Not exact matches
Blacks are deep and consistent through the
film and the level of depth and
detail in the
background gives the image a multidimensional look in parts of the feature.
Writer - director Francis Lee has drawn on his own farming
background and his
film is full of convincing
detail.
Robert Richardson's camera glides across the various flattened landscapes with purpose, and plunks down to provide widely scaled, conspicuously painterly compositions (and for once, the
background action in a Tarantino
film feels lively and
detailed).
The real intrigue of The Green Legend lies in its
background details: The
film is a co-production of Netflix and The Weinstein Company, and will be released simultaneously in theaters and on the streaming service as part of Netflix's ongoing experiment in «day - and - date» releases.
I feel it benefits form a second (or third) watch, as so much of it's acheivement as a
film is in the
details - the graffiti in the refugee camp, the headlines on the newspapers in the
background.
Each title gets a full - length audio commentary from Travis Crawford, a dogged
film critic and programmer with the instincts of a historian, who goes into
detail on the
background of just about every lead and significant supporting player who appears on screen, in addition to the producers and financiers behind the scenes who allowed (or more likely didn't allow) Romero to realize his vision on screen.
Making a gritty
film noir - style movie as an animated feature makes for a visually interesting experience; the animation uses striking colors, and the
backgrounds are beautifully
detailed while the characters are very simply designed, creating a unique contrast.
Image
detail is greatly improved from prior home - video editions of the
film, remarkably offering a variety of new facial and landscape textures, from the foreground to the
background.
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.
These
details would be
background material in an even simpler
film — one that, perhaps, would see the love story as the answer to this political morass.
The end results are plenty of production
details,
backgrounds on cast and crew members, and with the exception of the final reel, the pacing is pretty brisk; it's only their admiration for actor Arthur Dignam that results in dead spots during the
film's denouement.
It's natural and
film - like with mostly solid grain and is richly - textured with fine
detail on both
background and foreground elements.
Separately — in letters and in an informal mimeograph report — I will contact
FILM COMMENT's several hundred former contributors, as they have a right to the
details and
background of this sale.
Its mere presence is refreshing after suffering through too many denoised Disney titles; so much of the
background texture, not to mention the
film's hand - painted charm, is bound up in the stuff that filtering it out would be pure revisionism — and, I suspect, wreak havoc on the already photographically - soft
detail.
Not surprisingly, given first - time director Stromberg's
background in visual effects, the only other aspect of the
film that comes close to being as vivid as Jolie is the elaborately
detailed design of the world, from the costumes to production design, to the elaborate visual effects that bring all the flora and fauna to life.
For a
film that takes its time with its characters and packs every frame with lavish
detail — the kids» show that plays on TV in the
background throughout, advising young viewers to go play in the sewers, is a nice touch — It is surprisingly unsubtle.