Sentences with phrase «beautiful cinematography in»

Beautiful cinematography in some exquisite English countryside adds to the heartfelt emotional story.

The beautiful cinematography in this culinary drama makes breaking eggs look like a work of art.

Not exact matches

Which means that somehow director Matt Reeves (Cloverfield, 10 Cloverfield Lane) keeps the audience gripped in suspense for nearly two and a half hours largely with facial expressions, minimal dialogue, a sparse but hard - hitting score, and stunningly beautiful cinematography.

But once you are in the zone the characters cease to feel like stereotypes of British culture, and for all its painterly cinematography the film has enough pace to sustain itself beyond its beautiful landscapes.

In this case, it's great cinematography, beautiful locations, neutered sexual tensions and pretty period costumes.

Even the beautiful compositions and colors of Ivan Bird's cinematography depicting the home life of an English ex-con, Gal (Ray Winstone), and his wife, Deedee (Amanda Redman), in their Spanish villa reek of a superficiality that suggests false happiness.

Major credit also needs to be given to the cinematography, with long beautiful shots on the ice as well as in the Harding household.

With a pulse - pounding score by Alan Silvestri, beautiful cinematography from Trent Opaloch, impressive special effects, and an incredible cast, Avengers: Infinity War is more than a great movie, it's an honest - to - god achievement in blockbuster filmmaking.

Weinstein's background in cinematography (he was director of photography on the documentary «Elaine Stritch: Shoot Me» and directed «Flying on One Engine») is evident in the beautiful look of the film.

The beautiful cinematography captures the story in striking, magic - hour landscapes and vistas of South Dakota.

Chon's tale is... praiseworthy, from its beautiful cinematography (by Ante Cheng in her feature debut) to its take on infamous events from a fresh perspective.

Its crisp, beautiful cinematography is hard to take your eyes off of, leaving you to soak in as much as you can before the next frame.

It has beautiful cinematography and actually makes you think about real things in life.

The cinematography throughout the film is beautiful — thanks, in large part, to the innate beauty of Paris itself — and the recreation of 1920s Paris will inspire in the audience the type of nostalgia that Gil himself feels for the era.

This Asian (South Korean / Chinese) film made good use of that figure, with sometimes disturbing, but very well done fight scenes and in general, beautiful cinematography.

The beautiful cinematography by Masanobu Takayanagi showcases the vast emptiness of the frontier, favouring elegiac sunsets to note a country blanketed in death.

It has so many great things in it (the period score by T - Bone Burnett and Carter Burwell and the beautiful cinematography by Roger Deakins stand out) that it is tough to find this film to be a disappointment.

Needless to say, this hyper - atmospheric art film is a little too reliant on its environment, but the deep snow setting of this lyrically bleak drama was always going to be instrumental in the establishment of both tone and aesthetic value, and sure enough, this film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black - and - white palette, is playful enough in lighting and scope to attract you into this film's handsome world.

And besides, it's a martial arts movie centered around sword fighting, with some downright beautiful choreography and cinematography... Not to mention, it's set in the 1930s, which is a very unique era for these types of movies.

There are a few good things about it, the gunfights were gritty and non exaggerated proving that Mann can still do decent gun play that is more accurate opposed to the infinite clip that we are used to seeing in many other movies, the cinematography is also very good and it was really nice to just look at the beautiful landscapes and backgrounds of the locations they filmed in Hong Kong and Jakarta.

This is a beautiful movie; the cinematography helped no end by the location work done in New Zealand's south island.

The cinematography is stunning, the beautiful yet harsh South Australian landscape in perfect harmony with the haunting score courtesy of Frank Tetaz (known for his work with David Thrussell and Snog, and more generally on the Dorubo label).

The characters act in the way you expect, and despite Cianfrance's attempts to layer the film with long, sweeping moments and beautiful cinematography, it doesn't do much to elevate the story into something more unique, or at least more riveting.

There are joys to be found in the beautiful cinematography, though it is this film's misfortune to have been released in the same year as Life of Pi, a film which showed us just how stunning a film about a drifting boat can be.

The cinematography in Carol is just as beautiful albeit a bit more subdued.

While Thomas W. Kiennast's black - and - white cinematography is quite beautiful to behold (Gröning's film certainly features some excellent cinematographic moments as well), Atef's film never manages to convey why we should care, today, about this brief moment in Schneider's well - documented life, including her never - ending struggle with the German press, her inability to escape the role of Sissi that made her instantly famous as a teenager, and the various tragedies that befell her, including the suicide of her ex - husband.7 The film is not a biopic per se (and Atef declared that she did not intend to make one): thus, audiences who are not already familiar with Schneider certainly will not come away from viewing the film with much of a sense of her life's story); yet, given it is not a biopic, one wonders what the film is, or what it tries to accomplish.

