Not exact matches
Soderbergh's
cinematography is, as ever, superb — a shot of Carano and Tatum in the LED light of an airport departure lounge has the world - weary blearily - lit hum of a John Le Carre
film updated for our digital age, while a climactic fight under the morning sun
on the beachside shore feels
like someone dropped a Donnie Yen battle into a Michelangelo Antonioni art
film.
I
liked the
film's grainy
cinematography, nervous editing and moody Clint Mansell score, and even though Tillman Jr. indulges in flashy visuals at times (I bet he's a fan of Tony Scott's «Man
on Fire), «Faster» feels surprisingly grounded in general.
On the other hand, if you are
like me... a fan of complex story lines and multi-faceted characters, amazing
cinematography and editing, top level acting and crackling dialogue, this is the can't miss
film of the year.
While the
cinematography is handsome (cradled by forests and dramatically framed by the Dolomites, this town never looks anything less than magnificent) and the performances fine, the mystery itself is quite conventional and the
film plays
like pieces of the plot were left
on the cutting room floor.
A key element to the
film's fairy - tale -
like feel is the lush
cinematography of Frederick Elmes (Blue Velvet, Night
on Earth, Wild at Heart, The Ice Storm).