Sentences with phrase «visual quality of the film»

If hasty reshoots were ordered, however, that would explain the noticeable drop in visual quality of the film too.

Tavernier's own adolescent obsession with the films of Jacques Becker gets the movie off to a choppy start, but the variety of inspirations (not to mention the visual quality of the film clips) is astonishing.

Not exact matches

That same kind of raw energy can also be felt in the film's visual look, as cinematographer Salvatore Totino brings an uneasy quality to the wide open spaces of the old west.

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 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.

In spite of the visual splendor Storaro provides, his images are, like Winslet's performance, inevitably hollow when taking into account the lack of quality every other facet of this film provides.

However, the quality of the visuals does not remain consistent throughout the film.

Enrico is clearly a personal filmmaker — he returns obsessively to themes of time and memory, images of families and homes shattered in the most terrible, irreparable ways — but all his films after Au coeur de la vie... and Zita fail of deftness and suggestibility as visual experiences, being all but indistinguishable from the hackwork of other commercial French filmmakers typified at their best by the «Tradition of Quality» boys.

If I ask a movie buff what he or she expects from The Criterion Collection, I'll probably hear talk about an excellently crafted, artfully made film released with a high standard of audio / visual quality and a handful of in - depth special features.

This special effects dominated sequel spent most of its budget on the visuals, with not much left for basic things like a quality script or even the ability to retain the mostly no - name actors from the first film, with only Robin Shou (Beverly Hills Ninja) and Talisa Soto (License to Kill) reprising their roles.

But what ultimately elevates the film above the ordinary is its extravagant visual imagination — a quality perhaps to be expected given the participation, in addition to Joyce, of executive producer Guillermo del Toro and «visual consultant» Roger Deakins.

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.

What attracted critical minds like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the risk - averse, respectable, and ultimately neutered «cinema of quality» — was the stamp of the personal and the element of danger they discerned in his films, whether that meant the improvisatory handling of actors with a touch deft enough to coax remarkable performances out of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeal.

No matter how close a video transfer gets to the visual qualities of a projected film — and a good transfer to Blu - ray can get very close indeed — a video image is not a film image.

, director Ryan Coogler's first film (itself also starring Michael B. Jordan), but this is a huge step up for him, but in terms of storytelling quality and visual splendor.

Video: Once you get past a grainier introduction and the fictional part of the film begins, the visual quality is nothing short of superb.

He had been a gamer for many years when he noticed the games industry was hiring talents from the film industry and recognized they had caught up with films in terms of visual quality and storytelling.

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

Cementing Square Enix's trademark eye for visual presentation, Dream Drop Distance also features a stellar soundtrack with rearranged and remastered tracks from other Disney films as well as the high quality of composition that we have come to expect from the franchise.

The earlier PS3 entries of the series were likened to Pixar films with their visual quality, which was no small praise, but Ratchet & Clank: All 4 one, whilst often an appealing looking game, doesn't manage to equal this.

Projects include workshops, seminars, discussions, exhibitions, and presentations that contribute to the formation of artists and the general public through high quality proposals coming from visual arts, photography, film, dance, and performance.

The jagged edges of the looping forms position digital visuals between film and still image, capturing essential qualities of their abstraction and beauty.

Shot on grainy black and white film, the visual qualities of The Girl Chewing Gum relate nicely to the graphic, high - contrast, typographically - oriented photographs of Shannon Ebner, despite being exhibited at venues in different neighborhoods in Berlin.

The films coincide, at the mid-point in terms of time, with the tragic murder scene, and the visual doubling this produces lends an extremely monumental quality; the extreme deceleration of events and the lack of an acoustic give the individual image a directness that has a dramatic effect on our perceptions.

Doig's paintings, through their visual play of impasto and glazes, conjure the cinematic quality of a vintage film reel and the nostalgic glow of memory.

Licensing deals with multiple studios and cable channels like Starz gave Netflix a wide selection of films and TV shows that made it seem like an unparalleled bargain for consumers, particularly as broadband speeds increased across the United States, and the quality of streaming caught up to the visual potential of high - definition TVs.