975 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,624 kbps
|
|
Wanted: Dead or Alive (1986)
|
|
|
|
8.13
|
1:46:28
|
1,920 x 1,080
|
10,414 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
510 kbps
|
|
Wanton Want (2021)
|
|
|
|
1.39
|
1:32:51
|
1,920 x 764
|
1,913 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
War (2007)
|
|
|
|
4.71
|
1:43:15
|
1,920 x 800
|
4,860 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,669 kbps
|
|
War Dogs (2016)
|
|
|
|
|
8.02
|
1:54:13
|
3,840 x 1,596
|
7,154 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,895 kbps
|
|
War for the Planet of the Apes (2017)
|
|
|
|
|
|
9.57
|
2:20:09
|
3,840 x 1,600
|
7,064 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,704 kbps
|
|
War of the Worlds (2005)
|
|
|
|
|
|
32.90
|
1:56:32
|
3,840 x 2,160
|
37,062 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,357 kbps
|
|
War on Everyone (2017)
|
|
|
|
4.13
|
1:37:55
|
1,920 x 804
|
3,170 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,873 kbps
|
|
War Path (2021)
|
|
|
|
4.93
|
1:25:06
|
1,920 x 812
|
7,656 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Warcraft (2016)
|
|
|
|
|
10.85
|
2:03:09
|
3,840 x 1,580
|
9,729 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,885 kbps
|
|
WarGames (1983)
|
|
|
|
|
37.43
|
1:52:43
|
3,840 x 2,064
|
44,185 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,353 kbps
|
|
Warm Bodies (2013)
|
|
|
|
|
16.21
|
1:37:45
|
3,840 x 1,600
|
20,951 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,777 kbps
|
|
Warning (2021)
|
|
|
|
2.32
|
1:25:43
|
1,920 x 804
|
1,425 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,451 kbps
|
|
Warning Shot (2018)
|
|
|
|
3.48
|
1:26:57
|
1,920 x 804
|
3,011 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,715 kbps
|
|
Warning Sign (1985)
|
|
|
|
8.36
|
1:39:19
|
1,920 x 1,042
|
11,468 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
583 kbps
|
|
Watcher (2022)
|
|
|
|
2.72
|
1:36:15
|
1,920 x 936
|
918 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,124 kbps
|
|
Watchmen (2009)
|
|
|
|
|
22.71
|
3:35:23
|
3,840 x 1,592
|
11,649 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,440 kbps
|
|
Water for Elephants (2011)
|
|
|
|
6.00
|
2:00:30
|
1,920 x 816
|
3,927 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,204 kbps
|
|
Waterland (1992)
|
|
|
|
6.00
|
1:34:51
|
1,920 x 816
|
8,607 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Watermelon Man (1970)
|
|
|
|
6.58
|
1:39:41
|
1,920 x 1,036
|
8,771 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
673 kbps
|
|
Waterworld (1995)
|
|
|
|
|
36.99
|
2:15:10
|
3,840 x 2,076
|
34,226 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,950 kbps
|
|
Waves (2019)
|
|
|
|
8.98
|
2:15:46
|
1,920 x 1,036
|
6,449 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,016 kbps
|
|
Way Out West (1937)
|
|
|
|
1.90
|
1:04:43
|
1,418 x 1,080
|
3,976 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
234 kbps
|
|
Wayne's World (1992)
|
|
|
|
|
|
17.05
|
1:34:23
|
3,840 x 2,076
|
22,878 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,972 kbps
|
|
Wayne's World 2 (1993)
|
|
|
|
|
6.60
|
1:34:38
|
1,920 x 1,080
|
6,806 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,177 kbps
|
|
We Are Marshall (2006)
|
|
|
|
6.68
|
2:11:34
|
1,920 x 800
|
5,847 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,415 kbps
|
|
We Bought a Zoo (2011)
|
|
|
|
|
|
7.74
|
2:03:54
|
1,920 x 1,040
|
5,775 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,166 kbps
|
|
We Have a Ghost (2023)
|
|
|
|
|
8.52
|
2:05:15
|
3,840 x 1,608
|
8,952 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
We Need to Talk About Kevin (2011)
|
|
|
|
3.20
|
1:51:58
|
1,920 x 804
|
3,015 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,076 kbps
|
|
We Own the Night (2007)
|
|
|
|
|
6.45
|
1:57:33
|
1,920 x 1,040
|
4,740 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,114 kbps
|
|
We Summon the Darkness (2019)
|
|
|
|
3.04
|
1:30:52
|
1,920 x 800
|
2,098 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,700 kbps
|
|
We Were Soldiers (2002)
|
|
|
|
14.84
|
2:18:32
|
1,920 x 812
|
13,293 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
2,041 kbps
|
|
We're the Millers (2013)
|
|
|
|
|
3.21
|
1:58:43
|
1,920 x 798
|
2,586 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,284 kbps
|
|
Wedding Crashers (2005)
|
|
|
|
|
6.18
|
2:07:01
|
1,920 x 816
|
5,629 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,332 kbps
|
|
Wedding Daze (2007)
|
|
|
|
|
12.58
|
1:31:33
|
1,920 x 1,034
|
16,484 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,187 kbps
|
|
Weekend at Bernie's (1989)
|
|
|
|
|
6.70
|
1:38:24
|
1,920 x 1,040
|
8,218 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,535 kbps
|
|
Weekend at Bernie's II (1993)
|
|
|
|
|
11.37
|
1:28:47
|
1,920 x 1,080
|
18,107 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Weird Science (1985)
|
|
|
|
|
13.12
|
1:36:36
|
1,920 x 1,036
|
18,129 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,318 kbps
|
|
Weird: The Al Yankovic Story (2022)
|
|
|
|
|
13.75
|
1:47:30
|
3,840 x 1,604
|
15,824 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
710 kbps
|
|
