Sentences with phrase «2.33:1 anamorphic widescreen transfer»

The Quality The anamorphic widescreen transfer looks fantastic with some bright, vivid color (especially in the jungle of Nool) and some impressive detail, with the opening shot being one of the most realistic pieces of computer animation I've ever seen.

Some minor grain is hardly noticeable in the highly pleasing 2.35:1 anamorphic widescreen transfer and the Dolby 5.1 soundtrack is aptly immersive throughout.

THE DVD by Bill Chambers Warner shepherds Happy Feet to DVD in a 2.40:1 anamorphic widescreen transfer.

Sufficed to say I'm not going to assess the 2.35:1 anamorphic widescreen transfer because I have no idea what consumers are getting for their ill - spent cash, though I can confirm that the DD 5.1 audio is suitably loud, with lots of rear - atmospherics that almost, almost get your heart pumping.

Laden with dull blacks and mild edge - enhancement, the «all - new digital» 2.35:1 anamorphic widescreen transfer fails to show off the capabilities of the format while representing a minor upgrade from the previous DVD in terms of saturation and reproduction of flesh tones.

Vadim shoots it in earthy color and CinemaScope and the disc preserves both in an anamorphic widescreen transfer.

Those like me accustomed to seeing the Indiana Jones films in the wonder of degraded pan-and-scan videocassettes should rejoice at the sight of these DVDs, which offer higher resolution and preserve the considerable frame width in anamorphic widescreen transfers nearer to 2.35:1 than the 2.20:1 aspect ratios widely cited.

The DC distinguishes itself on a technical level with the cleaner, more naturalistic 2.35:1 anamorphic widescreen transfer of the two.

THE DVD Anchor Bay reissues Johnny Suede on DVD in a 1.75:1 anamorphic widescreen transfer that frankly does Joe DeSalvo's cinematography a disservice.

I wish the disc's 2.35:1 anamorphic widescreen transfer * better preserved all this mise - en - scène minutiae: the image is surprisingly soft, muted, and murky, if only mildly so on each count.

The 1.78:1 anamorphic widescreen transfer is exactly as the makers would want it to be.

The Calling looks fine for standard definition, but the DVD's 2.40:1 anamorphic widescreen transfer is a far cry from the satisfying highs of 1080p.

THE DVD One of six films that won the second round of Amazon's DVD Decision 2006, Looker debuts on the format in a handsome 2.37:1 anamorphic widescreen transfer that occasionally succumbs to pinholes and a high density of grain.

The 1.85:1 anamorphic widescreen transfer is largely dark and murky — partially, I think, to help the little beasts believably blend into their surroundings.

THE DVD Fox checks in with a spotty 1.85:1 anamorphic widescreen transfer of Dunston Checks In on one side of a DVD and a fullscreen pan-and-scan version on the other.

THE DVD The kids division of MGM presents It's a Very Merry Muppet Christmas Movie in a full - frame «Special Edition» presentation all the more puzzling for the fact that a 1.85:1 anamorphic widescreen transfer was prepared for the film's R2 release.

Even so, the anamorphic widescreen transfer looked pretty good, with solid color.

The film looks pretty great in the DVD's 2.35:1 anamorphic widescreen transfer.

The movie looks great in its 2.35:1 anamorphic widescreen transfer.

But this dual - layer DVD is filled nearly to its size limit, which means the 1.78:1 anamorphic widescreen transfer looks superb, with striking color and contrast.

is showcased in an excellent 1.78:1 anamorphic widescreen transfer so fine in its shadow detail that every pock on Burton's face is like a cave in a lunar landscape.

Finishing out the Tayton box (and exclusive to the set), Warner's DVD release of The Comedians presents the film in a 2.36:1 anamorphic widescreen transfer that sparkles.

THE DVD The first platter of Fox's two - disc Collector's Edition reissue of The Hustler sports the film in a slick but unfortunately nonprogressive 2.35:1 anamorphic widescreen transfer.

The first platter of Fox's two - disc Collector's Edition reissue of The Hustler sports the film in a slick but unfortunately nonprogressive 2.35:1 anamorphic widescreen transfer.

Earning its THX certification, The Village's 1.84:1 anamorphic widescreen transfer * invites adjectives like sumptuous and filmlike, and better yet, the studio seems to have curbed its recent habit of overfiltering the image.

We received the NC - 17 disc for review (as if the R release would receive coverage here), whose 1.85:1 anamorphic widescreen transfer is unassumingly breathtaking, a smashing success in every conceivable way.

Disc One features a nice, solid, rain - streaked 1.85:1 anamorphic widescreen transfer that shows the wear of its origins (a Spanish / Italian production on minimal funds and with time and subject limitations) yet acquits itself quite nicely and is arguably more lustrous than the Anchor Bay presentation.

