Sentences with phrase «widescreen films»

The two also give some background info Hemmings, star Contouri (who ultimately retired from acting after a brief stay in Hollywood), the excellent locations at an artist colony and dairy refinery, plus a funny explanation about why Aussies shoot such striking 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.»

With a few exceptions, most studios haven't compromised widescreen films» intended visions on DVD in quite a while,

The earlier films are classic widescreen films and are given a solid Blu - ray treatment.

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

The widescreen film is unrated.

On Blu - ray, though, I can't think of a single instance where a widescreen film has been treated to a 1.33:1 presentation.

The first allen widescreen film 5.

A Storyboard comparison synchronizes production drawings to the brutal murders of two sailors on a drifting trawler as the Fog begins to approach Antonio Bay, with the former at the screen top, and the widescreen film filling the screen's bottom half.

Not only will they NOT fill the screens of a widescreen TV, but had the widescreen film been presented in its original ratio, it likely WOULD, and you'd be seeing the whole film as it was created and meant to be seen.)

Crosby notes that Japanese exhibitors embraced CinemaScope well before the production of the first Japanese anamorphic widescreen film, but the influence was more than just technological, as the style of Hollywood widescreen films influenced Japanese widescreen aesthetics.

After Niagara, Gentlemen Prefer Blondes, and How to Marry a Millionaire, Twentieth Century Fox cast Marilyn Monroe as a saloon singer and assigned Otto Preminger to direct his first Western and first widescreen film.

Not exact matches

Mark Greene reviews Avatar, the 3D movie leading cinema's fightback against widescreen TV Few films have been more widely anticipated; very few films...

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.

To really truly appreciate this classic movie it is best to see this in the «widescreen» format (Originally filmed in widescreen Cinemascope and Breathtaking Color).

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.

I was drawn to the latter view, drawn in by the film's colorful widescreen imagery, and Cave's Shakespearian dictation echoing over the film.

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.

The final supplement on Disc 1 is a rather cool easter egg — the film's groundbreaking original Theatrical Trailer, presented in anamorphic widescreen.

Cinematographer Mihai Malaimare Jr. films in luscious widescreen monochrome that looks almost wet.

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

The widescreen version is delivered in the film's original 1.85:1 widescreen ratio, enhanced at 16:9.

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.

Presented windowboxed in 1.65 anamorphic widescreen *, the film looks exactly like it did in theatres, all but confirming that the transfer was sourced from the 35 mm blow - up (Vincent Gallo's viewing preference) rather than the Super16 negative.

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.

KEY: 1.33:1 - 4 x 3 Fullscreen; 1.66:1, 1.77:1, 1.78:1, 1.85:1, 2.35:1, 2.55:1 - Widescreen aspect ratios; Pan & Scan (p & s)- movie is modified to fill 4:3 TV screen; DD 5.1 - Dolby Digital 5.1; DTS 5.1 - Digital Theater Surround Sound; DD 2.0 - Dolby 2 - Channel Surround or Stereo SRP - Suggested Retail Price; TBA - To Be Announced; OAR - Original Aspect Ratio (DVD preserves the ratio the film was created for)

The Blu - ray presents the film uncompromised in its intended 2.40:1 widescreen aspect ratio.

Warner Brothers Blu - ray presents the film in widescreen (1.78:1) and in Dolby Digital 5.1 TrueHD.

The Blu - ray reflects the film's high enough production values, with the sharp 2.40:1 widescreen transfer and potent 5.1 DTS - HD master audio sound mix both satisfying completely.

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 film is presented widescreen (2.35:1) and in DTS - HD 5.1 master audio.

Twentieth Century Fox presents the film on Blu - ray in widescreen (2.35:1) and in DTS 5.1 HD audio.

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.

Both films are presented on DVD in standard definition with a 1.66:1 full frame (original Highways) and an anamorphically enhanced 1.78:1 widescreen aspect ratio (revisited) and with lossy Dolby Digital 2.0 Stereo audio tracks.