Sentences with phrase «do cinematography»

If you've seen how those films do cinematography, don't expect much different with this film.

(They didn't do the cinematography, that was Laurie Rose, or the craft services.)

When they brought in Vittorio Storaro on The Conformist to do the cinematography, they had that troika — in my opinion, one of the most incredible visual troikas in the history of movies.

The great Roger Deakins did the cinematography, and you can almost feel the kind of damp chill that sunlight rarely fights through.

Vittorio Storaro did the cinematography, so you can believe me when I say it looks great.

The apes seem to get more realistic and detailed each time I see them in their respective trailers as does the cinematography and shot compositions.

(Bradford Young, who shot Ava DuVernay's Selma, did the cinematography and often collaborates with Hewitt.)

Paris - based artist Benoit Delhomme has been painting for two decades while doing cinematography for films like Theory of Everything, A Most Wanted Man or Al Pacino's Salome.

Not exact matches

With epic cinematography, «Amazing China» — produced by China Central Television and the state - owned China Film Group Co. Ltd. — articulates a message of how China would like to be seen as it pursues President Xi Jinping's vision of a globally resurgent nation, against a reality that doesn't always measure up.

You might not have seen anything he's ever created but you're watching something he's created now and you're seeing his sense of timing, framing, lighting, cinematography, the sentiment, concepts and whether you understand filmmaking or not you can buy into what it is he's doing.

Days of Heaven, which brought Malick the best director award at Cannes in 1979 and is arguably his finest film, is being reissued in a new print that does justice to Néstor Almendros's magnificent cinematography drawing on the paintings of Winslow Homer, Andrew Wyeth, Edward Hopper and (in one scene of a religious ceremony in wheat fields) Jean - François Millet.

Didn't like the characters (the lead boy and girl), the flat 2D cinematography was nauseating (every shot is either side on, front on, top down, no angles, no depth), and the story was just a little too quirky for me, although I appreciate

While the cinematography and score don't stand out, it is done well.

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

District 9 was genuinely original and all around high quality as far as cinematography goes; that new no name lead actor did a great job

Similar to Inception and Pulp Fiction (okay, maybe not so much the latter), this movie is horribly misunderstood by the common person, but to anyone who has a sense of meta - humour, good cinematography, writing, and great plot line this movie shines like lamp in a dark basement (See what I did there, I was implying that horror movies in general aren't that great... I was also referencing the movie).

Director Byron Mabe (who also directed SHE - FREAK) does a superb job handling the black - and - white cinematography and his editing during the foreplay scenes is wonderfully done.

This exciting epidemic thriller has quite a lot to offer: an outstanding cast of great names, great cinematography by Ballhaus and direction by Petersen and a thrilling plot that doesn't leave you much space to catch your breath, even has quite a few decent action scenes to offer.

The cinematography is very well done especially the opening where the camera goes through the Edinburgh streets.

Caswill and her team wisely let these performances and this great writing do most of the lifting, but rest assured that the direction, cinematography, costume and production design, and the simple but intoxicating score are all capable at worst, lovely at best, and thoughtful all the way through.

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.

«Black Butterflies» has all the elements of a good movie like history, literature, excellent cinematography, lots of period detail and Liam Cunningham who can simply do no wrong.

Good performances (and great cinematography, costuming, and set design) nearly disguise the romantized telling of her finding her way, aid in the feeling of sympathy for her in what is essentially a Harlequin romance / Hallmark postcard, however well done.

Tom Hooper directs this film, and while he does a fantastic job and the cinematography is incredible, the substance did not pay off in the way I believe it should have.

This film is desperately deep in its trite fluff, but with its hint of indie flavor, it does try a bit, at least in the technical department, with Alexander Gruszynski delivering on a few pretty points in cinematography, while Michael Penn hits some charmingly perky licks in his score.

An overrated thriller that does have a gorgeous cinematography and an intriguing premise but whose development has its share of unnecessary narrative flaws and drags unforgivably, feeling bloated (and even tiresome) with scenes that are elongated for too long.

The script is not perfect, and there were a few minor scenes that did not ring true - but the overall package is amazing - the perfect cast from top to bottom, most of the script, the acting, cinematography, directing, score, everything about this movies pays homage to a by - gone era of American Films and does it with taste and class.

It's a very accomplished horror feature that doesn't sacrifice characters for cheap scares, and celebrates its excellent effects work with beautiful cinematography and a love and respect for its creatures.

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.

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.

It doesn't matter how you cut it the only thing this movie had going for it was cinematography, It may be a technical marvel but if it can't keep me from falling asleep or the people in my theatre from leaving in droves it does not come anywhere close to getting a pass from me.

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.

His hand gestures, perfectly timed pauses between dialogues and even his impatient attitude does not allow you take your eyes away from him, even though the cinematography in these scenes by Javier Aguirresarobe, is beyond stunning.

Amir Mokri's cinematography seems to vacillate between Hollywood gloss and the Canadian equivalent, and this glamorous 2.39:1, 16x9 - enhanced transfer may be a little too good in that it doesn't level the two out.

Cinematography (bow down) Production Design (bow down) Editing (bow down) Score Supporting Actor for Issey Ogata (bow down) or Liam Neeson Best Actor — but does Andrew Garfield get in for this or for Hacksaw Ridge?

Though Timo Salminen's 35 mm cinematography suits the tactile romanticism of jukeboxes and cigarette smoke, it doesn't create a hermetic universe of pacifying nostalgia; deep colors dissolve into the melancholy chiaroscuro and dull grays of a decidedly present - day Helsinki.

But like Abrams did on «Star Trek,» Whedon has stepped up his game in a major way: the action is clear and coherent, the pacing is tight (it's 140 minutes long, but flies by) and the technical contributions are top - notch across the board, from the Bond - movie production design of James Chinlund («The Fountain «-RRB- and the razor - sharp cutting of Jeffrey Ford («Public Enemies «-RRB- and Lisa Lassek («Cabin In The Woods») to Seamus McGarvey «s bright cinematography and Alan Silvestri's firmly listenable score (although the latter could, it should be said, use a more distinctive theme).

From the all - star cast, to the historical premise, to Clooney's gilded track record behind the camera, I'd be surprised if it didn't pull off at least five nominations and mostly a lot more — Best Picture, Best Director, Adapted Screenplay, Art Direction, Cinematography, Score, you name it, this has a strong shot.

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.

Another note is that the Oscar ballot does not list the names of the craftspeople nominated for categories like best cinematography.

THE DVD Anchor Bay reissues Johnny Suede on DVD in a 1.75:1 anamorphic widescreen transfer that frankly does Joe DeSalvo's cinematography a disservice.

Rupert Wyatt (Rise of the Planet of the Apes) does a good job directing a gifted cast of talents young and old, and moody cinematography by Greig Fraser gives the film a stylish visual signature, but it's in the script by William Monahan where the film comes up short.

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.

Still, it did receive nominations for Bruno Delbonnel's gorgeous cinematography, and for sound mixing.

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.

One thing that truly does work about the project is the cinematography by «Under the Skin» lenser Daniel Landin.

Its stunning 2.35:1 anamorphic presentation, supervised by Cundey, does for this film exactly what the Cundey - approved transfer of The Fog did for that film: it resurrects it, transforming a marginal not - recommend in the case of Cimber's film into a marginal recommend based on the strength of Cundey's gorgeous cinematography.

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

Many directors say that while it seems tougher to write a great piece of dialogue than craft some sharp mise - en - scêne, in fact, that's a screenwriter - centric view, and doesn't consider the full trickiness of cinematography and direction.