Welcome Home, Roxy Carmichael (1990)
|
|
|
|
5.54
|
1:36:02
|
1,904 x 1,080
|
7,814 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
441 kbps
|
|
Welcome to Christmas (2018)
|
|
|
|
2.02
|
1:25:11
|
1,920 x 1,080
|
2,750 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Welcome to Curiosity (2018)
|
|
|
|
2.52
|
1:34:03
|
1,920 x 800
|
2,623 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,214 kbps
|
|
Welcome to Happiness (2015)
|
|
|
|
1.62
|
1:35:38
|
1,920 x 1,036
|
2,204 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Welcome to Marwen (2018)
|
|
|
|
4.06
|
1:55:57
|
1,920 x 804
|
2,077 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,938 kbps
|
|
Welcome to Me (2015)
|
|
|
|
|
4.14
|
1:27:06
|
1,920 x 1,080
|
4,156 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,650 kbps
|
|
Welcome to Mooseport (2004)
|
|
|
|
5.92
|
1:50:47
|
1,912 x 1,080
|
7,006 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Welcome to the Dollhouse (1995)
|
|
|
|
6.00
|
1:27:17
|
1,920 x 1,040
|
8,510 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,326 kbps
|
|
Welcome to the Jungle (2014)
|
|
|
|
5.00
|
1:34:14
|
1,920 x 800
|
4,087 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,512 kbps
|
|
Welcome to the Rileys (2010)
|
|
|
|
4.71
|
1:50:50
|
1,920 x 1,036
|
5,018 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,069 kbps
|
|
Wendy (2020)
|
|
|
|
5.05
|
1:51:31
|
1,920 x 1,036
|
5,839 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Wendy and Lucy (2008)
|
|
|
|
5.86
|
1:20:15
|
1,920 x 1,080
|
9,795 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
660 kbps
|
|
Werewolves Within (2021)
|
|
|
|
3.08
|
1:36:38
|
1,920 x 804
|
1,857 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,711 kbps
|
|
Wes Craven's New Nightmare (1994)
|
|
|
|
7.03
|
1:52:08
|
1,920 x 1,080
|
6,069 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,910 kbps
|
|
Westworld (1973)
|
|
|
|
6.55
|
1:28:48
|
1,920 x 800
|
7,821 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,740 kbps
|
|
Wet Hot American Summer (2001)
|
|
|
|
7.56
|
1:36:54
|
1,920 x 1,040
|
9,864 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,304 kbps
|
|
What a Girl Wants (2003)
|
|
|
|
5.49
|
1:44:56
|
1,920 x 1,080
|
7,258 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
What About Bob? (1991)
|
|
|
|
|
4.88
|
1:39:15
|
1,920 x 1,036
|
6,403 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
What Breaks the Ice (2020)
|
|
|
|
2.33
|
1:39:51
|
1,920 x 800
|
2,948 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
What Doesn't Kill You (2009)
|
|
|
|
5.71
|
1:40:04
|
1,920 x 818
|
5,486 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,678 kbps
|
|
What Dreams May Come (1998)
|
|
|
|
6.79
|
1:53:34
|
1,920 x 816
|
4,990 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,565 kbps
|
|
What Happened to Monday (2017)
|
|
|
|
|
|
11.86
|
2:03:30
|
3,840 x 1,604
|
11,114 kbps
|
|
5.1
|
|
22 bits / 48 kHz
|
2,632 kbps
|
|
What Happens in Vegas (2008)
|
|
|
|
7.67
|
1:40:46
|
1,920 x 812
|
7,725 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,172 kbps
|
|
What If (2014)
|
|
|
|
3.39
|
1:37:52
|
1,920 x 816
|
3,779 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,174 kbps
|
|
What Is a Woman? (2022)
|
|
|
|
|
1.77
|
1:34:56
|
1,920 x 1,080
|
2,476 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
What Just Happened (2008)
|
|
|
|
5.59
|
1:43:59
|
1,920 x 800
|
4,506 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,184 kbps
|
|
What Lies Ahead (2019)
|
|
|
|
2.14
|
1:28:46
|
1,920 x 1,080
|
3,322 kbps
|
|
2.0
|
|
48 kHz
|
126 kbps
|
|
What Lies Below (2020)
|
|
|
|
4.17
|
1:27:59
|
1,920 x 1,036
|
3,873 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,915 kbps
|
|
What Lies Beneath (2000)
|
|
|
|
9.83
|
2:09:54
|
1,920 x 800
|
7,286 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,545 kbps
|
|
What Maisie Knew (2013)
|
|
|
|
3.89
|
1:38:56
|
1,920 x 800
|
4,432 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,195 kbps
|
|
What Men Want (2019)
|
|
|
|
5.12
|
1:57:06
|
1,920 x 804
|
2,476 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,780 kbps
|
|
What Planet Are You From? (2000)
|
|
|
|
7.37
|
1:44:49
|
1,920 x 1,080
|
9,518 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
551 kbps
|
|
What Still Remains (2018)
|
|
|
|
1.84
|
1:31:27
|
1,920 x 792
|
2,244 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
What to Expect When You're Expecting (2012)
|
|
|
|
6.03
|
1:49:51
|
1,920 x 800
|
4,081 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,767 kbps
|
|
What We Did on Our Holiday (2014)
|
|
|
|
3.53
|
1:34:57
|
1,920 x 1,076
|
4,391 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
922 kbps
|
|
What We Found (2020)
|
|
|
|
3.15
|
1:50:18
|
1,920 x 1,080
|
3,706 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
What Women Want (2000)
|
|
|
|
|
7.76
|
2:07:00
|
1,920 x 1,080
|
5,910 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,834 kbps
|
|
What's Eating Gilbert Grape (1993)
|
|
|
|
12.53
|
1:57:57
|
1,904 x 1,080
|
14,220 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
991 kbps
|
|
What's Love Got to Do with It (1993)
|
|
|
|
17.39
|
1:57:39
|
1,920 x 1,036
|
