Sentences with phrase «not anamorphic»

The menus are an enjoyable rotating diorama of the film, and upon first inserting the disc, viewers will encounter a new Fox promo that is too long and not anamorphic enough, but at least a) it's in 5.1, and, b) it can be aborted with a click of the chapter button.

, and this isn't an anamorphic transfer either.

Not exact matches

It wasn't just the anamorphic dimensions (full16x9 stills) but the glass was really flattering too.

Shot entirely on an iPhone (though you wouldn't necessarily guess that by looking at it, as director Sean Baker outfitted his phone with an anamorphic lens adapter), this gleefully hyperactive Sundance favorite observes the odyssey of two transgender sex workers — played by actual transgender actors, refreshingly — who are angrily looking for a cheating pimp.

Sufficed to say I'm not going to assess the 2.35:1 anamorphic widescreen transfer because I have no idea what consumers are getting for their ill - spent cash, though I can confirm that the DD 5.1 audio is suitably loud, with lots of rear - atmospherics that almost, almost get your heart pumping.

Still, I've seen worse: while the 2.42:1 anamorphic widescreen presentation is unnecessarily gritty and choppy, it's not the sandpaper to the eyes that Unaccompanied Minors was.

I told them, «These frames and references are probably not yours, but I only want to do it if I can shoot in anamorphic 35 mm, in Athens, Georgia, where I'm from, and with these actors»... and they embraced all of it.

2003 doesn't seem that long ago to me, but The Station Agent looks its age and then some in Echo Bridge's unremarkable 1.85:1 anamorphic widescreen DVD presentation.

Its stunning 2.35:1 anamorphic presentation, supervised by Cundey, does for this film exactly what the Cundey - approved transfer of The Fog did for that film: it resurrects it, transforming a marginal not - recommend in the case of Cimber's film into a marginal recommend based on the strength of Cundey's gorgeous cinematography.

Exterminators (and the official title is just that, not ExTerminators as the packaging calls it nor Ex Terminators as the menu does) appears in 1.85:1 anamorphic widescreen.

The film itself sports a handsome 1.85:1 anamorphic video transfer that seems a little soft and grainy, but for what it's worth, I didn't mind that, as it preserved something of a filmic quality.

All of these are presented in anamorphic widescreen, but only Dolby Surround, not 5.1.

Super Sleuth Christmas Movie is presented in 1.78:1 anamorphic widescreen, slightly wider than the series» and standard TVs» dimensions but not wide enough for the package to avoid designating it «family - friendly widescreen.»

Last but not least, seven deleted / extended scenes, presented in the New Line house style (i.e. anamorphic widescreen, DD 5.1), include optional commentary from Scott.

The 2.40:1 anamorphic widescreen transfer is a disciplined rendering of volatile elements, as evidenced by the «control group» of those two or three shots that don't induce seizures.

That last point is particularly important, because although it's easy to admire Tarantino's bravura storytelling — not to mention his moxie in resurrecting a large - format anamorphic film process that's been dead for 50 years — the schematic structure and derivative narrative he employs makes The Hateful Eight about as nuanced as bloody bootprints in the snow.

Detail is very sharp in the 2.35:1 anamorphic transfer, though colours are on the muted side and there's a big blotch of red during one dissolve that isn't endemic to either shot.

I'm slightly, pleasantly surprised by the fact that Christmas Special is presented in 1.78:1 anamorphic widescreen, as that wasn't yet a given for Comedy Central in 2008 (see A Colbert Christmas).

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.

«The Hateful Eight»: The race is partly a large - format wilderness shootout because three - time Oscar winner Robert Richardson literally stumbled upon Ultra Panavision 70 anamorphic lenses that hadn't been used in 50 years.

Although it uses the same 1.81:1 anamorphic widescreen transfer as before, the presentation doesn't look too dated.

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.

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 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.

GHOST IN THE SHELL Blu - ray ™ + Digital HD Street Date: March 14, 2017 Pre-book: February 8, 2017 Catalog #: BD64909 UPC: 013132649092 Run Time: 82 Minutes Rating: Not Rated SRP: $ 34.99 Format: English: Dolby 5.1 DTS - HD Aspect Ratio: Anamorphic Widescreen 1:78:1 g Audio: Subtitles: English, Japanese

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.

Wild Hearts Can't Be Broken is presented not in anamorphic widescreen like it was in the parts of the world where it was released to DVD first, but in a reformatted 1.33:1 fullscreen transfer as it was for its Disney Movie Club DVD debut last year.

