Sentences with phrase «cinematography looks»

«Peter Andrews»'s b & w cinematography looks astonishing on the format, the anachronistically high - veering - on - hot latitude of many an image — think 1964's Dr. Strangelove — a result of the movie's pastiche aesthetic more than anything else; Soderbergh can't seem to decide if he's Michael Curtiz or Stuart Cooper.

The Oscar - winning cinematography looks outstanding in the DVD's 2.35:1 anamorphic widescreen transfer, leaving just about no room for improvement on this format.

I'm still curious to see it, and the cinematography looks gorgeous, but I don't know if I can get past the fact that this looks like such a rip off.

The black - and - white cinematography looks terrific in HD, with excellent contrast and natural film grain (there is a hardly noticeable, intermittent, translucent vertical band that occasionally appears on the right side of the frame, but most properly calibrated TVs won't even display it, so no worries).

The cinematography looks beautiful — very high - fashion model - ish.

The black and white cinematography looks wonderful, however, the transfer does show damage at numerous points.

Alejandro Ulloa's opulent cinematography looks positively ravishing on Kino's new Blu - ray release, surpassing Mondo Macabro's already visually impressive DVD from 2003 when it comes to bringing out fine details of costume and set design, like the diaphanous mesh of Nadia's spider - woman costume and the various apparatuses and caged animals that litter Dr. Zimmer's laboratory.

It does have some nice moments in which the cinematography looks good, but two year's ago the winner in that category was Three Seasons.

Masanobu Takayanagi's widescreen cinematography looks lovely in low light as well as sunshine; Max Richter's musical score is more of a mixed blessing, maintaining a mood of spare mourning throughout, to the point of monotony.

I mean I think I had forgotten what great cinematography looked like in black and white films, this gave me such a refresher.

I thought the cinematography looked well done.

The earthy, green - yellow tones of Vilko Filač's cinematography look vivid throughout Kino Lorber's transfer, maximizing the hyperreal qualities of the film's vision of Belgrade.

Not exact matches

Because the film is clearly made for the American market, the cinematography can be distracting but it provides an interesting look at how politicians operate and what makes them tick.

We hope to inspire young and old to be as passionate about cinematography as we are and look forward to supporting your growth in the industry.

Am ujwal Reddy studying cinematography I love fashion and wildlife photography Looking for date and love вќ $ About after meeting me you will get to know

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.

The outstanding script by screenwriter Andrew Kevin Walker is skillfully conceived, makeup artist Rob Bottin» special effects are effectively scary, Fincher's direction is maddeningly tense and taut, and the noirish and darkly graphic cinematography by Darius Khondji forces the viewer to see the crime scene in the horrible way it looks.

Both sit together for a running, screen - specific look at the source material and its adaptation, cast and performances, story, character and script areas, changes for the Extended Edition, sets and locations, cinematography and visual design, various effects, music and other domains.

He presents a running, screen - specific look at cinematography and music, cast and performances, sets and locations, story / character topics, influences, and a smattering of additional areas.

Hampered by a maudlin, TV movie score by Howard Shore, who usually does much better work, and warm but somewhat generic cinematography by Haris Zambarloukos, DENIAL works best as a rousing look at the cost of justice.

The underwater cinematography was pretty decent, from what we could actually see it looked good.

Blade Runner was exceptional but not really seeing the awards attention it probably deserves, though Deakins looks to have a good chance to FINALLY win for Cinematography, so that's better than nothing.

This is Schrader at his sparest; characters rarely look warm — the cinematography by Alexander Dynan («Dog Eat Dog») accentuates the wintry bleakness — the camera rarely moves during scenes, silences and awkward pauses abound, and the score by Brian Williams is used sparingly, but always effectively.

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.

There are some things that this movie improves on a lot from the sequels, the cinematography is pretty great, it didn't rely on nostalgia, it looks a lot more professional and its a lot more fun than the other sequels.

Joe Biroc's witty cinematography gives the picture an authentically flat, artificial Universal look, and Lloyd Bridges, Peter Graves, Leslie Nielsen, and Robert Stack are around for added iconographical persuasiveness.

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.

Adding to the confusion are a few scattered CGI effects that can be detected with very little difficulty and some fairly erratic cinematography that includes headache - inducing handheld shots and scenes that are so poorly lit that it looks as if the sets were illuminated with a 40 - watt light bulb.

Heading up the technical noms, Emmanuel «Chivo» Lubezki is looking to make it three - in - a-row for Best Cinematography with The Revenant, though we would dearly love always - the - bridesmaid Roger Deakins to finally convert a nomination (this year's nod, for Sicario, is his thirteenth) into a win.

The design work is far above par, thanks to «Mudbound» Oscar nominee Rachel Morrison's glowing cinematography; to production designer Hannah Beachler's depiction of urban Wakanda, which looks a little like Seoul and a little like «The Jetsons» in Middle - earth; and to Ruth E. Carter's knockout costumes for both sexes.

The cinematography and settings look gorgeous as Jones journeys from Nebraska to Iowa to transport three mentally insane women.

With cinematography among its Oscar nominations and production design among its four wins, The Shape of Water looks majestic on Blu - ray.

It maintains the look and feel of the first with amazing lighting, cinematography (NO annoying shaky - cam here!)

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

The cinematography and filming locales of The Eagle look to be fantastic.

Shooting Juarez to look like a hothouse abattoir doesn't take any real imagination (or empathy), and after a while, the skillful framing of Roger Deakins» cinematography becomes oppressive.

From the beautiful cinematography by Janusz Kaminski to the rousing score by John Williams, it's impeccable to look at and listen to.

I know you nerds are all looking at the skin but the cinematography is on point and Seattle looks beautiful!

He provides a running, screen - specific look at the original film and its adaptation, cast and performances, influences, story and characters, sets and locations, cinematography, editing, music and related areas.

As a result, Takimoto Mikiya's cinematography is often absurdly beautiful to look at, especially when Shigemori and his assistant, Kawashima (Mitsushima) visit the snow - covered area where Misumi committed his first two murders.

Although Adaline's story isn't fully fleshed out across the decades of her life, if you are a history buff, a fan of great cinematography and production design, or just looking for a good «date - nite» fantasy romance to experience on your home theater, definitely give Age of Adaline a look.

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

This film looks like a Michael Mann directed film with some killer cinematography, great lighting, and Mann's typical visual style.

Still, «Hostiles» is worth a look for its fine performances and scenic cinematography.

Its inviting look is enhanced by rich, warm cinematography in Fauve hues by Darius Khondji (a welcome departure from his «Seven» style) and Gianni Silvestri's interestingly quirky production design.

He delivers a running, screen - specific look at story / character issues and connections with the comics, cast and performances, costumes and makeup, production design, sets and locations, music and editing, cinematography and effects, stunts and action, themes and tone, and the use of 3D.

The beautiful black - and - white cinematography from Robert Krasker looks fantastic on Blu - ray, digitally transferred from the BFI National Archive's 2008 restoration.

The cinematography, as caught by Darius Khondji, looks immeasurably stunning, and the film dies have a upper hand in that market.

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 performances seem authentic and the great cinematography, along with its new digital restoration, give the film a look of historical significance.