Sentences with phrase «action film music»

Listen to a snippet here and here, and tell me that you don't hear the driving bass lines of most modern action film music.

Not exact matches

Picture Categorisation for Suggesting Soundtracks, or PICASSO, has learned what makes a good soundtrack by analysing existing films to find the properties that link the music with on - screen action.

If you're interested in the most talked about talent from the worlds of fashion, film and music we predict you'll be following all the ELLE Style Awards action as it happens via elleuk.com/elle-style-awards.

The music still feels fresh and Rian Johnson's film will please the fans with its wonderful visuals and abundance of action.

Unlike series co-star Biel, Mitchell remained with the program throughout its run, and through many character changes that found Lucy marrying Kevin Kinkirk, working as an associate pastor, giving birth, and surviving both a miscarriage to twins and clinical depression.Although Mitchell branched out from television into cinematic work as early as 1996, with a turn in the fantasy - action thriller The Crow: City of Angels, and continued intermittent film appearances (such as a supporting role in 2005's slasher movie Saw II), she made no secret of her real passion: performing country music as a guitarist and vocalist.

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

«Valencia» (which was the code name for the film while it was being made) is just wonderful, explosive action / horror music, pounding and thunderous, brassy and exciting.

If the film failed to live up to expectations (though personally I thought it was OK) then surely the score could not be accused of such a thing; delightfully recalling Bernstein's classic western scores, it features several great themes, some rollicking action music and one chance after another to just have a smile on your face.

Set to songs by Prince and a music score by Danny Elfman, Batman is one of the most fun and action - packed superhero films of the 1980s.

I can't wait to see how Edgar Wright uses music to drive the film, let alone every single action sequence.

Still, if you typically like live - action Disney fare, you may find it all innocuous fun, but as a film, there is little more to it that regurgitated themes from the previous films wrapped around music video style montages all meant to make you tap your toes and have a reasonably enjoyable time.

Soderbergh inverts the typical action movie genre score by ratcheting up the score during the non-fight sequences, applying that retro - 1970s jazzy horn and percussion score by David Holmes (Code 46, Analyze That) during the dialogue and chases, while turning the music completely off when the film gets explosive for the highly brutal moments of close - quarter, melee combat.

Honestly, none of the Baby Driver trailers actually set action to music as thrillingly as the film itself does, and one could argue that none of them quite capture the movie's tone, either.

The music helped make the car - chasing, bullet - flying action even more exhilarating, and the structure took the film beyond genre.

Surprisingly subtle as it builds up, the piece explodes into an orchestral tour - de-force with spectacular action music for brass and strings, a first - rate piece of film music.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

Thea Sharrock's «Henry V» is the most movie - like in some respects — the music more aggressive, the action more muscular; yet she too scales it toward the human, and I like it better than the Laurence Olivier and Kenneth Branagh films that helped make this the most familiar of the plays presented here.

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.

This kind of disciplinary action reflects upon the complex interplay of entertainment and cultural substance in film and music.

Independent film director Alex Ross Perry has a full slate of upcoming projects, including a new feature film and a yet - to - be-titled live - action «Winnie the Pooh» project, but he found the time to co-direct a music video for the duo Sleigh Bells with the band's Derek E. Miller.

The show featured Gregory Peck, Jack Lemmon, Burt Lancaster, Bob Newhart, Kenny Loggins and other leading film, television and music stars in an innovative production to educate and inspire action.

BEST ORIGINAL SCORE FOR AN ACTION / ADVENTURE FILM The Dark Knight, music by James Newton Howard and Hans Zimmer Hancock, music by John Powell Indiana Jones and the Kingdom of the Crystal Skull, music by John Williams Speed Racer, music by Michael Giacchino Wanted, music by Danny Elfman

They add light animation and the film's music soundtrack to the graphic novel - like storyboard drawings with CGI elements and occasional live - action test and stunt rehearsal footage spliced in.

Styled after 1980's gangster / action films, the top - down game is viciously brutal, outrageously violent, and also features some incredible music!

Tagged With: action, actor, Africa, cinema, crime thriller, DJBig Driis the Londoner, drama, film, hip - hop, Idris Elba, LAPD, Luther, movie, music producer, Rwanda, Rwandan genocide, SOMETIMES IN APRIL, TAKERS, The Office, The Wire

His live - action film honors the same underlying messages as the «80s animated series — one of female empowerment, honesty and integrity — along with fashion and great music.

