The lighting is darker and moodier, there are creative camera movements and long shots, and an eerie Cliff Martinez
electro score thrums like we're watching «Drive» and not a bunch of upper - middle - class suburbanites whose biggest excitement in life so far has been a proposal during a game of Pictionary.
Deservedly winner of the Best Director gong at this year's Cannes Film Festival, Nicholas Winding Refn makes Los Angeles look as beautiful as it's ever been without using any tourist traps, and the adaptation from the James Sallis novel by Hossein Amini (who also adapted the dark Jude and The Wings of a Dove) is beautifully done, even if some of the music (largely an effective ambient /
electro score) is a little on - the - nose.
The electro score — so menacing at first — begins to thump with purpose.
Not exact matches
And it's all synced to a trippy
electro - rock musical
score.
It's a deeply creepy
score, and incredibly engaging as it transforms into some form of
electro - acoustic jazz — the kind that's dipped two feet in acid.
And as in Blade Runner, Villeneuve's movie builds its world as much sonically as visually, plunging the audience into a cacophony of electronic klaxons, polyglot crowd - chatter, and invasive talking advertisements, accompanied by Hans Zimmer and Benjamin Wallfisch's
score, which tastefully incorporates key phrases from Vangelis's masterful
electro — prog rock soundtrack from 1982.
Whilst showing off your lichtmeister skills you'll decapitate your enemies with headshots, execute special attacks, and generate «zuper» massive combos to improve your
score and impress your friends — whilst raving to a «bombastich» space - soundtrack — ranging from
electro - space marches to vibrating sounds of «technocumbia».
His brilliant visuals are backed by a maniacal
score by dubstep master Skrillex and
electro wizard Cliff Martinez.
Every scene is filled with bright colors and flashy editing set to the hypnotic
score by
electro whizzes Skrillex and Cliff Martinez.
Long before it became the hip thing to do, director William Friedkin (The Exorcist) hired
electro - dance band Wang Chung — yes, of «Everybody Have Fun Tonight» fame — to
score his 1985 action thriller.
Striking a poignant note, quite literally, the film's haunting
electro - orchestral
score marks the final screen credit for composer Johan Johansson, who died this month, here working in tandem with fellow Icelander Hildur Gudnadottir.
The
electro - synth
score by Cliff Martinez is also great, lending the film a pulse and upping the intensity without ever becoming overbearing.
If Klaus Badelt turned pirate
scores into
electro - orchestral rock operas with the «Caribbean» movies, «Cutthroat Island» stands tall as a last, defiant gasp to the old - school symphonic way of playing brigands in all of their unapologetically symphonic glory, as accompanied by Jeff Bond's entertainingly blunt notes about Carolco's sinking ship.
Automatic headlamps, signature light guide, daytime running lights,
electro - chromic mirror, rain sensing wipers, push button start and
scores of other intuitive features
Heavy - Metal (dis - Concert for 6 Steel Plan Chests and 5 Objects in Metal) 1986 From Occupied Territory (Território Ocupado) group show, EAV Parque Lage, Rio de Janeiro 1986, catalogue Installation, sculpture, music plan chests, scaffolding structure, table with objects musical
score on blackboard
electro - acoustic music by Rodolfo Caesar 130 x 400 x 400 cm circa (sculpture)