Buy the Wild Hearts Can't Be Broken Region 2 DVD from Amazon.co.uk 1.85:1 Anamorphic Widescreen, Dolby Surround PAL Format, English language, English subtitles

THE DVD - X-MEN 1.5 I hate to start off this review pissing and moaning, but in preparing the latest DVD release of X-Men, incomprehensibly titled X-Men 1.5, why didn't Fox remaster the deleted scenes — which, as with the previous disc, you can restore to the film via seamless branching — in anamorphic widescreen and 5.1 sound?

The 1.80:1 anamorphic widescreen presentation exhibits some combing, though it's not especially pronounced unless you step through the film frame - by - frame and no other authoring artifacts are detectable.

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!».

The 2.40:1 anamorphic widescreen video isn't the sharpest or most detailed, but that's a low - budget comedy in standard definition from a small studio for you.

Turtle Power is treated to 1.78:1 anamorphic widescreen picture and full Dolby Digital 5.1 sound, things it's easy to imagine a smaller studio not giving it.

The following Disney DVDs offer only reformatted fullscreen transfers: - Lt. Robin Crusoe, U.S.N. - The Million Dollar Duck - The Barefoot Executive - Benji, the Hunted (Disney Movie Club exclusive; 1.85:1 non-anamorphic widescreen in Region 2 - UK, Germany)- Wild Hearts Can't Be Broken (Disney Movie Club exclusive; 1.85:1 anamorphic widescreen in Region 2 - UK, Germany)- The One and Only, Genuine, Original Family Band - No Deposit, No Return - Herbie Goes to Monte Carlo (1.66:1 non-anamorphic widescreen in Region 2 - UK, France, Germany and Region 4 - Australia)- Herbie Goes Bananas - The Strongest Man in the World - Son of Flubber - The Gnome - Mobile - Miracle of the White Stallions - Night Crossing - Follow Me, Boys!

The film itself receives a welcome (though short of excellent) anamorphic transfer and a solid (but not the most dynamic) audio presentation.

One doesn't expect much from a 20 - year - old Roger Corman movie, but this 1.78:1 anamorphic transfer looks surprisingly good.

And let's not forget the all - important audio - visual stats... Anamorphic Widescreen 1.78:1 and Dolby Digital Stereo.

Back to the DVD: As usual, the GKids package includes a DVD disc that offers the film in 1.85:1 anamorphic widescreen SD, with Dolby Digital 5.1 audio (but not lossless) in dubbed English, the original Japanese, and French, with optional English SDH dubtitles, English translation for the original Japanese version, and French.

There isn't any black crush, per se, yet dynamic range is lacking in midtones, while some subtle smearing of detail could be the by - product of slight gatefloat — although any softness is most likely attributable to the picture's anamorphic lensing.

The package also includes a DVD disc that offers the film in 1.85:1 anamorphic widescreen SD, with Dolby Digital 5.1 audio (but not lossless) in dubbed English, the original Japanese, and French, with optional English SDH dubtitles, English translation for the original Japanese version, and French.

Yes, it's been out before in both original and Mystery Science Theater 3000 versions, but this is a well - mastered anamorphic version of a film that doesn't normally get much respect.

THE DVDs Red Dawn drops onto DVD in a two - disc «Collector's Edition» sporting a nifty 1.87:1 anamorphic widescreen transfer that frees the picture of the excess grain found in previous home video incarnations but doesn't do much to animate what is frankly a flat - looking film.

THE DVD Warner presents Curly Sue on DVD in a 1.85:1 anamorphic widescreen transfer that suggests the studio didn't put every care and effort into this title.

Boasting may not be the appropriate word: the 1.85:1 anamorphic widescreen image is of poor contrast and shadow detail, and thanks to a fairly consistent ghosting effect, many shots appear to have been sourced from VHS.

Best - case scenario: Shot using anamorphic lenses that haven't been used since the»60s and with an original score by Ennio Morricone, The Hateful Eight could see Tarantino surpass his usual exploitation influences and make an old - fashioned Western epic worthy of Sergio Leone.

The 1.78:1 anamorphic widescreen picture and Dolby Digital 5.1 sound don't have the impact of feature films» or Blu - ray, but they warrant no complaints.

Still, the show looks good enough in this DVD's 1.78:1 anamorphic widescreen presentation, if clearly not as good as it does in HD broadcasts.

Bordwell points out that the Japanese influence is only one factor in the style of the films, so although they were often shot with the same Tohoscope anamorphic lenses that Akira Kurosawa was using in Japan, Shawscope films don't look exactly the same as their Japanese counterparts.