Sentences with phrase «about the cinematography of»

Too many critics talk about the cinematography of the film, who cares about the skylines, odd view points, etc let us just focus on the story and the message of the movie.

With the Oscars coming up I've been rethinking a lot about the Cinematography of 2010 and there're so many brilliant shots in films I love.

Nice Vanity Fair piece about the cinematography of the nominated films: The Hurt Locker «Äôs director of photography, Barry Ackroyd, uses Super-16 cameras to create a raw, documentary feel for his sun - drenched canvas in Kathryn...

Obviously each to their own opinion but complete nonsense about the cinematography of Avatar.

Not exact matches

I still love the original best, and while I wasn't crazy about the cinematography, they brought the musical up to speed, and captured the hearts of both my kids.

About Blog Combine love of cinematography with a passion for cooking.

About Blog IronBird Aerial Cinematography Ltd is a leading UK provider of remotely piloted drones for the use of aerial photography and aerial filming.

About Blog The Society of Aerial Cinematography (SOAC) is a community of Production, Post Production, Aviation and Radio Control industry professionals in support of the Entertainment Industry.

Mumbai / Gurgaon, India About Blog We are a team of passionate photographers and cinematographers who specialize in artistic wedding photography, wedding cinematography and photo books and albums Frequency about 13 posts per About Blog We are a team of passionate photographers and cinematographers who specialize in artistic wedding photography, wedding cinematography and photo books and albums Frequency about 13 posts per about 13 posts per week.

it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never make a film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop making adam sandler movies here is the problem they are directors who don't care about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.

Apart from the depth of meaning in the film however, it's also wonderfully executed: the acting is right on the money, and the cinematography breathtaking... just about every shot is perfect.

When the dance is finally beat, Robert Baker... or Alabama, there's something endearing enough about the pretty points in cinematography and score work, touching occasions in entertainingly well - paced direction, interesting spots in a colorful story, and across - the - board decent performances - especially the one by Evan Rachel Wood - for the final product to border on decent, ultimately falling under the overwhelming weight of the glaring tonal and narrative incoherencies, flat humor, dramatic contrivances, problematic themes, even more problematic leads, ridiculous story and onslaught of clichés which render Andrew Fleming's «Barefoot» an occasionally charming, but mostly mediocrely misguided romantic dramedy.

Though many films can profit from a slow pace, the tempo frequently halts the momentum of a tale that is more about its varied cinematography than about compelling battles.

The cinematography and location shooting are excellent and things look great, the music is decent, and this is one of those films that was made at a time when you could still make them like this and not have to worry about too much tinkering and interference.

The script is not perfect, and there were a few minor scenes that did not ring true - but the overall package is amazing - the perfect cast from top to bottom, most of the script, the acting, cinematography, directing, score, everything about this movies pays homage to a by - gone era of American Films and does it with taste and class.

By the end, however, it becomes such an exercise in sensibility - testing brutality that any message about the fragility of the family unit is as murky as the cinematography.

The use of music together with the outstandingly beautiful cinematography and interesting things the movie has to say about the gap between rich and poor and how mankind apparently fucked up its gene pool is very fascinating and interesting.

Everything about Prince Caspian is just right in terms of cinematography, scope and vision; the tone is dark but hopeful, and epic but intimate.

Often times, the well - shot and well - constructed picture (which features some of the best cinematography of any film so far this year; the soundtrack and score is equally ace) just tries to say it all at once, posing questions about whether that grass is actually greener, or whether it grows verdant only after we've shat all over it.

Everything about the film is first - class: Benoit Delhomme's cinematography, John Paul Kelly's period production design, Johann Johansson's score, and the contributions of such fine actors as David Thewlis, Emily Watson, Simon McBurney, Charlie Cox, and Maxine Peake.

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.

The film is so beholden to the moods and manners of Malick that even its more estimable elements (the acting, the cinematography, the very conceit of making a movie about Abraham Lincoln that focuses exclusively on what's ostensibly the least interesting part of his life, sort of a Younger Mr. Lincoln) are diffused into the ether.

Meanwhile, their economical, decidedly un-flashy direction (mimicking McCarthy's writing, and aided by longtime collaborator Roger Deakins's beautifully severe cinematography) repeatedly conveys narrative undercurrents in entrancingly subtle ways, such that the plethora of animal carcasses, instances of man - versus - beast violence, and Ed Tom's yarn about a slaughterhouse mishap coalesce into a chilling portrait of anarchic interspecies warfare.

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.

Cinematographer Style is about the art and craft of cinematography.

Here are the cinematographers behind 2018's Best Cinematography nominees — «Blade Runner 2049,» «Darkest Hour,» «Dunkirk,» «Mudbound,» and «The Shape of Water» — talking about how they selected the right cameras and lenses.

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 spare cinematography burns bright and harsh in southwest sunlight that simmers the already edgy relations and Hellman directs the ambiguous script with always surprising flourishes, keeping the audience in the dark about the true nature of the odyssey as the characters talk around the conflicts as they warily eye one another.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

There are a lot of things to like about this film, the cinematography is stunning, the soundtrack is beautiful and Sally Hawkins is just excellent.

Taking place in a cornfield somewhere in southern Germany, the film evokes Malick's work not only because of its heavy - handed philosophising dialogue but also because of its strained attempt to infuse its cinematography with the very meaning that its dialogue about philosophy, including Being and Time, never achieves.

