Sentences with phrase «first widescreen film»

After Niagara, Gentlemen Prefer Blondes, and How to Marry a Millionaire, Twentieth Century Fox cast Marilyn Monroe as a saloon singer and assigned Otto Preminger to direct his first Western and first widescreen film.

Not exact matches

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.

This fall, to mark the 50th anniversary of Kermit the Frog's first appearance (on NBC's Washington, D.C. - based network WRC - TV's «Sam and Friends») and capitalize upon the holiday season, Disney is re-releasing their two Muppet films (with widescreen DVD presentations to finally appease widely - disappointed fans) and putting their recently - acquired Muppet Movie and Great Muppet Caper back onto the home video market for the first time under the Disney label.

This is Fleischer's first film for Fox and he meets the house CinemaScope style — handsome, roomy sets, strong color, open spaces and long, fluid takes (the better to drink in the widescreen images)-- with careful staging and frames filled with little dramas, but he also puts an edge to the stories that play out in the glossy spaces.

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.

Sony and Warner, two of the first studios to embrace the format, viewed DVD as a successor to VHS and operated under the belief that customers didn't want or need widescreen presentations of comedies and family films.

While The Shaggy Dog took quite a bit longer than most films to land on disc, the wait seems acceptable, as Walt's first all - out comedy is treated to a delightful widescreen transfer and three worthwhile bonus features.

Britain fared better, with my favourite sci - fi horror film in a long time, Glazer's Under the Skin, and my favourite entertainment film of the year, the conventional, but charming Pride, while the flawed Mr. Turner impressively reflects the great painter's sun worship through Dick Pope's widescreen cinematography.Highlights of my year included being on the FIPRESCI jury at the Hong Kong IFF, where I admired Yang Hen's third feature, Na pian hu shui (Lake August), and a couple of first features among others, as well as attending the amazing HK film market for the first time, where I saw one of my three 2014 «films for the ages», Tsai's Journey to the West; and seeing a nitrate print of Hitchcock's Rebecca at the George Eastman House in Rochester (where they are doing a three - day all - nitrate festival in May, 2015!).

The first allen widescreen film 5.

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.

All four films have been remastered for these sets, presented for the first time in anamorphic widescreen.

As opposed to the frantic handheld camerawork of Shiri, JSA makes full use of its widescreen frame (it was the first Korean film to use Super-35, the Hollywood big - budget standard), to create more deep - focus static compositions.

The Man From Laramie (1955), their final collaboration, was made for Columbia and it was the first film that Mann shot in the still novel CinemaScope anamorphic widescreen format, which debuted just a couple of years earlier.

The first disc presents the film in a widescreen video transfer and a Dolby Surround 5.1 soundtrack and also includes the 2005 MTV Video Awards Batman spoof, but it's on the second disc where you'll find all of the goodies.

Nonetheless, this film (and the others) are presented on DVD with first - rate anamorphic widescreen and excellent sound.

Don't get me wrong: I'm happy as a clam that the films (remastered in effervescent 1.85:1 anamorphic widescreen transfers — pan-and-scan sold separately — supervised by co-creator Bob Gale with Dolby Digital 5.1 remixes that beef up the re-entry effects especially) look and sound as good as they do and that, for the first time in home video's history, each picture is now being seen as it appeared in theatres (more on that below).

Find the film on the first disc in a 1.85:1 anamorphic widescreen transfer that adjusts every aspect of the bare - bones DVD's 4:3 letterbox presentation — hues, saturation, contrast, framing — for the better.

Disney's DVD release presents The Island at the Top of the World in a 1.85:1 widescreen aspect ratio, and for the first time, the film is enhanced for 16x9 televisions.

Widescreen is the only way to see it, and even if the non-anamorphic video isn't great, it's worlds better than a Pan & Scan videocassette, which can not be said for Johnston's first Disney film.

Hayley Mills fans have been given two extremes on Disney DVD: the fully - loaded widescreen Vault Disney sets for the actress's first two films Pollyanna and The Parent Trap and barebones fullscreen discs for later works like In Search of the Castaways, The Moon - Spinners, and That Darn Cat!.

The first Disney movie made in Cinemascope widescreen, the film is represented in its original theatrical aspect ratio of about 2.55:1, and is enhanced for 16x9 televisions.

Being the first animated film produced in Widescreen CinemaScope, it certainly looks amazing.