Sentences with phrase «cinematography make»

The costumes and cinematography make the movie visually romantic, and hopefully the movie will cause more people to seek out Mary Shelley's work.

Great acting and superb sets and cinematography make this a great success.

This question, carried by the strong performances and a great cinematography make this film work.

Black Panther is winning hearts worldwide for its fabulous cinematography making the fictional African nation of Wakanda, a visual treat.

Bradford Young's cinematography makes everything feel ethereal, which draws the audience closer to the characters.

Remi Adefarasin's cinematography makes good use of natural lighting to establish the period and to complement the characters» shifting moods.

It is incredibly well - made — the cinematography makes Port Talbot and Swansea sing with colour.

The narrative isn't entirely comprehensible on one viewing, but the torrent of emotions, the dreamlike tone and the gorgeous cinematography makes for an unforgettable story of human connection in the face of an unfeeling and at times enormously unfair and mystifying world.

Despite its low budget, the film looks terrific, thanks to the evocative upstate New York locations, Matthew J. Lloyd's sun - dappled cinematography making extensive use of natural light, Jane Musky's detailed production design and Ann Roth's handsome period costumes.

That aside, the overall artistry, subject material, and raw cinematography makes for what feels like an organic experience and a nicely shaped ensemble piece, let's not forget Octavia Spencer's performance, stout.

As you would hope, the cinematography makes the most out of the ultra-confined setting.

Janusz Kaminski's cinematography makes it by far the best - looking Apatow film to date, at least in the areas of lighting and color.

The awful cinematography makes it a chore to watch this movie.

If you've never visited the Chinati Foundation, with its cavernous buildings and large - scale Minimalist installations across 340 acres of desert, the cinematography made you feel as if you had.

Not exact matches

All the cars from the film have been recreated in incredible detail, and the format definitely lends itself to the drama and cinematography that made the movie such a hit with motorsport enthusiasts.

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.

One project that aims to make this happen is by cinematography firm Technicolor and the French Institute for Research in Computer Science and Automation.

My goal is to live a creative, self - sustaining life, utilizing both brains and beauty to make a living by creative means: modeling, photography, cinematography, music, dance, and writing.

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.

A complex espionage thriller that makes impeccable use of a careful pace to stretch the tension to its maximum and an appropriately dark cinematography to recreate the paranoia of the»70s and the Cold War maneuvers, while Gary Oldman underacts in a perfect performance.

«Infernal Affairs» is superior in many respects: cinematography being paramount among these, but «The Departed» makes up for it in the acting department.

All tech and design aspects here are first - rate, notably Patrick Taylor and Kevin Hilliard's ominous score (despite an occasional excess of percussive bombast), and cinematography by Alex Disenhof («The We and I») that makes excellent use of the widescreen format, both on land (the pic was shot in Kenya) and at sea.

What this film seriously lacks in a coherent and discernable plot and character development, it more than makes up for it with tons of style, great cinematography, and well - placed tension.

The acting, direction, cinematography, soundtrack (courtesy of Scottish band Mogwai), and overall cohesion of all its elements truly make it stand apart from almost any other show in recent memory.

Wonderfully well acted and with a stunning cinematography, this delicious road movie finds an awful snowball of trouble for two unfortunate women in this sexist society - and the setting of such story in the south of the U.S. makes its feminist statement even more significant.

«Contest» more than makes up for some first - time - filmmaker shortcomings with its sincerity and unexpected strengths in the storyline and cinematography.

The film makes use of some kick - ass cinematography (colorful imagery of the summer, and a picture that reflects childhood innocence), while the story sheds light on poverty, and the bad things that come along with it, and how it affects childhood, and for me, that is what pop culture nowadays would describe as «woke», because not a lot of films these days shed light on those important issues.

It's the way that the movie feels so cold, and incurious, despite its incredible detail (it's a rare Netflix original film where constant pausing might make it even better) dynamic cinematography (using wide and full aspect ratios for narrative purposes) and general glimmers of newness.

«Hostiles» is elegantly made, with picturesque cinematography by Masanobu Takayanagi and a muscular, old - style score by Max Richter.

The technical aspects also have to be mentioned, like the cinematography or the special effects that make the unique style dazzle.

The performances are matched by exquisite cinematography, set design and special effects that combine to make something feel slightly different and weird while remaining grounded in reality.

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.

Combined with absolutely stunning cinematography, makes this one of the great films

The film makes use of some kick - ass cinematography (colorful imagery of the summer, and a picture that reflects

In conclusion, there are melodramatic spells, as well as some focal unevenness, spawned from hurrying past certain plot aspects that really aren't all that needed in the first place, being not much more than supplements to the rather repetitious bloating that makes this overambitious effort too overblown for its own good, though not to the point of completely dismissing its engagement value, as there is enough sharpness to the production designs, cinematography and score work to provide striking style, as well as enough story value, brought to life by inspired writing, direction and acting, - particularly by leading lady Halle Berry - to make «Alex Haley's Queen» a rewarding near - epic study on the struggles faced by the mulattoes who struggled to fit into a post-slavery society that was rich with racial tension and plenty of other life challenges.

If I describe the superior craftsmanship of «Unbroken» — the stunning cinematography is by the great Roger Deakins, Alexandre Desplat composed the soaring score — in a way that makes the end results seem more like a convertible than a movie, it's because the film boasts both sheen and efficiency without always delivering an equivalent emotional impact.

The material sounds dark, and it is, but the tone and the way it is handled makes the film very watchable, even ethereal thanks to the score and cinematography.

The music is good, and the location shooting and cinematography are top notch, but it's Robert Aldrich's direction that really makes this a gripping and suspenseful film.

Director Colin Trevorrow's digital cinematography occasionally resembles a YouTube video in mid-buffer, making the gorgeous and picturesque setting of the Pacific Northwest coastline appear bland and texture-less.

But it's Martijn Van Broekhuizen's rich cinematography that helps make the woods a character, balancing foreboding with natural beauty.

Coppola's raw vision is definitely made apparent through some inventive cinematography and atmospheric locations.

There's also the beautiful cinematography, costumes, visual effects and * ahem * Chris Hemsworth that made the movie visually stunning.

It's really the direction, along with breathtaking cinematography from Erik Wilson, that takes what might be a fan video and makes it feel like a real feature film.

Two films came out this year that had brilliant cinematography and very little dialogue, the difference is mad max didn't put me to sleep and it had action scenes that pushed the story forward rather than happen in the background and force the audience to squint to even make out what's happening.

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 soundmix feels a bit more modern than the cinematography, with a wiretapping making gimmicky use of the discrete surrounds, the various gunshots packing a wallop, and Alberto Iglesias's conspiracy - jazz score enveloping the viewer.

With three years now passed since 2007's The Bourne Ultimatum assaulted its audience with ridiculous hand - held cinematography and enough bad editing to make one nauseated, it seems director Paul Greengrass feels we are ready for the next instalment in his quest to destroy our balance centres.

As shot by Robert Elswit, Redbelt is clean and compact, its cinematography and editing exhibiting a clipped vigorousness that thankfully isn't complemented by the writer - director's usual, rat - a-tat-tat staccato verbal sparring, which makes only very occasional appearances.

Recognition for Best Cinematography and Best Art Direction went to «The Last Family,» a particular favorite of the jury and one that had them specifically staying for the Q&A to see from director Jan P. Matuszyński how he pulled off making the film.

Featuring a performance from Michael B. Jordan that will finally make him an A-lister, my favorite cinematography of the year to date (more on that later), and one of the most outstanding supporting turns of the year as well from none other than Sylvester Stallone, I'd go so far as to say that Creed is nearly perfect.