Sentences with phrase «cinematography captures»

Damien Elliott's cinematography captures a gripping moment and will have you holding your breath in anticipation.

Dariusz Wolski's drab cinematography captures the era and the tone.

Fernando Lockett's grainy 16 mm black - and - white cinematography captures the textural lushness of the vegetation in the city gardens and accentuates the architectural chiaroscuro of the colonial buildings.

The tightly framed cinematography captures their every reaction, gesture and fleeting expression to communicate a wealth of information about what they are feeling.

Although cinema is probably the most multifarious kind of art, the visual elements of a motion picture are of great significance and cinematography captures as the tangible, as the contextual allure... Read more»

Guy Godfree's elegant cinematography captures the stark, stunning beauty of Newfoundland, its moody landscapes, dry fields, quaint frame houses and deserted beaches.

The cinematography captures the city perfectly, and Carter Burwell's soundtrack is easily the best I've heard all year.

SIGHTS: Stoker establishes its dominating taste of elegance most of all not with its classical score but with its visuals, in which formalist cinematography captures distinct Victorian sets that choose from a color palette of black or white.

Good cinematography captures the good life that average people think rich people enjoy.

Such a mentality is reflected in the environment and Larry Smith's sublime cinematography captures it in all it's stark beauty with a wonderfully fitting music score to compliment the images.

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

Darius Khondji's cinematography captures the clean, elegant modernism that at once expresses the building's idealistic purpose and places it in a bygone era of internationalist optimism.

Compelling cinematography captures the essences of the hard times people

«Submarine» is at its best when it feels specific to its setting; Erik Wilson's often lovely cinematography captures the distinctive, watery light and raw weather of the Welsh seacoast in winter, and Hawkins, as always, captures a character who is completely specific in terms of class, place and period.

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.

Instead of rendering a static picture like other such maps, LSST will capture the sky in motion, a kind of time - lapse cinematography of the cosmos.

Trainspotting, buoyed by a great Brit Pop soundtrack and Brian Tufano's agile cinematography, captures the stoned - out, gut - churning experience of hardcore addiction with hallucinogenic acuity.

Mr. Neeson, captured so glamorously by Janusz Kaminiski's richly versatile black - and - white cinematography, presents Oskar as an amalgam of canny opportunism and supreme, well - warranted confidence.

The breathtaking cinematography beautifully meshes with the closeness of the characters» captured emotions in which you can't help but accredit to the perfect chemistry of the cast.

Although it might not be particularly remarkable, Martin Fuhrer's cinematography offers plenty of subtle emphasis on lighting which handsomely polishes art direction by Sarah Hauldren and Martyn John that captures Britain during the latter 19th century distinctly enough to be attractive, if not immersive.

The grim debauchery of the city's nightlife is captured to perfection by Michael Chapman's striking cinematography.

Grant and Kelly are on sparkling form, as is Jessie Royce Landis as the latter's formidable and smirky mother, and the French Riviera is beautifully captured by the Oscar - winning cinematography of Robert Burks.

The quiet and intimacy of what is essentially a two - character piece are well juxtaposed by Brooks against the vast desert expanses of her home country, captured in sumptuous wide - screen cinematography by the great Ian Baker.

The cinematography, by Rachael Morrison (who worked with Coogler on Fruitvale Station and Dee Rees on Mudbound), is breathtaking — she captures the spirit of the wilds of Africa while also framing the film's action sequences beautifully.

Black Panther further delivers the goods when it comes to craftsmanship, from the beautifully multicolored outfits by costume designer Ruth E. Carter (Selma) to the gorgeous Afrofuturism atheistic of the overarching film, as captured through Rachel Morrison's often captivating cinematography.

Meanwhile, the cinematography of real people also captures them in the same boxes, photographing the characters through windows, just like the windows of the computer applications, or through fences, exemplifying the borders that persist to exist between us all, allowing us to peek through, but we remain disconnected from each other physically.

The cinematography is stunning, the footage they capture is awe - inspiring, and it's a mesmerizing and magical film to experience.

This trailer captures the tone and pacing of the film better than the first one and shows off the glorious cinematography, costume and production design.

