While grain is evident in every shot, it's not a distraction for the most part, and
flesh tones seem pretty good — even the area around Martin's prosthesis, though the seams are generally more obvious in HiDef.
Not exact matches
Brown
seems unaware that the duality of Gnostic cosmology portrays the «
flesh» and its appetites consistently in derogatory
tones.
Saving Private Ryan has earned comparisons to Oliver Stone's Platoon for its revelations of torn
flesh and combat, but the whole film
seems somehow closer in overall
tone to Stanley Kubrick's Full Metal Jacket, a chilly study of Vietnam War absurdity, or even Joseph Heller's Catch - 22.
Skin
tones lack contrast in the opening scene, as though we're seeing digital
flesh, but it's an isolated incident; if the film continues to
seem a tad bland thereafter, with soft focus and drab colours, such is the nature of Thom Best's cinematography.