18,104 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,060 kbps
|
|
What's Love Got to Do with It? (2022)
|
|
|
|
4.82
|
1:49:09
|
1,920 x 800
|
3,757 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,569 kbps
|
|
What's the Worst That Could Happen? (2001)
|
|
|
|
|
6.11
|
1:38:28
|
1,920 x 1,028
|
5,403 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,479 kbps
|
|
What's Your Number? (2011)
|
|
|
|
9.14
|
1:57:14
|
1,920 x 1,036
|
7,992 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,172 kbps
|
|
What? (1972)
|
|
|
|
8.66
|
1:53:39
|
1,920 x 800
|
10,669 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
238 kbps
|
|
Whatever It Takes (1998)
|
|
|
|
12.22
|
1:41:20
|
1,920 x 1,036
|
16,018 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,245 kbps
|
|
Whatever Works (2009)
|
|
|
|
8.05
|
1:31:38
|
1,920 x 1,036
|
10,922 kbps
|
|
3.0
|
|
24 bits / 48 kHz
|
1,648 kbps
|
|
When a Stranger Calls Back (1993)
|
|
|
|
5.32
|
1:33:59
|
1,440 x 1,080
|
7,598 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
507 kbps
|
|
When Harry Met Sally... (1989)
|
|
|
|
8.03
|
1:35:32
|
1,920 x 1,040
|
11,298 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
735 kbps
|
|
When Jeff Tried to Save the World (2018)
|
|
|
|
1.54
|
1:33:04
|
1,920 x 808
|
1,734 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
When the Bough Breaks (1994)
|
|
|
|
0.69
|
1:46:43
|
720 x 480
|
726 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
When the Bough Breaks (2016)
|
|
|
|
|
10.47
|
1:46:50
|
3,840 x 1,604
|
12,794 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,226 kbps
|
|
When the Screaming Starts (2021)
|
|
|
|
|
8.51
|
1:29:02
|
3,840 x 1,896
|
10,838 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,843 kbps
|
|
Where Eagles Dare (1968)
|
|
|
|
7.35
|
2:35:09
|
1,920 x 800
|
3,901 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,880 kbps
|
|
Where Hands Touch (2018)
|
|
|
|
1.95
|
2:01:40
|
1,920 x 800
|
1,650 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Where the Buffalo Roam (1980)
|
|
|
|
|
5.89
|
1:39:16
|
1,920 x 1,036
|
8,225 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
266 kbps
|
|
Where the Crawdads Sing (2022)
|
|
|
|
6.12
|
2:05:26
|
1,920 x 800
|
5,703 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,281 kbps
|
|
Where the Heart Is (2000)
|
|
|
|
3.40
|
1:59:59
|
1,904 x 1,080
|
3,676 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Where the Truth Lies (2005)
|
|
|
|
3.64
|
1:46:26
|
1,920 x 808
|
4,674 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Where the Wild Things Are (2009)
|
|
|
|
4.79
|
1:41:02
|
1,920 x 796
|
3,544 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,247 kbps
|
|
Where There's a Will (2006)
|
|
|
|
3.12
|
1:24:19
|
1,920 x 1,080
|
5,076 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Where'd You Go, Bernadette (2019)
|
|
|
|
8.61
|
1:48:58
|
1,920 x 1,036
|
8,556 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,750 kbps
|
|
Which Brings Me to You (2024)
|
|
|
|
|
3.10
|
1:38:19
|
3,840 x 1,596
|
3,866 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
While She Was Out (2008)
|
|
|
|
2.21
|
1:25:51
|
1,920 x 1,080
|
3,036 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
While We're Young (2014)
|
|
|
|
5.24
|
1:37:03
|
1,920 x 1,040
|
5,089 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,636 kbps
|
|
While You Were Sleeping (1995)
|
|
|
|
15.94
|
1:43:16
|
1,920 x 1,038
|
19,033 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,063 kbps
|
|
Whiplash (2014)
|
|
|
|
|
6.63
|
1:46:57
|
3,840 x 1,600
|
7,635 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,238 kbps
|
|
Whiskey Tango Foxtrot (2016)
|
|
|
|
|
6.30
|
1:51:48
|
1,920 x 1,080
|
4,490 kbps
|
|
7.1
|
|
22 bits / 48 kHz
|
3,573 kbps
|
|
White Bird in a Blizzard (2014)
|
|
|
|
3.52
|
1:31:17
|
1,920 x 816
|
2,742 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,772 kbps
|
|
White Boy Rick (2018)
|
|
|
|
|
9.72
|
1:51:04
|
3,840 x 1,604
|
11,000 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,523 kbps
|
|
White Chicks (2004)
|
|
|
|
4.04
|
1:48:44
|
1,920 x 1,076
|
4,933 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
White Christmas (1955)
|
|
|
|
12.45
|
2:00:02
|
1,920 x 1,080
|
12,132 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,716 kbps
|
|
White Elephant (2022)
|
|
|
|
2.97
|
1:32:03
|
1,920 x 788
|
1,582 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,043 kbps
|
|
White Fang (1991)
|
|
|
|
6.38
|
1:48:57
|
1,920 x 1,080
|
7,736 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
White House Down (2013)
|
|
|
|
4.45
|
2:11:33
|
1,920 x 800
|
3,333 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,510 kbps
|
|
White Island (2016)
|
|
|
|
2.34
|
1:31:17
|
1,920 x 784
|
3,027 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
White Lies (1997)
|
|
|
|
4.85
|
1:39:27
|
1,920 x 1,080
|
6,758 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
White Lightning (1973)
|
|
|
|
5.16
|
1:41:06
|
1,920 x 1,040
|
7,043 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
267 kbps
|
|
White Men Can't Jump (1992)
|
|
|
|
6.81
|
1:56:51
|
1,920 x 1,040
|
5,538 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,804 kbps
|
|
