The film includes a great many of Michael Bay's trademark moving camera shots and quick fire edits, but no compression artefacts were visible at any time. Bay's use of gold, red and blue filters also came across well, while flesh tones remained stable throughout. The film print used for this transfer was immaculate, with absolutely no visible film artefacts present. This disc possesses all of the positive attributes of the excellent North American NTSC release, but with the added resolution afforded by anamorphic enhancement.

The only negative aspect of this transfer was some occasional aliasing. Apart from this minor flaw this is an exemplary transfer, and one that is sure to impress.
 

Dialogue is generally clear, although a little overpowered in several scenes, and the LFE channel is used constantly, producing some spectacular foundation-shaking bass. This is the sort of soundtrack that will impress friends and annoy neighbours.

Unfortunately, Armageddon also suffers from what I call the 'Bruckheimer Curse'. Like producer Jerry Bruckheimer's previous films, Con Air, Crimson Tide and The Rock, Armageddon's soundtrack is so loud and aggressive so much of the time that everything begins to sound the same. In order for dramatic scenes to really impress, there must also be quiet sequences; without them everything simply sounds the same.

There's just so little dynamic range used, it's difficult to differentiate the more dramatic scenes from any others. This results in a soundtrack that sounds overly compressed. Still, it's an impressive soundtrack if not quite reference quality.