There's also the cinematography from Roger Deakins, which goes without saying is stunning whether it's capturing overhead desert shots, multiple viewpoints of rundown streets of Mexico filled with gang activity and spray - painted buildings, to exquisite shootouts perfectly framed so viewers always know what is occurring.

The storyline was brilliantly written and the cinematography was done wonderfully, the camera placements and photography captured the mood.

Not surprising given Bernstein's cinematography background, the film captures the look of the 1980s and»90s when much of the story unfolds.

And it's captured by Coogler's Fruitvale Station director of photography, Rachel Morrison, who just made history by becoming the first woman to be nominated for the Academy Award for Best Cinematography for her work on Dee Rees's Mudbound.

Though directors Chin and E. Chai Vaserhelyi take breaks to interview the wives, the documentarians want as many of the eighty - nine minutes taken up with close - ups of the climb, and in a feature that could snatch a nomination for cinematography, Jimmy Chin and Renan Ozturk capture the rain and sleet and pour down on the group as though Mother Nature is determined to keep the summit of Meru pristine, untouched by human hands.

What bumps the film up from minor to major achievement is its expert cinematography, which captures the majesty of horses unlike any movie I've seen, while capturing the stunning Icelandic landscape just as well.

But there are plenty of scenes that convey a real sense of yucky grisliness, and Chris Maris» cinematography beautifully captures the lush dampness of the locations.

Corbijn has a remarkable eye, so the movie looks gorgeous, with painterly cinematography by Martin Ruhe and direction that captures scenes with encompassing anglesthat vividly echo Jack's consuming paranoia.

The cinematography by Andrew Lesnie once again captures the elegance of the New Zealand topography while establishing a unique look for each new location to which the heroes travel, from the bleached and ruined former splendor of a city of Gondor (home of men) to the claustrophobic, rain - drenched Helm's Deep.

There is a lot of flair and bravado to the action sequences here, whether it be in - car chases, boat chases, Nazi torture doctors, and powerful slaps that can knock a man out while keeping him standing still upright, but your left solely appreciating the idiosyncratic nature of it all alongside some admittedly wonderful cinematography that captures these scenes with, again, style.

But the cinematography is always visually dynamic, capturing the bold, colorful essence of Orlando.

Visually, this is a stunning film, captured in a beautifully hazy luminescence by cinematographer Brandon Trost (who won the Cinematography award at the 2015 Sundance Film Festival), and the film's period detail is also excellent.

The cinematography was great and really captures the feel of the Arkansas backwoods setting perfectly as well as that genuine small town feel.

But as the rays hit individual blades of grass, accompanied by David Wingo's surging score and captured by Adam Stone's widescreen cinematography, the effect is near - overwhelming.

The cinematography really captures the appeal of the wider shots and then goes in for close - ups to remind you how much of an uncomfortable time you're having before you have the opportunity to forget.

Most other filmmakers can only hope to capture its achingly realistic evocation of community between young boys, lush cinematography, exquisite feel for landscape and perfectly melancholic score and use of pop songs.

It's part blood - soaked killing ground, part winter wonderland with lush cinematography by Ben Richardson capturing it all.

Not only does that reading explain the fervent use of voice - over, never more present here, recounting and musing on each experience with that hushed, inimitable whisper, but it also explains the unique aesthetic of Malick's films: his desire to capture fragmented but ideal forms of corporeal, natural and architectural beauty, rendered so by Emmanuel Lubezki's superlative cinematography and some elliptical, compelling editing.

Anchor Bay's 2016 Blu - ray release beautifully captures this movie's luscious cinematography.

There's plenty to admire throughout the entire film; Ford's direction is ambitious and, like his work in A Single Man, he has a keen artistic eye with some vibrant and striking imagery captured by Christopher Brown's art direction, Seamus McGarvey's sombre cinematography and the gorgeous production design by Shane Valentino and Meg Everist invites you into the characters» dark, dual existences without ever losing its consistent tone.

The score by Carter Burwell is perfect, and the cinematography by Edward Lachman is lush and soft, recalling 1950s cinematic color palettes, but also capturing the passion and chilliness of the story.

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.»