Sentences with phrase «of widescreen films»

(While it is acceptable for films created in the Academy Ratio to not fill a widescreen TV, think of how ridiculous it is for Disney to release Pan & Scan DVDs of widescreen films, which are labeled as «Fullscreen.»

Millennium has cropped the remainder and majority of this widescreen film to a 16:9 screen - filling ratio.

Not exact matches

Because high - density CDs store up to 10 times more digital data, they can carry a whole feature film with widescreen movie - style pictures and six tracks of stereo or multilingual sound.

But that, of course, is problematic on home video, and it was quite apparent to those who saw the film in cinemas that the original widescreen transfer of Se7en did not accurately recreate the intended look, mood or intention of the film.

The film is aping the look of documentaries, CCTV footage, etc — none of that is shot in theatrical widescreen.

Video: With an aspect ratio of 2.40:1 Anamorphic Widescreen, the video quality of the film is higher than the time period of the action allows it to appear.

Presented in 1080p high definition with a widescreen aspect ratio of 2.40:1 and a crystal clear DTS - HD MA (Master Audio) lossless 5.1 track, the film looks and sounds fantastic on Blu - ray disc.

I can't say, therefore, that the book is better than the film or vice versa, but given the vistas captured by Caroline Champetier in widescreen lensing, we get at least as good an idea what of farm like was like in Europe during the early part of the 20th Century.

Presented in 1080p high definition and a widescreen aspect ratio of 1.85:1, the film is mastered in a lossless DTS - HD Master Audio 5.1 mix that sounds crisp and clear throughout.

Kino Lorber's DVD edition of The Strongest Man gives the film a good visual presentation in letterboxed 2.35:1 anamorphic widescreen.

Note: Since this film was made before widescreen was commonly used, you will see black bars on the left and right side of the image, if viewing on a 16x9 TV or video projector.

Filmed with widescreen grandeur on the Pine Ridge Reservation in South Dakota, The Rider reinvigorates tropes from the western genre of men, horses, honor codes and vast expanses of nature with a refreshing lack of sentimentality, without sacrificing their inherent lyricism and poetry.

Ryan Kernaghan's clean, handsome widescreen lensing is the outstanding element in a solidly assembled film, in which the most notable musical backing consists of various country and folk oldies that reflect generally nondescript nice - guy Donal's personal tastes.

This widescreen transfer of Amour, retaining the film's original theatrical aspect ratio of 1.85:1, is excellent.

Tarantino, who began the film in black and white before switching to color, plays with formats here, too; to suggest the claustrophobia of being buried, he shows The Bride inside her wooden casket, and as clods of earth rain down on the lid, he switches from widescreen to the classic 4x3 screen ratio.

The film looks spectacular on Blu - ray and the widescreen presentation just makes sweeping glances of the varied sea and jungle horizons.

Pollack talks about why he used fullscreen format on many of his past films, why widescreen is better, etc..

Many of the live action films in Disney's catalog have been subjected to a compromised presentation on DVD; they were filmed for widescreen exhibition, the DVDs reformat them for 4x3 television dimensions.

THE DVD Universal's DVD release features a sharp 1.85:1 anamorphic widescreen presentation of the film featuring a minimum of grain and edge enhancements and superior contrast.

THE DVD For all the weaknesses of the film, Warner DVD's beautiful 1.78:1 anamorphic widescreen presentation of American Outlaws is a showcase piece for its audio / visual transfer.

Verbinski certainly did his western - movie homework, for outside of all the rootin» - tootin» Rube Goldbergian action scenes, the director consciously evokes John Ford with his widescreen vistas of sun - baked deserts (on - location shooting took place in Utah, Texas, and beyond), and his nod to films like The Searchers with scenes of near - helpless families under attack in the wilderness.

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.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

The DVD has a short feature on the making of the film, which was created with off - the - shelf software as a sort of low - rent counterpart to the computer animation applied in fellow nominees «Shrek» and «Monsters, Inc.» The disc also has two music videos, a dozen promotional TV spots, seven games playable on computer DVD - ROM drives and full - screen and widescreen versions of the film.

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 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 is presented on standard definition DVD with a 1.85:1 widescreen aspect ratio and a 2.0 lossy Dolby Digital Stereo track, both of which are up to standards with expectations of the format.

As with the earlier edition, both films are presented in anamorphic widescreen at the original aspect ratio of 2.35:1.

Presented in black and white 1080p high definition on Blu - ray with a widescreen aspect ratio of 1.78:1 (original aspect ratio was 1.85:1) and a remastered DTS - HD MA (Master Audio) 2.0 Mono lossless sound mix, the film looks better than previous releases but isn't as sharp as expected.

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.

While I no doubt have been spoiled by regular exposure to excellent Blu - ray transfers, the 1.85:1 anamorphic widescreen presentation of Swimming to Cambodia seems a tad disappointing even for a standard definition release of a low - budget 25 - year - old experimental film.

Presented in a widescreen 2.35:1 video transfer and a Dolby Digital 5.1 audio track, the director's cut of «Daredevil» is a completely different film for the better.

Though the film was projected at IMAX venues in 3 - D, it's offered in 2 - D only for the home viewing audience, and the 1.78:1 anamorphic widescreen image is consistently good in the face of a mélange of source media — note that the longer version relies more heavily on video - based footage originated by the MIR's electronic eyes.

THE DVD Anchor Bay's 1.66:1 anamorphic widescreen DVD presentation of Link looks as bright and bouncy as a badly - filmed piece of schlock can.

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.

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.

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 1.66 anamorphic widescreen transfer is, then, wholly at the service of the film, which is as it should be, while the German DD 2.0 mono audio is similarly fulsome, replicating Popol Vuh's hallucinogenic score with fidelity.

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.

Cabin Fever itself quickly subverts expectations for something grainy and incompetent — the film so belies its low - budget origins (and influences) that it may have distorted my perception of the 2.35:1 anamorphic widescreen image, but I believe it to be above reproach, with striking contrast, hairline detail, and well - modulated saturation.

The 1:85 aspect ratio has been shaved to fit the 16 × 9 widescreen format and the mastering is weak, with unstable, noisy colors and hazy resolution, adequate for a bargain - priced film but not worthy of the beauty of John Huston's swan song.

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.

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.

Warner's DVD version of McCabe & Mrs. Miller is unfortunately something of a disappointment in the technical department: the 2.35:1 anamorphic widescreen image is too black for a film that was pre-exposed in order to decrease contrast, while digital video noise reduction looks like it was rather severely applied to the intentionally gritty images, resulting in a general lack of detail.

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.