White Noise (2022)
|
|
|
|
|
|
11.45
|
2:15:10
|
3,840 x 1,604
|
11,344 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
White of the Eye (1987)
|
|
|
|
21.32
|
1:51:03
|
1,920 x 1,048
|
26,065 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,413 kbps
|
|
White Oleander (2002)
|
|
|
|
6.02
|
1:49:26
|
1,912 x 1,080
|
7,486 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
White Sky (2021)
|
|
|
|
1.72
|
1:44:54
|
1,920 x 796
|
2,116 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
White Terror (2020)
|
|
|
|
1.05
|
1:20:47
|
1,920 x 796
|
1,731 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Whiteout (2009)
|
|
|
|
4.87
|
1:40:40
|
1,920 x 800
|
3,593 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,326 kbps
|
|
Whitney Houston: I Wanna Dance with Somebody (2022)
|
|
|
|
4.79
|
2:24:26
|
1,920 x 800
|
3,290 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,455 kbps
|
|
Who Framed Roger Rabbit (1988)
|
|
|
|
|
11.75
|
1:43:47
|
3,840 x 2,076
|
14,706 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,496 kbps
|
|
Who Invited Charlie? (2022)
|
|
|
|
5.08
|
1:41:16
|
1,920 x 960
|
6,544 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Who Killed Johnny (2013)
|
|
|
|
1.50
|
1:21:53
|
1,920 x 1,080
|
2,397 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Who Killed Santa? A Murderville Murder Mystery (2022)
|
|
|
|
|
8.23
|
52:17
|
3,840 x 2,020
|
21,887 kbps
|
|
5.1
|
|
48 kHz
|
576 kbps
|
|
Who's Got the Action? (1962)
|
|
|
|
8.03
|
1:32:47
|
1,920 x 816
|
11,935 kbps
|
|
2.0
|
|
48 kHz
|
448 kbps
|
|
Who's Harry Crumb? (1989)
|
|
|
|
|
8.46
|
1:29:50
|
1,920 x 1,036
|
12,962 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
518 kbps
|
|
Who? (1974)
|
|
|
|
12.12
|
1:33:15
|
1,920 x 1,040
|
17,918 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
682 kbps
|
|
Whoops Apocalypse (1988)
|
|
|
|
7.81
|
1:32:12
|
1,920 x 1,080
|
11,770 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
348 kbps
|
|
Whore (1991)
|
|
|
|
4.30
|
1:25:22
|
1,920 x 1,040
|
6,494 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
707 kbps
|
|
Why Him? (2016)
|
|
|
|
|
|
18.72
|
1:51:13
|
3,840 x 2,072
|
20,668 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,429 kbps
|
|
Why Stop Now? (2012)
|
|
|
|
3.62
|
1:27:58
|
1,920 x 800
|
5,045 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
844 kbps
|
|
Wicked Blood (2014)
|
|
|
|
3.67
|
1:33:50
|
1,920 x 1,036
|
2,425 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,173 kbps
|
|
Wicked Games (2021)
|
|
|
|
5.13
|
1:27:18
|
1,920 x 1,080
|
7,423 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
988 kbps
|
|
Wifelike (2022)
|
|
|
|
1.52
|
1:45:09
|
1,920 x 804
|
1,688 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Wild (2014)
|
|
|
|
|
|
17.97
|
1:55:45
|
3,840 x 1,608
|
18,985 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,234 kbps
|
|
Wild at Heart (1990)
|
|
|
|
13.87
|
2:04:56
|
1,920 x 812
|
12,385 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,511 kbps
|
|
Wild Card (2015)
|
|
|
|
4.46
|
1:43:25
|
1,920 x 798
|
3,181 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,995 kbps
|
|
Wild Child (2008)
|
|
|
|
8.37
|
1:38:25
|
1,920 x 1,040
|
8,717 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,451 kbps
|
|
Wild Hearts Can't Be Broken (1991)
|
|
|
|
3.34
|
1:29:05
|
1,904 x 1,080
|
5,149 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Wild Hogs (2007)
|
|
|
|
|
5.40
|
1:39:39
|
1,920 x 816
|
4,539 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,222 kbps
|
|
Wild Rose (2018)
|
|
|
|
2.55
|
1:40:55
|
1,920 x 804
|
2,156 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,459 kbps
|
|
Wild Target (2010)
|
|
|
|
3.57
|
1:37:50
|
1,920 x 814
|
4,285 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
939 kbps
|
|
Wild Thing (1987)
|
|
|
|
5.96
|
1:32:24
|
1,920 x 1,040
|
8,134 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,104 kbps
|
|
Wild Things (1998)
|
|
|
|
|
36.13
|
1:54:47
|
3,840 x 1,604
|
41,444 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,612 kbps
|
|
Wild Wild West (1999)
|
|
|
|
7.08
|
1:46:00
|
1,920 x 1,080
|
5,674 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,887 kbps
|
|
Wildcats (1986)
|
|
|
|
6.02
|
1:45:54
|
1,920 x 1,072
|
7,906 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Wildflower (2022)
|
|
|
|
|
2.18
|
1:45:52
|
3,840 x 1,602
|
2,561 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Wildlike (2014)
|
|
|
|
2.56
|
1:48:12
|
1,920 x 802
|
2,941 kbps
|
|
5.1
|
|
48 kHz
|
448 kbps
|
|
Will Reading (2020)
|
|
|
|
3.35
|
1:20:50
|
1,920 x 1,080
|
5,295 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Willed to Kill (2013)
|
|
|
|
3.09
|
1:35:12
|
1,920 x 1,080
|
4,004 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
William (2019)
|
|
|
|
1.92
|
1:42:14
|
1,920 x 794
|
2,298 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Willie Nelson American Outlaw (2020)
|
|
|
|
4.69
|
1:52:42
|
1,920 x 1,076
|
5,833 kbps
|
|
2.0
|
|
48 kHz
|
128 kbps
|
|
Willow (1988)
|
|
|
|
9.60
|
2:05:56
|
1,920 x 800
|
7,346 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,571 kbps
|
|
Willy Wonka & the Chocolate Factory (1971)
|
|
|
|
|
15.41
|
1:39:37
|