THE DVDs Released on DVD a few years back by DreamWorks in an «Awards Edition» now bundled as part of Paramount's «Best Picture: Academy Award Winners Collection,» American Beauty is crying out for a fresh run through the telecine (there's a hair in a couple of frames), its 2.37:1 anamorphic widescreen transfer conspicuously struck back in the nascence of the format.

Unsurprisingly for modern stop - motion animation, picture quality is excellent on the DVD's 2.35:1 anamorphic widescreen transfer.

THE DVD Paramount's DVD release of The Temp presents the film in a sharp 1.85:1 anamorphic widescreen transfer that suffers stray edge - enhancement issues.

The 2.40:1 anamorphic widescreen transfer is a disciplined rendering of volatile elements, as evidenced by the «control group» of those two or three shots that don't induce seizures.

Unlike its last Region 1 DVD, My Neighbor Totoro is treated here to a 1.85:1 anamorphic widescreen transfer.

And finally, Anchor Bay champions The Fallen Ones with a striking 1.77:1 anamorphic widescreen transfer that makes a strong case for the company never doing anything half - assed no matter the content.

THE DVD Fox DVD presents Fathom in a brilliant 2.35:1 anamorphic widescreen transfer long on vibrancy and short on edge enhancement.

The 1.85:1 anamorphic widescreen transfer (fullscreen sold separately) is crisp and brilliant, if prone to too much saturation and contrast.

THE DVD Innerspace is available on DVD from Warner Home Video in a presentation that contains a 1.78:1 anamorphic widescreen transfer of the film along with 5.1 Dolby Digital sound likely based off the six - track mix that accompanied 70 mm prints.

THE DVDs Fox presents A Farewell to Arms and Francis of Assisi on DVD in glorious 2.35:1 anamorphic widescreen transfers (the latter misidentified on the box art as 1.85:1) that preserve their CinemaScope origins and, more, honour them with popping the colours and by saturating the screen with the curious sterility of the process.

The 1.66 anamorphic widescreen transfer is, then, wholly at the service of the film, which is as it should be, while the German DD 2.0 mono audio is similarly fulsome, replicating Popol Vuh's hallucinogenic score with fidelity.

THE DVD The Fox DVD presents the film in an anamorphic widescreen transfer (2.35:1) that takes full advantage of the vibrant jungle of Sumatra.

I never found the 1.85:1 anamorphic widescreen transfer anything less than gratifying; occasional fluctuations in grain or contrast are both intended and motivated.

THE DVD Paramount's DVD release presents Donovan's Reef in a beautiful 1.85:1 anamorphic widescreen transfer that shows off William Clothier's (Cheyenne Autumn) stunning cinematography.

THE DVD Through Subversive Cinema, Absurda makes Eraserhead available for the first time outside of Lynch's website in a stunning 1.85:1 anamorphic widescreen transfer sourced from 2003's frame - by - frame restoration.

Found footage movies are supposed to look real, not great and Deborah Logan aspires to that with its jerky video that is capably but unremarkably presented in the DVD's 1.78:1 anamorphic widescreen transfer.

Released under Sony's Superbit imprimatur despite committing minor infractions against the Superbit manifesto, the film receives a 1.81:1 anamorphic widescreen transfer that does Stephen Goldblatt's gleaming cinematography untold justice.

It plays under a crisply - detailed, well - compressed anamorphic widescreen transfer that for no explicable reason dispenses with the Super35 film's projected aspect ratio of 2.35:1 in favour of its negative aspect ratio of 1.78:1.

The remastered 2.35:1 anamorphic widescreen transfer is beautiful and crisp (albeit still a bit edgy) while the audio, upgraded to DD 5.1 EX and 6.1 DTS - ES, is, in a compound word, fillings - shaking.

Although it uses the same 1.81:1 anamorphic widescreen transfer as before, the presentation doesn't look too dated.

Presented in a handsome yet artifact - prone and sometimes «hot» 1.82:1 anamorphic widescreen transfer (flesh tones and facial details are occasionally muted by blown - out whites), the film remains free of nudity from Cuthbert but contains additional flesh in the form of porno clips and background exhibitionists.

The film's 1.85:1 anamorphic widescreen transfer rings all the lushness it can from Steven Bernstein's flatly - lit cinematography.

Not much to report on either end of the A / V spectrum here: the perfunctory - feeling, windowboxed 1.85:1 anamorphic widescreen transfer reproduces Kondo's muted colour palette with some fidelity, while music is the only thing giving the rear speakers any kind of workout as far as the Dolby Digital 5.1 audio is concerned.