Sentences with phrase «anamorphic widescreen films»

Crosby notes that Japanese exhibitors embraced CinemaScope well before the production of the first Japanese anamorphic widescreen film, but the influence was more than just technological, as the style of Hollywood widescreen films influenced Japanese widescreen aesthetics.

Not exact matches

Video: With an aspect ratio of 2.40:1 Anamorphic Widescreen, the video quality of the film is higher than the time period of the action allows it to appear.

Kino Lorber's DVD edition of The Strongest Man gives the film a good visual presentation in letterboxed 2.35:1 anamorphic widescreen.

The final supplement on Disc 1 is a rather cool easter egg — the film's groundbreaking original Theatrical Trailer, presented in anamorphic widescreen.

THE DVD Universal's DVD release features a sharp 1.85:1 anamorphic widescreen presentation of the film featuring a minimum of grain and edge enhancements and superior contrast.

Presented windowboxed in 1.65 anamorphic widescreen *, the film looks exactly like it did in theatres, all but confirming that the transfer was sourced from the 35 mm blow - up (Vincent Gallo's viewing preference) rather than the Super16 negative.

THE DVD For all the weaknesses of the film, Warner DVD's beautiful 1.78:1 anamorphic widescreen presentation of American Outlaws is a showcase piece for its audio / visual 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 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 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.

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

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

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.

While I no doubt have been spoiled by regular exposure to excellent Blu - ray transfers, the 1.85:1 anamorphic widescreen presentation of Swimming to Cambodia seems a tad disappointing even for a standard definition release of a low - budget 25 - year - old experimental film.

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.

THE DVD Anchor Bay's 1.66:1 anamorphic widescreen DVD presentation of Link looks as bright and bouncy as a badly - filmed piece of schlock can.

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 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 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.

Cabin Fever itself quickly subverts expectations for something grainy and incompetent — the film so belies its low - budget origins (and influences) that it may have distorted my perception of the 2.35:1 anamorphic widescreen image, but I believe it to be above reproach, with striking contrast, hairline detail, and well - modulated saturation.

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.

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.

Warner's DVD version of McCabe & Mrs. Miller is unfortunately something of a disappointment in the technical department: the 2.35:1 anamorphic widescreen image is too black for a film that was pre-exposed in order to decrease contrast, while digital video noise reduction looks like it was rather severely applied to the intentionally gritty images, resulting in a general lack of detail.

The film over which this is heard is exhibited in both 2.35:1 anamorphic widescreen and fullscreen transfers on opposite sides of the platter; although the picture was shot in Super35 (as opposed to «scope), there is more horizontal information restored and less vertical information cropped than usual for the format, making the decision to stick with letterbox a definite no - brainer.

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

for the picture — lovingly restored, as is the film itself (save some unchecked pinholes)-- rounds out the presentation, which has as its central attraction the revitalization of Harry Waxman's stabbingly - bright cinematography in a 1.78:1 anamorphic widescreen transfer.

The first platter contains the film in a beautifully - saturated 1.85:1 anamorphic widescreen transfer that comes across as warm, free of defect, and exceedingly bright.

Abandoning the optional full - frame transfer of the previous disc, the SE presents the film in 2.35:1 anamorphic widescreen and the quality of the image dazzles.

Although this was essentially a low budget independent film, John Carpenter chose to shoot the movie in anamorphic widescreen Panavision.

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

Disney presents the film on DVD in a luscious 2.35:1 anamorphic widescreen transfer * — gone is the excess filtering of their more recent live - action fare, replaced by an unobtrusive, mood - setting mist of grain.

Harpoon isn't a handsome film, but it looks fine (if a little soft and big on interlacing) in the disc's 2.35:1 anamorphic widescreen presentation.

The 2.35:1 anamorphic widescreen transfer is velvety smooth and three - dimensional, the best a Mann film has yet looked on the format and in the top - tier of Columbia TriStar's efforts — it's that good.

THE DVD by Bill Chambers Columbia TriStar distributes the enjoyable Laurel Canyon on DVD in a delectable 1.85:1 anamorphic widescreen transfer that makes the film look expensive.

Blue Valentine looks great in the DVD's anamorphic widescreen transfer, which the frames the film in atypical 1.66:1.

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.

Though the disc recycles the supple 1.85:1 anamorphic widescreen transfer and Dolby Digital 5.1 mix of the film's previous DVD release, improvements in encoding procedures since 1998 render this new presentation definitive.

THE DVD - X-MEN 1.5 I hate to start off this review pissing and moaning, but in preparing the latest DVD release of X-Men, incomprehensibly titled X-Men 1.5, why didn't Fox remaster the deleted scenes — which, as with the previous disc, you can restore to the film via seamless branching — in anamorphic widescreen and 5.1 sound?

The 1.80:1 anamorphic widescreen presentation exhibits some combing, though it's not especially pronounced unless you step through the film frame - by - frame and no other authoring artifacts are detectable.

His latest film, The Ornithologist (2016), is a quasi-western shot in anamorphic widescreen that follows one man's bird watching trip that takes him through the pressures of nature, mysterious cultural rites, and a bricolage of mythologies that in turn transform him.

THE DVD Fox presents Wrong Turn on a flipper disc containing the film in 1.85:1 anamorphic widescreen and fullscreen transfers.

Genius - level cinematographer Vittorio Storaro receives due treatment from not only Harlin (who implies that the chance to work with Storaro was one of his main reasons for agreeing to do the film), but also the folks in mastering: The 2.36:1 anamorphic widescreen transfer * is incredibly rich from beginning to end, with shadow detail occasionally collapsing into inky pools of black on purpose, if I'm to parse Harlin's notes on the digital grading correctly.

Four versions of the film cohabit a dual - layer platter: 1.85:1 anamorphic widescreen editions of the unrated and R - rated Storytelling, plus two full - frame (unmatted) editions of the same.

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.

There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer as well as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely transferred anamorphic widescreen one.

The film has been given a digital remastering, and will be presented in 1.66:1 anamorphic widescreen and an Enhanced Home Theater Mix in Dolby Digital 5.1.