3,840 x 2,076
|
19,278 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,859 kbps
|
|
Willy's Wonderland (2021)
|
|
|
|
3.37
|
1:28:38
|
1,920 x 804
|
2,473 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,964 kbps
|
|
Willy/Milly (1986)
|
|
|
|
2.76
|
1:26:55
|
1,912 x 1,080
|
4,346 kbps
|
|
2.0
|
|
48 kHz
|
192 kbps
|
|
Wilson (2017)
|
|
|
|
3.62
|
1:34:30
|
1,920 x 1,040
|
2,770 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,718 kbps
|
|
Wilt (1989)
|
|
|
|
3.61
|
1:32:25
|
1,920 x 1,028
|
5,041 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
557 kbps
|
|
Wimbledon (2004)
|
|
|
|
7.52
|
1:37:45
|
1,920 x 812
|
7,563 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,444 kbps
|
|
Win a Date with Tad Hamilton (2004)
|
|
|
|
5.79
|
1:36:09
|
1,920 x 800
|
5,596 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,028 kbps
|
|
Win a Trip to Browntown! (2022)
|
|
|
|
2.02
|
1:34:30
|
1,920 x 1,032
|
2,669 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Win Win (2011)
|
|
|
|
5.24
|
1:46:01
|
1,920 x 1,032
|
4,265 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,811 kbps
|
|
Wind (1992)
|
|
|
|
8.27
|
2:06:02
|
1,920 x 1,032
|
8,675 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
717 kbps
|
|
Wind River (2017)
|
|
|
|
3.42
|
1:46:47
|
1,920 x 804
|
3,645 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
941 kbps
|
|
Windfall (2022)
|
|
|
|
|
1.38
|
1:31:25
|
1,920 x 814
|
1,380 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Windrider (1986)
|
|
|
|
14.66
|
1:32:22
|
1,920 x 1,080
|
21,931 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
794 kbps
|
|
Windtalkers (2002)
|
|
|
|
|
10.86
|
2:14:14
|
1,920 x 790
|
7,834 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,745 kbps
|
|
Wine Country (2019)
|
|
|
|
|
5.17
|
1:42:48
|
3,840 x 1,920
|
6,559 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Winnie the Pooh: Blood and Honey (2023)
|
|
|
|
|
9.24
|
1:24:06
|
3,840 x 1,600
|
12,591 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,125 kbps
|
|
Winter Kills (1979)
|
|
|
|
4.01
|
1:36:34
|
1,920 x 788
|
5,735 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
212 kbps
|
|
Winter Passing (2006)
|
|
|
|
5.25
|
1:39:31
|
1,920 x 1,044
|
7,148 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
399 kbps
|
|
Winter's Bone (2010)
|
|
|
|
2.64
|
1:40:14
|
1,920 x 1,080
|
2,954 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
810 kbps
|
|
Winter's Tale (2014)
|
|
|
|
3.90
|
1:58:05
|
1,920 x 800
|
1,795 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,933 kbps
|
|
WiseGirls (2002)
|
|
|
|
3.47
|
1:36:14
|
1,920 x 1,080
|
4,934 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Wish (2023)
|
|
|
|
|
4.93
|
1:35:03
|
3,840 x 1,504
|
5,730 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,687 kbps
|
|
Wish for Christmas (2016)
|
|
|
|
3.86
|
1:36:03
|
1,920 x 808
|
2,471 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,277 kbps
|
|
Wish I Was Here (2014)
|
|
|
|
3.85
|
1:46:33
|
1,920 x 800
|
2,457 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,708 kbps
|
|
Wit (2001)
|
|
|
|
3.40
|
1:39:24
|
1,916 x 1,080
|
4,671 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Witchfinder General (1968)
|
|
|
|
|
35.61
|
1:26:35
|
3,840 x 2,076
|
58,320 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
563 kbps
|
|
With Honors (1994)
|
|
|
|
4.42
|
1:41:06
|
1,920 x 1,076
|
6,039 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
With/In (2022)
|
|
|
|
9.68
|
3:16:39
|
1,920 x 1,080
|
6,853 kbps
|
|
5.1
|
|
48 kHz
|
192 kbps
|
|
Without a Paddle (2004)
|
|
|
|
|
8.12
|
1:38:52
|
1,920 x 816
|
8,457 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,303 kbps
|
|
Without Men (2011)
|
|
|
|
2.18
|
1:26:38
|
1,920 x 812
|
2,640 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
952 kbps
|
|
Without Remorse (2021)
|
|
|
|
|
9.50
|
1:49:16
|
3,840 x 1,600
|
11,807 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Without Warning (1980)
|
|
|
|
3.69
|
1:36:50
|
1,920 x 1,040
|
4,804 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
644 kbps
|
|
Witless Protection (2008)
|
|
|
|
7.29
|
1:36:13
|
1,904 x 1,080
|
7,092 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,747 kbps
|
|
Witness (1985)
|
|
|
|
|
|
|
28.65
|
1:52:26
|
3,840 x 2,076
|
33,781 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,003 kbps
|
|
Witness for the Prosecution (1958)
|
|
|
|
7.70
|
1:56:31
|
1,790 x 1,080
|
9,146 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
316 kbps
|
|
Witness Infection (2020)
|
|
|
|
1.61
|
1:21:49
|
1,920 x 798
|
2,178 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Wizards of the Lost Kingdom (1985)
|
|
|
|
13.82
|
1:18:23
|
1,920 x 1,080
|
24,579 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
665 kbps
|
|
Wolf (1994)
|
|
|
|
8.68
|
2:05:21
|
1,920 x 1,040
|
7,594 kbps
|
|
5.1
|
|
20 bits / 48 kHz
|
2,323 kbps
|
|
Woman in Car (2022)
|
|
|
|
1.48
|
1:49:42
|
1,776 x 1,080
|
1,544 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Woman in the Woods (2021)
|
|
|
|
1.78
|
1:28:24
|
1,920 x 752
|
2,244 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Woman on the Run (2017)
|
|
|
|
1.94
|
1:26:07
|
1,920 x 1,080
|
