Sentences with phrase «not anamorphic widescreen»

Not exact matches

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.

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.

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.

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.

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.

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!

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.

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.

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.

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.

The video transfer is in crisp 1.85:1 anamorphic widescreen while audio is provided in an excellent and immersive Dolby 5.1 English dub (and here my qualification of a «general» lack of a western bias comes into play) that is, nonetheless, inferior to the Japanese - language 2.0 surround track, which features the original vocal talent who have, not including this film, logged over twenty - six hours of finished time voicing these characters.

The odds certainly are in the film's favor that it will look and sound just dandy, but the anamorphic widescreen transfer (occasionally marred by artifacts) and subtle Dolby Digital 5.1 track here aren't indicative of what you'll get.

Last but not least are sixteen Deleted & Alternate Scenes (in anamorphic widescreen) with video introduction from Del Toro once again.

Let me say right off the bat, I was disappointed by the film's video quality; the 1.85:1 anamorphic widescreen image appears to have been derived from a PAL source, lending the picture a BBC feel that it does not have when excerpted for the documentary segment on the companion disc.

The 1.78:1 anamorphic widescreen video won't be mistaken for high definition, but it doesn't exhibit any difficulties within the limits of 720p.

Individual episodes sport brilliant video transfers that improve as the mythology progresses, of course, but are never shoddy besides, and though it's not noted anywhere on the packaging, the series switches from fullscreen to 1.78:1 anamorphic widescreen for the two episodes («Redux» and «Redux II») that close out «Black Oil», never to return.

While the DVD's 1.78:1 anamorphic widescreen presentation doesn't boast the detail of Blu - ray, it's solid for standard definition and suffers from no specific problems.

The anamorphic widescreen transfer of the feature film on disc one isn't quite so lovely as the packaging; the print exhibits some scratches and the subtitles (which, thankfully, are on the bottom black bar, so as to get a clearer view of the picture) have a strange tendency to sport quotation marks at random, but the flaws won't ruin one's enjoyment of the film.

The colorful but not oversaturated palette is perfectly displayed in this completely satisfying 2.35:1 anamorphic widescreen presentation, which matches the aspect ratio of its cinematic presentation.

VIDEO AND AUDIO The film is presented in 1.85:1 anamorphic widescreen, and while it might not always mean much, THX has given its Certification.

The Strongest Man in the World is presented in fullscreen, and as its predecessor Now You See Him, Now You Don't is anamorphic widescreen on DVD, you reach the conclusion that this is not the original aspect ratio.

Tropic Thunder won't fill any screens with its 2.35:1 anamorphic widescreen presentation matching theatrical dimensions.

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).

Next to other contemporary fantasy films, the visuals aren't overly stylized, but the clean, sharp 2.35:1 anamorphic widescreen transfer allows one to easily marvel at them.

The first DVD did not have an anamorphic widescreen transfer and there were no extra features, despite the fact that an extras - laden laserdisc had been released in the past.

THE DVD by Bill Chambers Sony, er, shepherds Don't Come Knocking to DVD in a 2.37:1 anamorphic widescreen transfer as painterly as the film being rendered.