Though it is a thriller at heart, and does have a high - speed driving subtext, the film feels more like a throwback to the music video stylized, R - rated crime dramas of the 1980s than the new Fast & the Furious over-the-top, CGI - infused modern action - thrillers.

Q: George, this is such a terrific film and the music really drives the action.

Even as the Warner Brothers logo is displayed on - screen, the movie is already kicking into high - stakes craziness by blaring ridiculously over-the-top dramatic shootout music reminiscent of any one of your favorite classic brain - dead 90s action films.

This time around, the story of the girl on fire is told by Francis Lawrence (no relation to Jennifer) who brings to the table his action adventure experience with previous films like I Am Legend and Constantine and pacing and tone from work on music videos.

Disney has released the full soundtrack on YouTube and Spotify, giving us a peek at how the live - action reboot has interpreted the iconic music of the original film.

Bursting with adrenaline - charged action sequences, neon lights and an energizing soundtrack featuring music from MØ, Basenji, Crystal Stilts and BØRNS, NERVE is the must - have film to own this Christmas.

This trailer follows suit, using music and action to communicate the film's nature.

It's a love story with style, action and a great soundtrack, but it still has some kinks since it comes from music video director Fredrik Bond making his feature film debut.

The rear channels are utilized all the time, and consist of ambient sounds, background music, and are perfectly timed for tense action moments in the film.

The style of the movie however, is challenging to put into words since all the film's action is timed with the beat of the music the protagonist (Elgort) is listening to, even the windshield wipes of the car he drives.

It represents the irresistible ascendancy of pastiche as its own reward: Seventies TV reimagined as music video reinvented as not quite an action film, not quite a musical, not quite a movie, but indisputably a franchise.

This is quite a brutal, action - packed trailer, and I love the music choices, totally sold me on this film.

Special Features include: Becoming Bond (an intimate look at how Daniel Craig stepped into the role of the 6th James Bond), James Bond: For Real (an inside look at action and stunts of film) Bond Girls Are Forever (a closer look at Bond's leading ladies) and You Know My Name (Chris Cornell's music video).

Baby Driver would be a fine action / heist movie if it was just that, but Baby's music - driven existence gives the film an immediate and clever hook.

Probably only John Barry would think of scoring a film like The Specialist with moody jazz rather than bang - bang action music.

«Titanus, the distributor at the time, considered it a very strange film with too much action: the music was too extreme, they thought it would not be well received and I was a little scared myself by this terrible prophecy.

The voice acting is perfectly used, as is the excellent use of music and delivery of exciting action towards the climax of the film.

The Hollywood Heroes Tributes ™, Celebrating Multi-Genre Entertainment recognize multi-genre entertainment focusing on Celebrity activism in all forms of entertainment, including action / adventure and science fiction / fantasy in film, television, as well as music and sports.

The music is reserved for much of the film, but it kicks in during moments of action with moving effect.

Michael Moore's screed against the American health care system Sicko, Laura Dunn's cosmic meditation on the environment and political action The Unforeseen — MIFF 2007, Julian Temple's ultimate music documentary, Joe Strummer: The Future is Unwritten — MIFF 2007, Chris Smith's poetic parable of class and poverty The Pool — MIFF 2007, Shane Meadows pitch perfect recreation of 80's England, This is England, and finally, a year late because I saw it late, Ryan Fleck and Anna Boden's Half Nelson, which would make my top five in any year and is easily one of the best American independent films of the decade.

An isolated music and effects track does appear on Tai Seng's DVD of The Duel / Kuet chin chi gam ji din, director Wai Keung Lau's 2000 action film, with a score by Kwong Wing Chan.

After a black - and - white reminiscence introducing Williams's music publisher, Fred Rose (Bradley Whitford), who appears throughout the film as a kind of one - man Greek chorus, commenting on the action, the movie jumps to a strangely dreamlike, a cappella rendition of «Cold, Cold Heart.»

With the power of music and film making, NO BULL offers a global video contest that promotes teen social action and leadership.

His film «Be the Change You Want to See» is a rap music video in response to the London riots which aims to mobilise young people to take action, in a positive way.