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.
Although it uses the same 1.81:1 anamorphic
widescreen transfer as before, the presentation doesn't look too dated.
Not exact matches
The 1.78:1 anamorphic
widescreen transfer is exactly
as the makers would want it to be.
As for Fox's Because of Winn - Dixie platter, it's a DVD - 10 containing 1.85:1 anamorphic
widescreen and flipside unmatted
transfers.
We received the NC - 17 disc for review (
as if the R release would receive coverage here), whose 1.85:1 anamorphic
widescreen transfer is unassumingly breathtaking, a smashing success in every conceivable way.
THE DVDs Released on DVD a few years back by DreamWorks in an «Awards Edition» now bundled
as part of Paramount's «Best Picture: Academy Award Winners Collection,» American Beauty is crying out for a fresh run through the telecine (there's a hair in a couple of frames), its 2.37:1 anamorphic
widescreen transfer conspicuously struck back in the nascence of the format.
The 1.78:1 16x9 - enhanced
widescreen transfer indeed dazzles and while the film's visuals aren't
as stunning
as some other CGI cartoons, they're easy on the eyes and filled with vivid, pleasing colors.
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.
THE DVDs Fox presents A Farewell to Arms and Francis of Assisi on DVD in glorious 2.35:1 anamorphic
widescreen transfers (the latter misidentified on the box art
as 1.85:1) that preserve their CinemaScope origins and, more, honour them with popping the colours and by saturating the screen with the curious sterility of the process.
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 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.
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.
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.
THE DVD DreamWorks presents Millennium Actress on DVD in a 1.78:1 anamorphic
widescreen transfer that is
as sharp and colourful
as the palette warrants, though edge enhancement does prove occasionally distracting.
While The Shaggy Dog took quite a bit longer than most films to land on disc, the wait seems acceptable,
as Walt's first all - out comedy is treated to a delightful
widescreen transfer and three worthwhile bonus features.
The 1.78:1 anamorphic
widescreen transfer is unremarkable and often soft, exposing the TV - cheap production values (perfect for the material,
as it happens), while the Dolby 2.0 stereo audio underutilizes the soundstage to the extreme.
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.
THE DVD Released by Fox in a DVD
transfer that can only be described
as low - rent and murky (excuses for this are perhaps provided by The Rats» origin
as a telefilm), shadow detail within the 1.78:1 anamorphic
widescreen image is incredibly soft and undefined.
Fox's 2.35:1 anamorphic
widescreen transfer of The Towering Inferno is every bit
as sophisticated
as their work on The Poseidon Adventure.
There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer
as well
as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely
transferred anamorphic
widescreen one.
It arrives in the same mold
as the two that preceded it, boasting a new
widescreen transfer, a Buddies - centric bonus feature, and an in - pack goodie.
Presented in a
widescreen video
transfer and Dolby Digital 5.1 audio soundtrack, the «Man on Fire» DVD includes two full - length audio commentary tracks (the first by director Tony Scott, and the other with producer Lucas Foster, screenwriter Brian Helgeland and star Dakota Fanning),
as well
as deleted scenes and an alternate ending (also featuring optional director commentary).
Had Anchor Bay held onto the DVD release rights to this film that they once had, we would have undoubtedly seen a 2.35:1
widescreen transfer, and there is no way it could look
as bad
as the pan & scan
transfer looks on this DVD.
THE DVD The DVD release of Antitrust is presented
as a sparkling, 16x9 - enhanced,
widescreen anamorphic
transfer at 2.35:1.
Immaculate is the word for the 2.35:1 anamorphic
widescreen transfer of Gone in Sixty Seconds proper, and the Dolby Digital 5.1 audio is
as aggro
as you'd expect for a picture that leaves a residue of testosterone in its wake.
Sporadic «jaggies» and some light banding aside, the 2.35:1 anamorphic
widescreen transfer of The Chumscrubber proper is impeccable, while the accompanying Dolby Digital 5.1 audio is quite playful, particularly whenever the titular post-apocalyptic superhero — yeah, there are a few desperate bids for cult status, but at least Thumbsucker's insufferable New York -
as - Shangri - La subtext is studiously avoided — rears his head.
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.
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.
You'd think all that would be enough to interest a U.S. distributor yet the 2007 release has gone straight to DVD three years later, in a decent 2.35:1 anamorphic
widescreen transfer with a trailer
as its only extra.
As hinted at earlier, the photography is rich, warm, and varied and the disc's 1.78:1 anamorphic
widescreen transfer preserves the visuals in all their glory.
Nonetheless, I did not spot compression issues on the
widescreen transfer and
as for the pan-and-scan version, well it was lacking, not purely from the packed disc but it probably suffered next to the previous release.
Though the 1.85:1 anamorphic
widescreen transfer of the film (full - frame version sold separately) starts out looking scuffed, the speckles clear up after the opening credits — but then edge - enhancement intrudes, and there's a bizarre lapse in quality during chapter 6, when intermittent shots lose so much definition
as to suggest second - generation VHS.
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).
The 1:85:1 anamorphic
widescreen transfer on Disc 2 for starters is the better option,
as it provides the original theatrical ratio and none of Disc 1's claustrophobia.
THE DVD Disney brings Teacher's Pet to DVD in a «family friendly» 1.66:1 anamorphic
widescreen transfer that preserves the film's theatrical aspect ratio, making me really pretty puzzled
as to what exactly is meant by «family friendly.»
THE DVD Artisan presents a more than adequate 1.85:1 anamorphic
widescreen transfer on DVD (
as well
as a 1.33:1 pan-and-scan on the same side of the platter) that belies the relatively low budget and production values of the film.
MGM's new Thelma & Louise: Special Edition boasts a brand - new 2.35:1 anamorphic
widescreen transfer that, with a few exceptions, is about
as good
as one might hope.
As for the soft, greyish 1.85:1 anamorphic widescreen transfer (a separate full - frame version is also available — be careful, as the two are differentiated on the back of the case rather than on the front), do not adjust your set: you're in Adrian Lyne territory no
As for the soft, greyish 1.85:1 anamorphic
widescreen transfer (a separate full - frame version is also available — be careful,
as the two are differentiated on the back of the case rather than on the front), do not adjust your set: you're in Adrian Lyne territory no
as the two are differentiated on the back of the case rather than on the front), do not adjust your set: you're in Adrian Lyne territory now.