Sentences with phrase «anamorphic widescreen on»

The Strongest Man in the World is presented in fullscreen, and as its predecessor Now You See Him, Now You Don't is anamorphic widescreen on DVD, you reach the conclusion that this is not the original aspect ratio.

Beyond the 1.33:1 - pillarboxed prologue, A Serious Man appears in 1.85:1 anamorphic widescreen on DVD.

THE DVD Warner brings Unaccompanied Minors home on a flipper that renders the Super35 film in 1.33:1 fullscreen on one side and 2.35:1 anamorphic widescreen on the other.

A title in Fox Video's «Family Feature» series (it was originally issued on tape and LaserDisc by Warner Home Video), Thumbelina is presented in 1.78:1 anamorphic widescreen on one side of the DVD and in pan-and-scan on the flipside.

Not exact matches

The Video and Audio Presented in 2.39:1 anamorphic widescreen, The Stanford Prison Experiment looks very strong on IFC's DVD release.

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

Human Nature is presented in 1.85:1 anamorphic widescreen and fullscreen versions on the same side of a dual - layer disc; compositionally, it's a toss - up between the two transfers, since the latter opens up the bottom of the frame whilst cropping the vertical sides.

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 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 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.

Also on DVD, presented in anamorphic widescreen for the first time.

Hancock is presented in 2.40:1 anamorphic widescreen, with picture as crystal clear and stunning as on any big budget studio picture.

Like most modern television series, «Breaking Bad» is presented in 1.78:1 anamorphic widescreen and Dolby Digital 5.1 sound on DVD.

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.

Like most other 21st century primetime series, «Samantha Who» takes on the specifications of a major movie in 1.78:1 anamorphic widescreen and Dolby Digital 5.1 surround.

Presented in 1.78:1 anamorphic widescreen, «The Jeff Dunham Show» looks pretty great on DVD.

THE DVDs Abandon arrives on DVD in separate 2.35:1 anamorphic widescreen and fullscreen editions from Paramount.

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.

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

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.

Like just about every other show on television today, «The Middle» comes to DVD with 1.78:1 anamorphic widescreen picture and Dolby Digital 5.1 sound.

Gorgeous animated visuals, this time out in anamorphic widescreen, but the star of the show on Blu - ray is the state - of - the art audio.

Two Family House docks on the format in crystal - clear 1.85:1 anamorphic widescreen, Panic 2.35:1 anamorphic widescreen.

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.

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.

Like just about all of its contemporaries, «Life on Mars» comes to DVD in 1.78:1 anamorphic widescreen and Dolby Digital 5.1 sound.

THE DVD Paramount releases D.A.R.Y.L. on DVD to unsuspecting nostalgia collectors in a clean 2.35:1 anamorphic transfer that nevertheless demonstrates director Simon Wincer's gift for squandering the widescreen format.

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.

The print used for the 1.78:1 anamorphic widescreen transfer is free of debris, but it looks worn all the same, with fleshtones on the pink side and an absence of deep blacks.

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 DVD DreamWorks presents Millennium Actress on DVD in a 1.78:1 anamorphic widescreen transfer that is as sharp and colourful as the palette warrants, though edge enhancement does prove occasionally distracting.

Lilo & Stitch 2 appears in 1.78:1 anamorphic widescreen, a fact Disney singularly neglects to mention anywhere on the packaging.

THE DVD Fox releases Dying Young on DVD in a vanilla 1.85:1 anamorphic widescreen presentation long on Schumacher's over-saturated colours and short on subtlety, which is, of course, not the transfer's fault; its softness — that impression that the lens has been smeared with Vaseline, «Glamor Shots» - style — is something you can't really win by being faithful to.

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.

THE DVD by Bill Chambers Hitting DVD in world - class 2.35:1 anamorphic widescreen and pan-and-scan transfers (sandwiched together on the same side of a dual - layer platter) from Columbia TriStar, Identity aims to please its fans on disc via the debut of a special extended version that cohabits with the theatrical version through the miracle of seamless branching.

THE DVD Appearing on Paramount DVD in fullscreen and 1.85:1 anamorphic widescreen transfers compressed on one side of a dual - layer platter, The Wild Thornberrys Movie looks sharp and lovely on disc.

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 DVD Blue Underground, gaining momentum on Anchor Bay in the area of extensive catalogue cult releases, offers The Final Countdown in an astounding, THX - certified anamorphic widescreen presentation that preserves the picture's original 2.35:1 Panavision aspect ratio for the first time on DVD legitimately.

THE DVD Released on a double - sided platter on the Fox Family Feature imprint, The Pagemaster's 1.85:1 anamorphic widescreen transfer is dull and undistinguished.

THE DVD by Bill Chambers Paramount presents K - 19: The Widowmaker on DVD in a low - contrast 2.35:1 anamorphic widescreen transfer that looks soft and muddy - brown throughout, which seems to be the developed aesthetic of cinematographer Jeff Cronenweth (Fight Club, Panic Room), son of Blade Runner DP Jordan Cronenweth.

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.

The mastering on this 2.35:1 anamorphic widescreen transfer appears to have paid fine attention to colour saturation, but that doesn't mean the movie's Technicolor looks any more vivid than, say, an episode of «Emergency!».