2,575 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Woman on Top (2000)
|
|
|
|
2.74
|
1:31:54
|
1,920 x 1,068
|
3,622 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Womb (2011)
|
|
|
|
3.01
|
1:51:53
|
1,920 x 816
|
3,244 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
609 kbps
|
|
Women Talking (2022)
|
|
|
|
3.07
|
1:44:09
|
1,920 x 688
|
1,100 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,118 kbps
|
|
Women's Prison Massacre (1983)
|
|
|
|
3.11
|
1:28:26
|
1,920 x 1,036
|
4,706 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
326 kbps
|
|
Won't Back Down (2012)
|
|
|
|
8.18
|
2:01:08
|
1,920 x 816
|
6,702 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,959 kbps
|
|
Won't You Be My Neighbor? (2018)
|
|
|
|
4.12
|
1:34:27
|
1,920 x 1,080
|
5,495 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
755 kbps
|
|
Wonder (2017)
|
|
|
|
|
9.05
|
1:53:12
|
3,840 x 1,600
|
7,984 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,452 kbps
|
|
Wonder Boys (2000)
|
|
|
|
5.11
|
1:51:18
|
1,920 x 804
|
5,481 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
1,085 kbps
|
|
Wonder Wheel (2017)
|
|
|
|
5.65
|
1:41:02
|
1,920 x 960
|
5,297 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,707 kbps
|
|
Wonder Woman (2009)
|
|
|
|
2.10
|
1:13:39
|
1,920 x 1,076
|
2,630 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,445 kbps
|
|
Wonder Woman (2017)
|
|
|
|
|
|
18.63
|
2:21:16
|
3,840 x 1,596
|
16,343 kbps
|
|
7.1
|
|
18 bits / 48 kHz
|
2,533 kbps
|
|
Wonder Woman 1984 (2020)
|
|
|
|
|
|
29.41
|
2:31:08
|
3,840 x 1,604
|
26,231 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,619 kbps
|
|
Wonder Woman: Bloodlines (2019)
|
|
|
|
|
2.08
|
1:22:52
|
3,840 x 2,156
|
2,163 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,428 kbps
|
|
Wonder Women (1973)
|
|
|
|
7.53
|
1:30:16
|
1,920 x 1,036
|
11,218 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
721 kbps
|
|
Wonderstruck (2017)
|
|
|
|
3.96
|
1:56:00
|
1,920 x 800
|
3,832 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,056 kbps
|
|
Wonka (2023)
|
|
|
|
|
10.23
|
1:56:16
|
3,840 x 1,604
|
11,104 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,485 kbps
|
|
Woodshock (2017)
|
|
|
|
5.70
|
1:41:00
|
1,920 x 800
|
5,553 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,527 kbps
|
|
Woodstock (1970)
|
|
|
|
11.97
|
3:44:19
|
1,920 x 800
|
5,866 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,770 kbps
|
|
Words on Bathroom Walls (2020)
|
|
|
|
3.58
|
1:50:38
|
1,920 x 804
|
2,066 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,565 kbps
|
|
Working Girl (1988)
|
|
|
|
20.80
|
1:53:32
|
1,920 x 1,028
|
24,050 kbps
|
|
5.0
|
|
24 bits / 48 kHz
|
2,179 kbps
|
|
Working Man (2020)
|
|
|
|
2.02
|
1:48:28
|
1,920 x 1,032
|
2,275 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
World Gone Wild (1988)
|
|
|
|
7.66
|
1:34:29
|
1,920 x 1,040
|
10,862 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
740 kbps
|
|
World Trade Center (2006)
|
|
|
|
7.29
|
2:09:09
|
1,920 x 1,080
|
7,436 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
World War Z (2013)
|
|
|
|
|
5.70
|
2:03:04
|
1,920 x 800
|
2,346 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,285 kbps
|
|
Worth Winning (1989)
|
|
|
|
3.37
|
1:42:43
|
1,912 x 1,080
|
4,469 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Would You Rather (2012)
|
|
|
|
2.94
|
1:33:23
|
1,920 x 808
|
3,484 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,023 kbps
|
|
Wrath of Man (2021)
|
|
|
|
|
7.50
|
1:58:22
|
3,840 x 1,604
|
6,082 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,982 kbps
|
|
Wreck-It Ralph (2012)
|
|
|
|
|
4.20
|
1:41:14
|
3,840 x 1,608
|
4,198 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,729 kbps
|
|
Wrecked (2011)
|
|
|
|
4.17
|
1:29:40
|
1,920 x 800
|
5,840 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
815 kbps
|
|
Wrong (2013)
|
|
|
|
1.89
|
1:33:29
|
1,920 x 1,024
|
1,982 kbps
|
|
5.0
|
|
16 bits / 48 kHz
|
917 kbps
|
|
Wrong Place (2022)
|
|
|
|
7.32
|
1:36:11
|
1,920 x 956
|
7,695 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,195 kbps
|
|
Wrong Place, Wrong Time (2021)
|
|
|
|
1.43
|
1:24:51
|
1,920 x 1,072
|
2,026 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Wrong Swipe (2016)
|
|
|
|
1.82
|
1:25:40
|
1,920 x 1,076
|
2,406 kbps
|
|
5.1
|
|
48 kHz
|
256 kbps
|
|
Wrong Turn (2003)
|
|
|
|
6.20
|
1:24:11
|
1,920 x 1,072
|
9,314 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,219 kbps
|
|
Wrong Turn (2021)
|
|
|
|
5.92
|
1:50:13
|
1,920 x 804
|
4,869 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,821 kbps
|
|
Wrongfully Accused (1998)
|
|
|
|
3.91
|
1:25:56
|
1,916 x 1,080
|
5,055 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,449 kbps
|
|
X (2022)
|
|
|
|
|
6.13
|
1:46:49
|
3,840 x 2,024
|
7,115 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,098 kbps
|
|
X-Men (2000)
|
|
|
|
|
|
17.21
|
1:44:26
|
3,840 x 1,600
|
20,358 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,230 kbps
|
|
X-Men 2 (2003)
|
|
|
|
|
|
19.92
|
2:13:47
|
3,840 x 1,600
|
17,816 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,492 kbps
|
|
X-Men Origins: Wolverine (2009)
|
|
|
|
|
6.68
|
1:47:21
|
1,920 x 818
