The album's widescreen production values – courtesy of money men such as Labrinth and mainstay Al Shux – underline the great leaps forward Drew has made since his early records.
However, all the right ingredients are in place: robustly-strummed Spanish guitar, bright bursts of Mariachi horns, widescreen production, and Nick Urata's yearning, soaring vocals, so it's still a cut above most epic global-influenced rock.
Where black bars normally appear on a 4 3 (full screen) television showing a widescreen production, footage is displayed of curtains moving in the background.
Kelly's warped sense of humour was matched by great production values, beautiful widescreen cinematography, and a soundtrack that didn't default to generic orchestral washes or feel like it had been drafted in from a Now That's What I Call Landfill Indie compilation.
Both starred the larger-than-life barnstorming aesthete Vincent Price and had literate scripts (the work of pulp writer Richard Matheson, author of Spielberg's Duel), handsome sets (production designer Daniel Haller) and widescreen colour photography (veteran Floyd Crosby, who'd won an Oscar in 1931 for Murnau's Tabu).
Drowned in Sound describes it as similar to Guerrilla with "Beach Boys-esque psychedelic pop... put to techno undertones" while the NME has called Rings Around the World an "expensive, glossy production... lush and widescreen" and suggested that it "reaches for an effect so modern that at times it sounds like it could've been made in the '80s".
Cinematographer Natasha Braier and production designer Jo Ford evoke a widescreen vista of aridity and fuggy light, of sand, scrub and knackered metal; the fugitives' hideout is a grey dive redolent of unwashed vests and old men's armpits.
In the early days, her music was dubbed "bedroom pop" for its DIY production, but here her feelings are in widescreen, expansive at the same time as being intimate.
Scott's characteristic obsessiveness over period detail and his consummate sense of production design and art direction on an epic, widescreen scale are all fully in evidence.
The Mickey Mouse, Pluto, and Goofy shorts had all ceased regular production by 1953, with Donald Duck and Humphrey continuing and converting to widescreen CinemaScope before also being discontinued in 1956.
The "golden age of television" has seen series with cinematic production value, including A-list actors, gorgeous cinematography, big budgets, and even widescreen aspect ratios.
