![]() Of course, a good movie is about visuals as well as audio, and the ezFrame delivers when it comes to sound as well. When it comes to design, a black velvet frame around the mount gives it an upscale and glamorous look. ![]() When watching films, the color reproduction is accurate and vibrant, thanks to the white matte surface of the screen. The ezFrame is easy to set up in minutes, with a toolkit conveniently included. With hope, a release date, and a longer trailer, with some actual footage from the film, will come shortly to help ease the wait.It’s one of the best overall choices, for good reason-the Elite Screens 135-Inch ezFrame has a huge screen and a 16:9 widescreen ratio for that full move experience. It is indeed a tease but an effective one, as film buffs are sure to eat up every word in anticipation. The highly anticipated Lynch/Oz is set to be theatrically distributed by Janus Films in North America but does not yet have a release date, so this all-too-brief preview will just have to do for now. Joining Nicholson, Waters, and Ascher, whose documentary Room 237 also resides in the movies about movies genre, to talk about Lynch and the world of Dorothy, and the Munchkins in Philippe’s film, are such luminaries as directors Justin Benson ( Loki, Moon Knight), Karyn Kusama ( Jennifer’s Body, Destroyer), and cinematographer Aaron Moorhead ( V/H/S Viral, Synchronic). ![]() Filtering The Wizard of Oz through the lens of David Lynch, Phillippe and his guests find those energies in close proximity to each other, using two deceptively different visions of America to suggest that our dreams and nightmares have never been as far apart as they seem.” In one of the few reviews of the film that has so far been posted, from its premiere at the 2022 Tribeca Film Festival, IndieWire critic David Ehrlich wrote that “ Lynch/Oz is at its best when it’s at its most illustrative - spiking familiar clips with new context, or arranging side-by-side comparisons that hear uncanny echoes between Victor Fleming’s family classic and David Lynch’s most haunted work. Related: The Wizard of Oz: The Real Story of the Famous Production The run of disembodied voices begins with Variety, and KPCC Film Week critic Amy Nicholson, who states, “I do see the story of The Wizard of Oz as the story of David Lynch himself becoming a filmmaker.” Text next to a close-up shot of a microphone on the theater’s stage tells us that Rolling Stone says that this is “A must for film nerds.” Then we hear cult sensation filmmaker John Waters put forth that, “David has gone over the rainbow from the very first film ever, he lives in a different reality than you or I do, and that’s quite obvious.” The interior of this unidentified theater is where the rest of the trailer remains for the duration of its one-and-a-half-minute running time, the camera panning around thoroughly as we hear testimonials from the film’s interviewees. Related: Exploring David Lynch's Strange and Compelling WorldĪfter we see seals for the films nomination and selection by the BFI London Film and the Tribeca Film Festivals, we’re taken inside a grand old movie palace with an elaborate chandelier and lavish curtains, which bring to mind the velvet ambiance of the Red Room in Lynch’s cult classic television series, Twin Peaks. “Toto, I have a feeling that we’re not on Mulholland Drive anymore…” announces white italicized words in the middle of a black screen as ominous white noise hums in the background (suitably like from a Lynch film itself) to kick off the trailer.
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