Sentences with phrase «sound quality of the film»

The sound quality of the film was as good as an old record; classic, full, sketchy at times, but also pleasing to the ear, affording that you enjoy a bit of jazz.

That means buying multiple versions if you want to get all the bells and whistles: a shameless marketing ploy that taints the otherwise sterling picture and sound quality of the film itself.

Not exact matches

The vast collection of sources is what makes the film, despite the bafflingly poor sound quality of some of the interviews, as it provides colourful detail to what would otherwise be a straightforward history of social tumult.

Obviously a cold war parable, the film arguably has as its best quality its sound design, which finds through an ominous thrum of silence a rattlesnake rattle in the noise the baddies produce once they finally emerge from their smouldering crater.

As with almost any new feature, the image and sound quality of the eventual home video release was certainly on Saulnier's mind as he created the film.

The otherworldly quality to the mind - boggling visuals aside, Legend looks like a recent film — sounds it, too, in Dolby Digital and DTS 5.1 configurations that immerse you in bucolic exteriors and fire - and - brimstone interiors of constant ambience.

Linguistically speaking, Nuri Bilge Ceylan's new film could have been called Hibernation, but Winter Sleep not only sounds better, it captures the dreamy quality of the veteran filmmaker's Palme d'Or winner without conjuring images of snoozing grizzlies.

Since the film was completed less than a year ago, it's not much of a surprise that the sound quality is without complaints.

Paramount gives this influential film a highly satisfying 25th anniversary Blu - ray that wins you over with great picture and sound plus a hearty supply of high quality extras.

Disc 2 only holds the aforementioned 1.85:1 and 1.33:1 alternate presentations of the film, each provided with the same 1.0 LPCM and 5.1 DTS - HD MA sound options, English subtitles, and sterling quality.

The «organic» quality of the sound work also bled into the film's score: Bigelow hadn't originally planned to have music in the film, but when that idea changed, Ottosson and composer Marco Beltrami («3:10 to Yuma») worked together to blur the line between sound and music.

Unusually clean sound quality, though soundtrack album contains more complete versions of cues heavily edited in film's final mix.

The latest version of the film's release which I picked up in Blu - Ray format didn't really add to the films initial quality including added clarity or sound as portions of the film still remained a bit grainy and the sound a touch on the tinny side however I found those minuet short coming only added to the films appeal as it was a bit reminiscent of the worn out VHS rental cassettes of the mid / late 80's.

Since this is a new release of a contemporary film, the image and sound quality are top - notch.

If McConaughey's role sounds familiar, it should — he is playing no more than a variation on his starmaking role in A Time to Kill, which just adds to the routine quality of the courtroom scenes, which are the meat and potatoes of the film.

Sound quality is flat - out outstanding — this film goes loud - quiet - loud, like a Pixies song, with exceptional dynamic range, very little noise, and thunderous overtones when the sounds of Amadou's percussion band are blasting urgently from all channels.

Paramount's Blu - ray combo pack offers some of the finest picture and sound quality you'll find on the format plus a solid collection of entertaining and informative bonus features highlighted by a winning documentary, an enjoyable animal featurette, and deleted / extended scenes viewable on their own or as part of the film.

These visual properties combine with other elements like the evocative sound design and carefully detailed locations to generate what is perhaps the film's most exceptional quality: a true sense of being somewhere — with actual people in actual places, whether they be as loudly wide - open as a rock band's studio loft show or as comfortably intimate as a suburban basement - turned - practice - space.

It's an efficiently made film made by consummate professionals, and for a night of quality sights, sounds, and good performances, the price of the rental should be well worth it.

The 70s exploitation - film spoof Black Dynamite sounds like a fun idea on paper, and it starts to look like a can't - miss proposition when you see the theatrical trailer, which showcases the technical qualities of this loving pastiche.

In certain moments, the audio quality can sound a bit scratchy, which is distracting from enjoying the other aesthetics of the film.

I sound like a broken record lately when it comes to Disney films, but then Disney films seem to have the same repeating qualities of a broken record.

The Polar Express is a worthwhile view, although this is one of those films that probably stands up better when watching it on a big screen with quality surround sound rather than a small monaural television set.

This doesn't necessarily mean he was always ahead of his time: one of the best things about Eyes Wide Shut — evident in such artisanal qualities as the old - fashioned sound track, the grainy photography, and the exquisite color balances (such as the dark blue lighting of a bathroom behind one of Kidman's monologues)-- is that it isn't a film of the 90s in most respects but something closer to what movies at their best used to be.

The dialogue feels a little lean and tinny at times, but otherwise, the sound quality is very strong, bursting to life on the film's thought - out soundtrack selections from David Bowie and Seu Jorge's Portuguese covers of him to Devo and Sigur Rós.

In fact, the Mk 416 Sennheiser is a preferred mic not only among professional voice - over narrators but among independent film / video makers as well, because of its sound - limiting quality.

Call quality sounded fine from the phone's speaker and the dual loudspeakers at the bottom of the phone weren't too shabby either, with the option of a virtual surround sound effect for films, games and music.

Audio is something long looked over by all except the die - hards, but now we're finally starting to see some appreciation for sound with digital streaming companies slowly but surely abandoning the horribly low quality 256kbps compression methods, while the introduction of Blu - ray and now 4k Blu - ray discs has resulted in a marked improvement for films and games.

20 Challenge runs 450 + items, including 160 new unlockables Uber secrets 10 Playable Characters 100 + enemies with new designs Over 50 bosses, including tons of new and rare bosses Mystic Runes Upgradeable shops Integrated controller support for popular control pads Analog directional movement and speed Tons of feature film quality animated endings Over 100 specialized seeds 2 - Player local co-op Over 100 co-op characters Dynamic lighting, visual effects, and art direction All - new game engine @ 60 FPS 24/7 All - new soundtrack and sound design Multiple Save slots A bunch of achievements

The quality of the voice work varies greatly, with many peripheral characters playing to the camera like exaggerated horror film stereotypes but Crane's solid vocal performance and the high quality of the soundtrack and the environmental sounds more than makes up for this minor niggle.

Beloufa overlaid the audio with tonal sounds and inserted images of a tall watchtower beaming light into the night sky between scenes, underscoring the dystopian science - fiction quality of the film.

He has made nine feature length films and over one - hundred and thirty short films including Tonsler Park (2017), The Island of Saint Matthews (2013), Erie (2010), Quality Control (2011), Ten Five in the Grass (2012), Ears, Nose and Throat (2016), Spicebush (2005), Stone (2013), Pictures From Dorothy (2004), Century (2013), Fe26 (2014), Sound That 20014), Sugarcoated Arsenic (2013) with Claudrena Harold, Emergency Needs (2007) and the eight - hour long film Park Lanes (2015).

Featuring a major new sound and video installation and a large - scale drawing project by Anri Sala, the exhibition Take Over addresses central themes in Anri Sala's oeuvre, exploring the relationships between music and narrative, architecture and film and interleaving qualities of different media in both complex and intuitive ways to produce works in which one medium takes on the qualities of another.

Featuring a major new sound and video installation and a large - scale drawing project, the exhibition addresses central themes in Anri Sala's oeuvre, exploring the relationships between music and narrative, architecture and film and interleaving qualities of different media in both complex and intuitive ways to produce works in which one medium takes on the qualities of another.