|
5,588 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,319 kbps
|
|
X-Men: Apocalypse (2016)
|
|
|
|
|
|
|
13.48
|
2:23:58
|
3,840 x 1,600
|
10,375 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,027 kbps
|
|
X-Men: Days of Future Past (2014)
|
|
|
|
|
8.60
|
2:28:46
|
1,920 x 800
|
3,606 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
4,672 kbps
|
|
X-Men: First Class (2011)
|
|
|
|
|
|
|
21.40
|
2:11:43
|
3,840 x 1,632
|
19,863 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,396 kbps
|
|
X-Men: The Last Stand (2006)
|
|
|
|
|
|
22.36
|
1:44:07
|
3,840 x 1,600
|
26,679 kbps
|
|
6.1
|
|
24 bits / 48 kHz
|
4,055 kbps
|
|
X: The Man with the X-Ray Eyes (1963)
|
|
|
|
9.93
|
1:19:12
|
1,920 x 1,040
|
17,747 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
195 kbps
|
|
Xanadu (1980)
|
|
|
|
9.29
|
1:35:59
|
1,920 x 1,036
|
10,298 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,555 kbps
|
|
Xenophobia (2019)
|
|
|
|
2.25
|
1:22:10
|
1,920 x 812
|
3,274 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
xXx (2002)
|
|
|
|
|
10.35
|
2:04:05
|
1,920 x 802
|
8,376 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,566 kbps
|
|
xXx: Return of Xander Cage (2017)
|
|
|
|
|
|
14.73
|
1:46:45
|
3,840 x 1,600
|
16,116 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
3,626 kbps
|
|
xXx: State of the Union (2005)
|
|
|
|
6.14
|
1:40:58
|
1,920 x 800
|
7,087 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,617 kbps
|
|
Yakuza Princess (2021)
|
|
|
|
|
|
14.61
|
1:51:15
|
3,840 x 1,608
|
16,044 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,750 kbps
|
|
Year One (2009)
|
|
|
|
7.05
|
1:39:32
|
1,920 x 1,040
|
7,182 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,956 kbps
|
|
Yellow Submarine (1968)
|
|
|
|
5.18
|
1:29:41
|
1,800 x 1,080
|
4,467 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,797 kbps
|
|
Yellowbeard (1983)
|
|
|
|
6.88
|
1:36:50
|
1,920 x 1,038
|
9,497 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
668 kbps
|
|
Yes Day (2021)
|
|
|
|
|
4.83
|
1:26:00
|
3,840 x 1,920
|
7,233 kbps
|
|
5.1
|
|
48 kHz
|
768 kbps
|
|
Yes Man (2008)
|
|
|
|
4.49
|
1:44:23
|
1,920 x 800
|
4,765 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,391 kbps
|
|
Yes Virginia, There Is a Santa Claus (1991)
|
|
|
|
7.55
|
1:33:42
|
1,440 x 1,080
|
11,233 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
303 kbps
|
|
Yesterday (2019)
|
|
|
|
|
5.25
|
1:56:14
|
3,840 x 1,604
|
4,136 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,324 kbps
|
|
Yesterday's Target (1996)
|
|
|
|
2.49
|
1:19:43
|
1,916 x 1,080
|
4,244 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
You Again (2010)
|
|
|
|
7.06
|
1:45:28
|
1,920 x 800
|
6,555 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,032 kbps
|
|
You Can Never Go Home Again (2021)
|
|
|
|
2.07
|
1:30:52
|
1,920 x 1,080
|
3,030 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
You Can't Take My Daughter (2020)
|
|
|
|
1.61
|
1:26:36
|
1,920 x 1,080
|
2,604 kbps
|
|
2.0
|
|
48 kHz
|
64 kbps
|
|
You Don't Know Jack (2010)
|
|
|
|
7.37
|
2:14:28
|
1,920 x 1,080
|
7,205 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
You Don't Mess with the Zohan (2008)
|
|
|
|
7.12
|
1:56:54
|
1,920 x 1,040
|
7,328 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,396 kbps
|
|
You Might Be the Killer (2018)
|
|
|
|
3.21
|
1:27:27
|
1,920 x 1,080
|
3,674 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,573 kbps
|
|
You Only Live Twice (1967)
|
|
|
|
|
16.53
|
1:56:57
|
3,840 x 1,632
|
16,927 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,302 kbps
|
|
You People (2023)
|
|
|
|
|
15.04
|
1:56:51
|
3,840 x 1,920
|
17,636 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
You Should Have Left (2020)
|
|
|
|
|
4.03
|
1:33:27
|
3,840 x 2,064
|
3,295 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,880 kbps
|
|
You Were Never Really Here (2018)
|
|
|
|
2.89
|
1:29:46
|
1,920 x 804
|
2,021 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,583 kbps
|
|
You're a Good Man, Charlie Brown (1985)
|
|
|
|
3.48
|
48:11
|
2,880 x 2,160
|
9,951 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
You're a Good Sport, Charlie Brown (1975)
|
|
|
|
2.27
|
25:12
|
2,880 x 2,160
|
12,522 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
You're Not Elected, Charlie Brown (1972)
|
|
|
|
|
0.56
|
25:13
|
2,880 x 2,160
|
2,765 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
You're Not Supposed to Be Here (2023)
|
|
|
|
2.10
|
1:25:46
|
1,920 x 1,080
|
3,437 kbps
|
|
2.0
|
|
48 kHz
|
64 kbps
|
|
You're Not You (2014)
|
|
|
|
4.11
|
1:42:27
|
1,920 x 1,076
|
3,541 kbps
|
|
7.1
|
|
14 bits / 96 kHz
|
2,207 kbps
|
|
You've Got Mail (1998)
|
|
|
|
12.97
|
1:59:23
|
1,920 x 1,080
|
12,387 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,161 kbps
|
|
You, Me and Dupree (2006)
|
|
|
|
|
7.49
|
1:49:25
|
1,920 x 1,040
|
6,488 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,306 kbps
|
|
Young Adult (2011)
|
|
|
|
3.23
|
1:33:39
|
1,920 x 1,080
|
2,356 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,586 kbps
|
|
Young Doctors in Love (1982)
|
|
|
|
5.11
|
1:35:35
|
1,920 x 1,080
|
7,300 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
