And the rest?
Interesting review. To me, a lot of the sample images are focussed in odd places (not on the eyes, at least); I don't know whether that's the AF system or the photographer. I've mostly heard bad things about the video on the D4, apparently because the downsampling algorithm introduces unnecessary softness (the 1:1 crop mode is okay, however, but why use a D4 for that?) The D800, which probably just throws lines away, is apparently much sharper. Interesting that there's no mention of the new AF switch position, which is already annoying me on my D800E. I'm not sure that mapping the AE-lock to pressing the joystick is an improvement, either. I'm sure grid lines were available in the finder on the D3s - I've always used them on my D700 (and they help me keep my horizons straight).
This is obviously a camera with a purpose: it's a work horse for high speed, low-light shooting. Journalists and sports shooters will love it. It's not a consumer camera, or a megapixel monster, so comparing it to a 'blad (or a D800) is pointless, as is talking about the price - the right image can sell enough newspapers to justify it, and the price is still lower than many pro lenses (and almost exactly the same as the 200-400 f/4 shown in the review). Consumers shouldn't feel they're missing out if they can't afford one and have to settle for a D3200 instead; each tool to its own place. So no more "how much?" comments, please.
And film? It does have its place, but its place isn't in low-light, high frame-rate, fast turn-around shooting. I have, and use (mostly for flowers that look better on Velvia than digital), an F5, but I'd be mad to try to take on a D4 (or D3) with it for the tasks it was originally designed for. Pros do still use film - but more often in a cheap camera for portability and travel, in a Leica for subtlety (those who haven't spent D4-money on an M9), in medium format for quality or in large format for the ability to fill a wall with a sharp image. Even my Pentax 645 isn't going to get much use now I have a D800, though a Mamiya 7 or a 5x4 (on my shopping list) would be another matter; for what they're good at, they'll smoke a D4 - but then so will a D800. Photojournalist use of film died with the D1 (and especially the 1D), which is why the F6 is so different from the F5 and aimed at prosumers, and nobody's updated a film camera with a modern autofocus system. Shooting through rose-tinted spectacles results in poor images. Someone was using large format at the Olympics to get some interesting images, but I'd be astonished if any pros were using 135 film, at least in an SLR.