But although the cinematography aptly framed the San Fernando Valley's beautiful blue skies, it was afflicted by something I noticed in so many films at this festival, the mutation of colours and the precision of landscapes brought about by digital cinema.

THE DVD Paramount's DVD release presents Donovan's Reef in a beautiful 1.85:1 anamorphic widescreen transfer that shows off William Clothier's (Cheyenne Autumn) stunning cinematography.

A Field in England has beautiful cinematography, an interesting premise, captivating characters and terrific performances all around, yet it manages to fall short.

Add in the beautiful cinematography and music, and what could have been a depressing movie is instead nostalgic and soothing, sometimes dreamy.

In terms of cinematography, I do think there are some beautiful scenes, but that's all I really got from it.

The cinematography itself is beautiful, and the film makes good use of a Steadicam, but often it feels like the gaffer was only interested in natural lighting.

The film, itself, is not always up to Patel's level, but it is mostly competently made, with beautiful cinematography courtesy of Greg Fraser (Zero Dark Thirty), whose opening shots of a little child playing in a cloud of butterflies sets a dreamscape tone for the innocence soon to be lost.

Thankfully, one person who was not snubbed was Roger A Deakins, who took home the Oscar for his beautiful work in Blade Runner 2049 in the Best Cinematography category.

But there's so much more to the doc — the cinematography is lush and beautiful, the editing is crisp and precise, and it's in turns heartbreaking, inspiring, wry, thought - provoking, nostalgic and genuinely funny.

Like many period romances, a great deal of the film's assets reside in the lush cinematography, beautiful environs, and elegant costumes, sumptuously presented by cinematographer, Stuart Dryburgh (Aeon Flux, The Recruit).

Sammy Sheldon Differ's costumes meanwhile are similarly beautiful and classy, while cinematography from Kurzel regular Adam Arkapaw brings out the best in everything, adding atmosphere to breathtaking sets and lavish production design.

From the classic Tarantino - style dialogue to the beautiful cinematography, audience members are in for a real treat.

Gorgeous cinematography, beautiful music and a complete lack of dialogue may scare off a few but those that manage to stick with it are greatly rewarded in the film's final 10 minutes.

We love it for its globe - spanning cast of should - know - better Shakespearian talent; for its mixed bag of ideas (most originating in Herbert's book, others, like the gratuitous heart plugs, from Lynch's own warped mind); for its twisted wedding of ornate Euro - pudding epic, grotesque experimental horror flick and action blockbuster; for the stunning cinematography, immersive sets and beautiful costumes — and yes, even Sting's black nappy.

Regrettably, however, the beautiful cinematography and sound design enabled by these analogue machines is not employed anywhere else in the film.

There are moments in the final chapter where fade - to - black cuts aren't as smooth as the previous editing but it doesn't hurt the story or the beautiful cinematography.

Stunning cinematography and beautiful period design also helps in making this such a great film.

THE DVD Peace Arch brings The Babysitters to DVD in a 1.78:1 anamorphic widescreen transfer that renders Michael McDonough's uselessly beautiful cinematography with apparent fidelity.

Filmed almost entirely in Switzerland, the beautiful cinematography, the fables of the snake clouds, and Assayas's choice in the editing room to allow this film to unfold as unpredictably as the «Maloja Snake» captivated me from beginning to end.

The cinematography from Sean Bobbit (The Place Beyond the Pines, Byzantium) is a true standout, especially in unison with Hans Zimmer's (Man of Steel, Rush) sometimes beautiful, sometimes unsettling score.

Road Warrior isn't ever going to be remembered for sparkling dialogue or breathtakingly beautiful cinematography, but it does unabashedly examine many ways in which sharp projectiles, barbed wire and moving vehicles can ruin your whole day.

Woody Allen's love letter to Hollywood and New York in the 1930's is everything you would expect from the man himself: beautiful cinematography, endless movie references and an elegant production design.

Filmed in beautiful, luscious black - and - white cinematography, and dealing with spiritually resonant themes, this is a small gem of a movie worth checking out.

Although I feel this shift is natural, there is a slight tinge of a jarring feeling but I feel von Trier hides it with the cinematography and the score, which is just as masterful and beautiful in respect to the film.