353 kbps
|
|
Young Frankenstein (1974)
|
|
|
|
|
13.34
|
1:45:41
|
1,920 x 1,040
|
15,438 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,624 kbps
|
|
Young Guns (1988)
|
|
|
|
|
43.36
|
1:47:07
|
3,840 x 2,076
|
56,369 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,581 kbps
|
|
Young Sherlock Holmes (1985)
|
|
|
|
2.91
|
1:48:53
|
1,904 x 1,080
|
3,444 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Youngblood (1986)
|
|
|
|
11.36
|
1:50:09
|
1,920 x 1,028
|
14,324 kbps
|
|
2.0
|
|
16 bits / 48 kHz
|
440 kbps
|
|
Your Highness (2011)
|
|
|
|
|
5.89
|
1:45:28
|
1,920 x 800
|
4,568 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,431 kbps
|
|
Your Lucky Day (2023)
|
|
|
|
5.12
|
1:29:21
|
1,920 x 796
|
7,568 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Yours, Mine & Ours (2005)
|
|
|
|
5.09
|
1:28:05
|
1,920 x 804
|
6,799 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,475 kbps
|
|
Yours, Mine and Ours (1968)
|
|
|
|
5.36
|
1:51:18
|
1,920 x 1,040
|
6,291 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
607 kbps
|
|
Youth in Revolt (2009)
|
|
|
|
|
4.97
|
1:29:27
|
1,920 x 1,036
|
5,143 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,807 kbps
|
|
Z (2019)
|
|
|
|
1.13
|
1:23:13
|
1,920 x 804
|
1,074 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
866 kbps
|
|
Z for Zachariah (2015)
|
|
|
|
4.08
|
1:37:55
|
1,920 x 804
|
3,063 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,903 kbps
|
|
Zack and Miri Make a Porno (2008)
|
|
|
|
|
8.23
|
1:41:34
|
1,920 x 1,080
|
8,513 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,089 kbps
|
|
Zack Snyder's Justice League (2021)
|
|
|
|
|
21.75
|
4:02:16
|
2,880 x 2,160
|
11,095 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,752 kbps
|
|
Zapped! (1982)
|
|
|
|
6.61
|
1:38:12
|
1,920 x 1,040
|
8,924 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
707 kbps
|
|
Zardoz (1974)
|
|
|
|
8.29
|
1:46:07
|
1,920 x 816
|
9,258 kbps
|
|
3.0
|
|
24 bits / 48 kHz
|
1,925 kbps
|
|
Zathura: A Space Adventure (2005)
|
|
|
|
|
6.74
|
1:41:20
|
1,920 x 1,036
|
6,365 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,154 kbps
|
|
Zebra Girl (2021)
|
|
|
|
1.23
|
1:18:56
|
1,920 x 1,028
|
1,587 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Zero Dark Thirty (2013)
|
|
|
|
|
|
19.62
|
2:36:59
|
3,840 x 2,076
|
15,360 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,528 kbps
|
|
Zeros and Ones (2021)
|
|
|
|
10.05
|
1:26:24
|
1,920 x 800
|
13,712 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,937 kbps
|
|
Ziegfeld Girl (1941)
|
|
|
|
5.13
|
2:12:27
|
1,480 x 1,080
|
5,034 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
512 kbps
|
|
Zombeavers (2014)
|
|
|
|
4.82
|
1:21:00
|
1,916 x 1,080
|
7,380 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,141 kbps
|
|
Zombie High (1987)
|
|
|
|
9.90
|
1:30:41
|
1,920 x 1,036
|
15,064 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
563 kbps
|
|
Zombie Hunter (2013)
|
|
|
|
5.35
|
1:32:48
|
1,920 x 816
|
5,033 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,214 kbps
|
|
Zombie Nightmare (1988)
|
|
|
|
5.80
|
1:23:22
|
1,920 x 1,080
|
9,243 kbps
|
|
1.0
|
|
24 bits / 48 kHz
|
709 kbps
|
|
Zombieland (2009)
|
|
|
|
|
|
9.41
|
1:27:42
|
3,840 x 1,604
|
13,729 kbps
|
|
7.1
|
|
16 bits / 48 kHz
|
1,632 kbps
|
|
Zombieland: Double Tap (2019)
|
|
|
|
|
|
7.54
|
1:39:02
|
3,840 x 1,592
|
7,079 kbps
|
|
7.1
|
|
24 bits / 48 kHz
|
3,816 kbps
|
|
Zone 414 (2021)
|
|
|
|
3.00
|
1:38:30
|
1,920 x 796
|
1,452 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
2,910 kbps
|
|
Zone Drifter (2021)
|
|
|
|
3.51
|
1:33:38
|
1,920 x 1,080
|
5,144 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Zone Troopers (1985)
|
|
|
|
7.09
|
1:25:51
|
1,920 x 1,040
|
11,474 kbps
|
|
1.0
|
|
16 bits / 48 kHz
|
352 kbps
|
|
Zoo-Head (2019)
|
|
|
|
2.95
|
1:23:32
|
1,920 x 812
|
4,673 kbps
|
|
5.1
|
|
48 kHz
|
384 kbps
|
|
Zooey (2021)
|
|
|
|
1.06
|
1:17:10
|
1,920 x 800
|
1,748 kbps
|
|
2.0
|
|
48 kHz
|
224 kbps
|
|
Zookeeper (2011)
|
|
|
|
3.97
|
1:41:53
|
1,920 x 796
|
4,163 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,420 kbps
|
|
Zoolander (2001)
|
|
|
|
|
5.47
|
1:29:12
|
1,920 x 816
|
4,997 kbps
|
|
5.1
|
|
24 bits / 48 kHz
|
3,777 kbps
|
|
Zoolander 2 (2016)
|
|
|
|
|
4.56
|
1:41:48
|
1,920 x 802
|
2,632 kbps
|
|
7.1
|
|
22 bits / 48 kHz
|
3,780 kbps
|
|
Zoom (2006)
|
|
|
|
5.89
|
1:28:21
|
1,920 x 1,080
|
8,895 kbps
|
|
5.1
|
|
48 kHz
|
640 kbps
|
|
Zoom (2015)
|
|
|
|
3.21
|
1:37:16
|
1,920 x 816
|
3,362 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,355 kbps
|
|
Zooman (1995)
|
|
|
|
6.35
|
1:35:10
|
1,920 x 1,080
|
8,131 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,418 kbps
|
|
Zootopia (2016)
|
|
|
|
|
4.65
|
1:48:32
|
3,840 x 1,608
|
3,410 kbps
|
|
7.1
|
|
20 bits / 48 kHz
|
2,721 kbps
|
|
Zulu (1964)
|
|
|
|
10.30
|
2:18:21
|
1,920 x 816
|
9,333 kbps
|
|
2.0
|
|
24 bits / 48 kHz
|
1,320 kbps
|
|
¡Three Amigos! (1986)
|
|
|
|
|
8.87
|
1:42:46
|
1,920 x 1,036
|
11,273 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,079 kbps
|
|
Æon Flux (2005)
|
|
|
|
|
4.23
|
1:32:52
|
1,920 x 816
|
5,014 kbps
|
|
5.1
|
|
16 bits / 48 kHz
|
1,498 kbps
|