Sentences with phrase «anamorphic widescreen at»

Letterboxed in anamorphic widescreen at 1.85:1, the transfer boasts acceptable contrast, plus better - than - average colour rendition for an HK title.

As with the earlier edition, both films are presented in anamorphic widescreen at the original aspect ratio of 2.35:1.

Not exact matches

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.

Though the film was projected at IMAX venues in 3 - D, it's offered in 2 - D only for the home viewing audience, and the 1.78:1 anamorphic widescreen image is consistently good in the face of a mélange of source media — note that the longer version relies more heavily on video - based footage originated by the MIR's electronic eyes.

There are no complaints to aim at the DVD's 2.40:1 anamorphic widescreen picture and Dolby Digital 5.1 audio.

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 film is presented at 2.35:1 in anamorphic widescreen; colours are outstanding and detail is fine.

And sate it does, at least from a technical standpoint: The 2.35:1 anamorphic widescreen transfer * is the finest for one of the film's theatrical cuts — a remarkable feat considering it's the longest instalment of the trilogy (and thus harder to squeeze onto a single - sided, dual - layered platter), though perhaps not so astonishing in light of two years having passed since The Fellowship of the Ring debuted on the format.

The disc's 2.37:1 anamorphic widescreen transfer, for what it's worth, is vibrant and, at times, eye - popping.

The disc's THX - certified, 1.85:1 anamorphic widescreen presentation of Signs is rich in grain from time to time — at last the celluloid spirit of a new film is preserved in the digital realm.

The Film: 1.66:1 Anamorphic Widescreen, Dolby Digital 5.1 (Disney's Enhanced Home Theater Mix), Dolby Digital 2.0 (Original Theatrical and Enhanced Mixes), Spanish and French 5.1 tracks Disc 1: Audio commentary with Julie Andrews, Dick Van Dyke, Richard Sherman, and Karen Dotrice, Poppins Pop - Up Fun Facts, Disney's song selection Disc 2: «Supercalifragilisticexpialidocious: The Making of Mary Poppins», new animated short «The Cat That Looked at a King» (based on P.L. Travers story, done chalk - drawing style), «A Magical Musical Reunion», «A Musical Journey with Richard Sherman», «I Love to Laugh» game, «Movie Magic» featurette, Gala World Premiere featurette, deleted song «Chimpanzoo», 2 scene deconstructions, galleries, trailers & TV spots, Dick Van Dyke make - up test

The movie is presented in 1.78:1 anamorphic widescreen, its original broadcast ratio (at least for HD presentations).

While all films in the set ring with Hammer's trademark attention to colour process, offering bloody reds and fleshy fleshtones, Horror of Dracula's 1.77:1 anamorphic widescreen image (recropped from its original 1.66:1 aspect ratio) is sadly jumping with grain so dense it's at times almost misty.

THE DVD The DVD release of Antitrust is presented as a sparkling, 16x9 - enhanced, widescreen anamorphic transfer at 2.35:1.

The 1.85:1 anamorphic widescreen transfer seems recycled from the 2002 edition and, frankly, reminds at times of the comparatively cheap The Evil Dead.

Columbia Tri-Star's Special Edition reissue of I Know What You Did Last Summer recycles the previous disc's blue - ribbon 2.35:1 anamorphic widescreen transfer at a higher bitrate and dispenses with its pan-and-scan alternative to accommodate bonus material.

Sporadic «jaggies» and some light banding aside, the 2.35:1 anamorphic widescreen transfer of The Chumscrubber proper is impeccable, while the accompanying Dolby Digital 5.1 audio is quite playful, particularly whenever the titular post-apocalyptic superhero — yeah, there are a few desperate bids for cult status, but at least Thumbsucker's insufferable New York - as - Shangri - La subtext is studiously avoided — rears his head.

DVD special features on the movie's single - disc, 1.85:1 anamorphic widescreen release include an audio commentary track with Favreau and co-producer Peter Billingsley, a look at the making of the accompanying videogame to the movie and a clutch of featurettes on the work of author Van Allsburg, the cast, the visual effects and the like.

The anamorphic widescreen transfer of the feature film on disc one isn't quite so lovely as the packaging; the print exhibits some scratches and the subtitles (which, thankfully, are on the bottom black bar, so as to get a clearer view of the picture) have a strange tendency to sport quotation marks at random, but the flaws won't ruin one's enjoyment of the film.

The DVD features an anamorphic widescreen transfer, which has been letterboxed at 2.35:1.

As hinted at earlier, the photography is rich, warm, and varied and the disc's 1.78:1 anamorphic widescreen transfer preserves the visuals in all their glory.

Due to the stylized post-processing, the 2.35:1 anamorphic widescreen presentation delivered picture that was painful to look at.

Next to other contemporary fantasy films, the visuals aren't overly stylized, but the clean, sharp 2.35:1 anamorphic widescreen transfer allows one to easily marvel at them.

With a 1.85:1 anamorphic widescreen transfer and a superfluous, cropped fullscreen version occupying the same side of a dual - layer disc, the bitrate is pathetic at times, exacerbating the tungsten haze of Laszlo Kovacs's cinematography.

THE DVD Blue Underground reissues Zombie on DVD in an apparently definitive 2.35:1 anamorphic widescreen presentation; this is one of those transfers that won't be appreciated by newcomers to the film, but anybody who's had previous experience with Zombie on home video will marvel at the clarity of the image.

Each in 2.35:1 anamorphic widescreen with your choice of 6.1 DTS - ES or 5.1 Dolby Digital EX soundtracks, there is no discernible qualitative difference between the duelling Stargates save a sliver of additional screen information on all four sides in the Director's Cut (see example at left).

The film itself boasts a broad palette (scenes of Daniel's adulthood are typically pale blue; flashbacks are always draped in a yellow - sepia) the disc accommodates with a clear, sharp 1.78:1 anamorphic widescreen transfer that invokes the quality of Paramount's Godfather set at its best.

Jack - Jack Attack and Boundin» are presented in immaculate 1.78:1 anamorphic widescreen with crisp Dolby 5.1 audio; pillarboxed at 1.33:1, The Adventures of Mr. Incredible & Pals looks purposely awful, although the mixers of the DD 5.1 track couldn't resist a somewhat modern soundfield. - BC