Sentences with phrase «in anamorphic widescreen transfers»

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.

Vadim shoots it in earthy color and CinemaScope and the disc preserves both in an anamorphic widescreen transfer.

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.

The product of a time when Disney briefly dabbled in single aspect ratio releases, Tuck Everlasting was fortunate enough to be presented solely in an anamorphic widescreen transfer duplicating its 2.35:1 theatrical presentation.

Once again, Zodiac is presented in an anamorphic widescreen transfer that upholds the film's 2.35:1 theatrical aspect ratio.

Not exact matches

The Quality The anamorphic widescreen transfer looks fantastic with some bright, vivid color (especially in the jungle of Nool) and some impressive detail, with the opening shot being one of the most realistic pieces of computer animation I've ever seen.

Some minor grain is hardly noticeable in the highly pleasing 2.35:1 anamorphic widescreen transfer and the Dolby 5.1 soundtrack is aptly immersive throughout.

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 DVD by Bill Chambers Warner shepherds Happy Feet to DVD in a 2.40:1 anamorphic widescreen transfer.

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.

Laden with dull blacks and mild edge - enhancement, the «all - new digital» 2.35:1 anamorphic widescreen transfer fails to show off the capabilities of the format while representing a minor upgrade from the previous DVD in terms of saturation and reproduction of flesh tones.

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.

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 othein 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 otheIn on one side of a DVD and a fullscreen pan-and-scan version on the other.

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.

The movie looks great in its 2.35:1 anamorphic widescreen transfer.

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.

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.

We received the NC - 17 disc for review (as if the R release would receive coverage here), whose 1.85:1 anamorphic widescreen transfer is unassumingly breathtaking, a smashing success in every conceivable way.

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.

Letterboxed in anamorphic widescreen at 1.85:1, the transfer boasts acceptable contrast, plus better - than - average colour rendition for an HK title.

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 movie is transfered in anamorphic widescreen (1:1.85) and is available in English and French, with optional English, Spanish and French subtitles.

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.

I never found the 1.85:1 anamorphic widescreen transfer anything less than gratifying; occasional fluctuations in grain or contrast are both intended and motivated.

THE DVD Paramount's DVD release presents Donovan's Reef in a beautiful 1.85:1 anamorphic widescreen transfer that shows off William Clothier's (Cheyenne Autumn) stunning cinematography.

THE DVD Through Subversive Cinema, Absurda makes Eraserhead available for the first time outside of Lynch's website in a stunning 1.85:1 anamorphic widescreen transfer sourced from 2003's frame - by - frame restoration.

Found footage movies are supposed to look real, not great and Deborah Logan aspires to that with its jerky video that is capably but unremarkably presented in the DVD's 1.78:1 anamorphic widescreen transfer.

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.

The remastered 2.35:1 anamorphic widescreen transfer is beautiful and crisp (albeit still a bit edgy) while the audio, upgraded to DD 5.1 EX and 6.1 DTS - ES, is, in a compound word, fillings - shaking.

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.

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.

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.

The newly - struck 1.85:1 anamorphic widescreen transfer is bright and beautiful, however, with light edge - enhancement in a few early scenes fading admirably long about the evening picnic.

«95 % of all release titles will be anamorphic or widescreen, working from, in most cases, High Definition transfers,» Jamieson assured me.

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 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.

THE DVD Warner DVD presents Driven in a solid anamorphic widescreen (2.35:1) transfer that nevertheless isn't razor - sharp.

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.