Sentences with phrase «brilliant shots in films»

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.

Not exact matches

Filmed on location in Italy and Spain and shot in brilliant Todd - AO and Color and directed by the great British director Carol Reed, Charlton Heston and Rex Harrison (in their first and only film together) give two of the screen's best performances.

Underneath the muck, there are undeniably brilliant moments, particularly in the confrontations between Scar (the Comanche antagonist) and Ethan, and a terrific final shot that sums up the film, and perhaps the Western genre at the time, ingeniously.

Padilha, who shot to prominence with his gritty police crime tale Elite Squad — which won Berlin's Golden Bear in 2007 — will bring his research - based documentary background to bear as he did so successfully in both Elite Squad films, his searing documentary Bus 174 and, of course his brilliant Pablo Escobar Netflix drama Narcos.

Original caricature by Jeff York of Ethan Hawke in FIRST REFORMED (copyright 2018) Ethan Hawke has given many brilliant performances in his 33 - year film career, including standouts...... Read more «New from Jeff York on The Establishing Shot: PAUL SCHRADER AND ETHAN HAWKE STUN WITH «FIRST REFORMED»»

In more recent years one such work of brilliant badness was Samurai Cop, an early 90's action film that looked like it was shot in 2 days for 2 dollars and inexplicably starred the late (great) Robert Z'DaIn more recent years one such work of brilliant badness was Samurai Cop, an early 90's action film that looked like it was shot in 2 days for 2 dollars and inexplicably starred the late (great) Robert Z'Dain 2 days for 2 dollars and inexplicably starred the late (great) Robert Z'Dar.

He does have decent taste in music, however: the film has a great, moody electronic score by Max Richter, and at times I found myself enjoying the soundtrack more than the visuals, which for the most part aren't that interesting, save for some brilliant overhead shots at the beginning.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

Guest director Joshua Oppenheimer, whose wrenching «The Act of Killing» debuted at TFF in 2012, has put together an eclectic program that includes Werner Herzog's 1970 «Even Dwarfs Started Small» (with Herzog in attendance), Jon Bang Carlsen's intriguing and obscure «Hotel of the Stars» (1981), an hour - long Danish documentary about extras who live in a shabby apartment hotel in Hollywood; the only movie directed by Charles Laughton, 1955's exquisitely - shot «The Night of the Hunter,» starring a brilliant, terrifying Robert Mitchum, and fortuitously playing in his centenary year; «Salam Cinema,» Mohsen Makmalbaf's 1995 record of auditions by aspiring actors; a new print of Frederick Wiseman's long - banned, corrosive «Titicut Follies» (1967), filmed in a notorious Massachusetts hospital for the criminally insane; and Jacques Demy's glorious, gorgeous musical, «The Umbrellas of Cherbourg» (1967), starring the glorious, gorgeous Catherine Deneuve.

The mean one is Betty (Kirsten Dunst), the promiscuous one is Giselle (Maggie Gyllenhaal), the plain one is Constance (the very pretty Ginnifer Goodwin), and the brilliant one is Joan (Julia Stiles)-- one gets unhappily married, one gets happily married, one gets sad over an ill - conceived dalliance, and one gets a shot at happiness against all odds (because she's «ugly»); when the film deposits them in a secret society where libations are indulged and secrets spilled, what begins as tedious becomes a death march.

It's also a film whose impact derives from something other than its story and characters — specifically, Wyatt Garfield's brilliant cinematography, which uses 35 mm, 16 mm and Super 8 mm film at a time when almost everyone in the entertainment business is shooting digitally; and the final lead performance by Anton Yelchin, who died last year in a freak accident.

Also, on the plus side the cinematography is done well, and D.O.P. Christopher Ross deserves a lot of credit for how good this film looks, with its bright colours, brilliant shot composition, and breath - taking use of the English Countryside in order to immerse us more in this small seaside town.

Though, the fact that the film isn't entirely without obvious merit confuses things even further: Krauss is wryly brilliant as Krauss and delivers the film's biggest laugh with his Herzog - ian reasons for using a wheelchair; Gael Garcia Bernal has a great time as a lecherous member of Laura's delegation, spinning his suitcase with the sneering verve of a cartoon villain who twirls his mustache and gleefully acts smarmy before being felled by his own beleaguered bowels; Herzog's shots of Diablo Blanco, portrayed by Bolivia's real - life Uyuni salt flats, are among the most stunning in any film released this year; Shannon has fun in the impromptu photo shoot that takes place toward the end of the film; and as expected, there's a fascinating push and pull in the battle between human and nature at the heart of the film's central premise.

What made the film so brilliant and compelling despite its theoretically repellent cast of characters is that instead of going for cheap shots or silly attempts at psychological insight, Coppola simply observed them in ways that helped inspire a certain understanding into their mindsets and how they had been shaped and influenced by a celebrity - obsessed culture that overwhelms them on a daily basis.