Blackhat is a globetrotting physical journey all about the intangible movement of data, ostensibly factual pieces of code and information that Stuart Dryburgh's half - crisp, half - blurred digital cinematography points out as filled with half - truths and interpretative subjectivity.

McGarvey has won IFTA Awards for Best Cinematography in 2005 for adventure film Sahara and most recently for the acclaimed adaptation of We Need to Talk About Kevin.

I feel that most of what is truly wonderful about this film comes from the story itself; of course the cinematography is nothing short of award worthy.

I know that's big words to say about Birdman, but it's a perfect amalgamation of highly skilled acting, tight script, phenomenal cinematography, masterful editing, and amazing direction all intertwined with intelligent social commentary and metaphorical existentialism.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

«Stepping Into Darkness: The Visual Design of Sicario» focuses on crafting the film's look and defining cinematography, «Blunt, Brolin and Benicio: Portraying the Characters of Sicario» features interviews with the three leads, «Battle Zone: The Origins of Sicario» researches the brutal history of drug violence along the border (it features graphic imagery so beware), and «A Pulse from the Desert: The Score of Sicario,» which runs about 6 minutes, profiles composer Jóhann Jóhannsson.

The tinting of Jean Dujardin's toothy mug to accommodate black - and - white cinematography is about to rob recognition from the folks who toiled away, one last time, on magically morphing Ralph Fiennes into the pasty bane of Harry Potter's existence.

The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's cinematography is as good as anything he's done with the Coens, and that's saying a lot) but because of its ambiguity: because the questions it raises about narrative and about society are as interesting as those raised by any other film (but one) of 2007.

But thanks to Dean Cundey's cinematography, it's one of the most elegant - looking horror pictures ever made, with views of the Pacific from the lighthouse home of the KAB radio station (from where Adrienne Barbeau as DJ Stevie Wayne warns the townspeople about the fog) that are so intensely painterly they pop.

When Amy (Mila Kunis) opens the movie with an immediate barrage of exposition - dump narration about the two kids she had young and the challenges she faces as a working mother, the clunkiness feels believable, in its way: She doesn't have time to engage in graceful visual storytelling, especially not with the soft - focus, washed - out cinematography.

Film Comment spoke with Storaro, 76, about his philosophical conception of cinematography and his recent collaboration with Woody Allen, on Café Society (2016).

OK, but statements like that needs some evidence behind it, and apart from references to «grand cinematography» and references to Phoenix and Hoffman as «likely Oscar nominees» who «command the screen,» it's difficult (for me, at least) to get a sense of what the reviewer thinks the movie is about, or what's so special about the picture.

Typical for modern films of this nature, the action scenes are filled with shaky handheld cinematography and rapid cuts that mean there often isn't a single well - framed shot in the whole sequence (and if there is it lasts about a nanosecond before being replaced by one that isn't).

In the conversations about how to capture what Beachler was concocting on film Morrison — who made history this year as the first woman to be nominated for the cinematography Oscar for her work on «Mudbound» — said Coogler referenced a variety of inspirations including Ron Fricke's nonverbal «Baraka» and «Samsara,» «The Godfather,» «Sicario» and «The Dark Knight.»

They're great, the ensemble is great, everything about the design of the film (Kaminsky's cinematography, Williams» score) is great.

Best Picture «Another Year / Black Swan» Best Director Darren Aronofsky, «Black Swan» Best Actor James Franco, «127 Hours» Best Actress Natalie Portman, «Black Swan» Best Supporting Actor John Hawkes, «Winter's Bone» Best Supporting Actress Lesley Manville, «Another Year» Best Adapted Screenplay «The Social Network» (Aaron Sorkin) Best Original Screenplay «Another Year» (Mike Leigh) Best Art Direction «Inception» Best Cinematography «Inception» Best Costume Design «Black Swan» Best Film Editing «Inception» Best Makeup «Black Swan» /» Harry Potter and the Deathly Hallows» Best Sound Editing «TRON Legacy» Best Visual Effects «Inception» /» Alice in Wonderland» /» Black Swan» Best Animated Feature «Chico and Rita ″ — one to watch Best Ensemble «Another Year» Most Underrated Film of the Year «4.3.2.1» — another one to watch Most Overrated Film of the Year «Inception» — I know I've awarded it a lot but a tadge overrated Breakthrough Performance (Female) Jennifer Lawrence, «Winter's Bone» Best Performance in a Bad Film Bojana Novakovic, «Devil» Worst Performance in a Good / Fairly Decent Film Mia Wasikowska, «Alice in Wonderland» Best Hero Luz / She, «Machete» — she was a good freedom fighter, shame about the film Best Villain Nina Sayers, «Black Swan» / Mal Cobb «Inception» Best Poster «Black Swan» Best Trailer (for a trailer released in 2010, not necessarily a film released in 2010) «Black Swan» Most Surprising Film of the Year «Centurion» Most Disappointing Film of the Year «Robin Hood» Most Ambitious Film of the Year «Inception»

Then there is the unobtrusive cinematography by Sam Levy, which also has moments of fancy in overhead shots but can also keep a distance in movingly dramatic scenes that allow the actors all the space they need to perform, which may be a bonus about having an actress at the helm of the film.

It's much ado about nothing, although the vibrant cinematography and blasts of punk music sometimes have you thinking otherwise.