Sentences with phrase «cinematography really»

And Reed is right in saying that the cinematography really good for a film like this.

The film's cinematography really makes it stand out in its bold camerawork, from an escape in a wheelchair the focuses solely on the face of the victim without much idea of what's pursuing them to a shot that pans 540 degrees and ends with a slow zoom.

Wow, the cinematography really knocked me out... super wide lenses, perfect framing, all super crisp.

The cinematography really suited the tone of the film well.

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.

The cinematography really emphasises the ordinariness of the locale, contrasting it with frequent mentions of big cities such as London and Dublin.

I thought the haunting score and beautiful cinematography really helped the film.

Maury Gertsman's cinematography really isn't particularly impressive, but it's just rich enough in its coloration to catch your eye, particularly when it distinguishes the color of already distinguished production designs that go immersively well - orchestrated by Robert Clatworthy and Alexander Golitzen.

Not exact matches

Some really great bits of cinematography, but the real story is the tremendous interviews.

Jessica Chastain really step up, I hope that she gets nominated for an Oscar, and for the Cinematography, because those photographs oh my lord, that's what I'm talking about.»

For as far as the scenery, cinematography and music score goes, this was like delving into a really lush and beautiful painting.

The cinematography however, is something I really don't have any complaints with.

The film is a visual masterpiece, really good mis on scene and cinematography, and even good actors.

That said, the only thing that is really off putting about this film is the average level cinematography.

The cinematography, the love story, it's a nice encouraging pick me up - yet I'm not sure how it really worked.

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.

The golden - hued cinematography (a filming cliché that really needs to be retired) and the sometimes slack direction by Marc Evans are minuses...

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.

The choreography, cinematography, direction, and performances of this film really added some nice flare to this film, but at the same time, it had a huge flaw that dragged me too much that I actually have difficulties seeing this movie and it has to do with the story.

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.

Plus, I never really say this about a movie, but it really has some tremendous cinematography.

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.

There were elements of this film I really liked, such as the score, casting, costumes and the cinematography, but there were also elements I did not.

It's no secret we really like Moonlight — and, thankfully, the Academy did too, giving it eight nominations: Best Picture, Best Supporting Actor and Actress, Best Director, Best Adapted Screenplay, Best Cinematography, Best Editing and Best Score.

This is Tarantino, so the film is all about dialogue and character and not really breathtaking cinematography, so other than Tarantino's firm belief in preserving 70 mm, I'm not clear why he's pushing it for this particular film.

The only other category I'm really interested in is the Cinematography Oscar, in which Roger Deakins has received nominations for both

Viggo Mortensen's presence helps things out a lot, and there; s some wonderful cinematography, but some of this was just really too cheesy for me.

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.

Aesthetically, the film is one of the most extraordinary examples of cinematography we have ever seen, which is really just another way of saying «shot by Roger Deakins».

Oh man, MUDBOUND for cinematography is one of those few nominations I'm really hoping for on nominations morning.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

The cinematography is beautiful, really turning a rather dull summer home into something more, and takes full advantage of the camera's main drawback — zero peripheral vision.

A movie to watch for the fabulous acting, fabulous scenery and fabulous cinematography, but not for the storyline, which is really just an excuse to allow the former.

The cinematography at the beginning is much more observational and hand - held, so you really feel like you are peering into these people's lives, but from a distance.

The movie, starring Kirsten Dunst, really cleaned up, also winning best cinematography and production design

is misleading because while draped in Darius Khondji's luxuriant, golden - hued cinematography like the silks of Lady Liberty's gown, and decked in loving period costume and detail, the film is really a small - scale human drama in which those Gray staples, a love triangle and a love / hate brother-esque relationship, play out beat by minutely observed beat.

The cinematography itself was lovely and gentle and really unobtrusive, so that the whole way through, as the the viewer, you are simply peeking into these people's lives and watching through as though through a telescope.

It was well made film, everything sort of fell into place, it did not feel too stylised and incredible cinematography by roger deakins that really tied the film together.

The cinematography is also well done and really works for the film's setting.

Not really as distinctive as the last film to push the same envelope, Pleasantville, Chocolat still is perfect in its cast of actors and in the use of lush cinematography and music, so much so that it still makes this oft told tale enjoyable.

While those may be unfair comparisons when it comes to subject matter, this really is the film to see on the big screen, if only for Bradford Young's breathtaking cinematography.

ome directors — most, really — define themselves in their visuals, and while the movies of Joel and Ethan Coen deliver plenty of eye candy, courtesy of their brilliant choices in cinematography (Roger Deakins, holler), the Coens have, well, something else on their minds.

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

I mean really: Hawke at his best, amazing cinematography, just the right amount of melodramatic spunk.

The cinematography and acting were great, but take out the eerie music and 2 creepy (ish) parts and it was like watching a really long history channel documentary (which I also normally love.)

In terms of cinematography, I do think there are some beautiful scenes, but that's all I really got from it.

This one kind of seems like a no - brainer, but then you never really know what the cinematographers are going to think is the best cinematography.

The cinematography in this movie really sets the scene for the plot.

Superbly acted by the entire cast, beautifully directed by Inarritu, the cinematography is gritty, exciting and captivating; BIRDMAN really takes flight into a unique world of its own individuality.

The black and white cinematography from Laszlo Kovacs (Easy Rider, Ghostbusters) is gorgeous, utilising deep focus to allow for some fantastic long takes where the actors can really work together and further detail and interest can happen within the frame.