Sentences with phrase «film in the cinematography»

King adds some stylistic flair to the film in the cinematography and design choices evoking a Wes Anderson type feel to it.

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.

The film combines a compelling cautionary tale with innovative cinematography to tell a tale that, with luck, we will never witness again in our lifetime.

In therms of cinematography, the film was beautifully executed.

With a massive background in extreme sports cinematography (more than 120 productions published worldwide) in the middle of 2015, he became a freelancer working on numerous, diverse film projects around Poland and Europe.

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.

But once you are in the zone the characters cease to feel like stereotypes of British culture, and for all its painterly cinematography the film has enough pace to sustain itself beyond its beautiful landscapes.

The Sleepwalker has plenty of traits in common with Durkin's film: a similar plot, precise cinematography, the Haneke - inspired chilly remove, and that feeling of something oh so wrong lurking underneath the surface.

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 darkly realistic cinematography of Michael Simmonds gives the film a near - documentary style in its depiction of the endless, physically draining work.

Apart from the depth of meaning in the film however, it's also wonderfully executed: the acting is right on the money, and the cinematography breathtaking... just about every shot is perfect.

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 film's final act is both its best and worst, anchored by the long - gestating blow - up between the young newlyweds — naturally, it's set on the eponymous Chesil Beach — that sees both Howle and Ronan delivering show - stopping performances and Sean Bobbitt's lush cinematography combining beauty and function in with total precision.

The film explores the childhood and WWII experiences of Zamperini in a realistic fashion, with an excellent script, well - directed cast, and cinematography.

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.

Also, direction and cinematography is great in the film.

The music in this film has a masterpiece atmosphere that controls characters» feelings scene - by - scene but the cinematography and jump - cuts is also a masterpiece that nobody would ever find a British film with a masterpiece cinematography like

The film is startling in its splendid acting, eclectic musical interludes, surreal cinematography, and powerful character development.

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.

Robert Richardson's cinematography bathes the film in a warm beauty, creating some truly evocative moments.

Weinstein's background in cinematography (he was director of photography on the documentary «Elaine Stritch: Shoot Me» and directed «Flying on One Engine») is evident in the beautiful look of the film.

Like its title suggests, the film is literally cloaked in darkness, aptly depicted through some fine cinematography work which is additionally impressive and harsh, in a good way, when it ventures out into the light above.

Disgrace... Its a superb film and in a sane world, lead actor, screenplay and cinematography noms, maybe picture would go to Wind river.Olsen though?

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.

The Hollywood Film Awards honors the most acclaimed films and actors while previewing highly anticipated films and talent for the upcoming year, also acknowledges artists in the categories of Cinematography, Visual Effects, Film Composing, Costume Design, Editing, Production Design, Sound and Makeup & Hairstyling.

And if you like marching bands, this film's cinematography puts you in the middle of the action.

New for 2011, films in competition were also eligible for Jury Awards for Best Editing, Best Cinematography, Best Score / Music, Best Screenplay (narratives) and Breakthrough Performance (narratives).

After over 200 individuals voted in IndieWire's annual Critics Poll, these are the 30 films they selected with the best cinematography of 2016.

Though effused with shimmering and luscious black - and - white cinematography courtesy the great master James Wong Howe, the film gets bogged down in the complexities of its own narrative, thanks in large part to its use of extended flashbacks and flashbacks - within - flashbacks.

You've said before that your first film for them, Barton Fink, revived your interest in cinematography.

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.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

There's an elegant fresco quality to Leo Tover's cinematography — whenever I paused Twilight Time's recent Blu - ray release of the film I could practically make out the cracks in the plaster.

Regardless, this film relies not only on solid acting, but the cinematography has an equally important role in telling the story.

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.

From cinematography to score, this film is the whole package in a genre that so rarely gets this type of respect.

The cinematography throughout the film is beautiful — thanks, in large part, to the innate beauty of Paris itself — and the recreation of 1920s Paris will inspire in the audience the type of nostalgia that Gil himself feels for the era.

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.

As if filmed through a thin veil of delicate lace, Michael McDonough's cinematography saturates this religious commune in a glow that renders black (the colour of evil) into a less threatening palate of charcoal and grey.

Quiet strength resonates in the journey at the film's centre, as resilience shines amidst challenging circumstances; warmth radiates from the moving marriage of the mis - matched, and from a frosty scenario enlivened by handsome cinematography.

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.

I mean I think I had forgotten what great cinematography looked like in black and white films, this gave me such a refresher.

Hostiles Stars: Christian Bale, Rosamund Pike, Wes Studi, Ben Foster, Q'orianka Kilcher, Scott Wilson, Peter Mullan, Adam Beach and Jesse Plemons Director: Scott Cooper Scriptwriter: Scott Cooper based on the manuscript by Donald E. Stewart Composer: Max Richter Cinematography: Masanobu Takayanagi Entertainment Studios Rating: R for violence and themed material Running Length: 133 minutes The Old American West still thrives in film country.

The film also won in the categories for editing and cinematography, as well as special awards for its sound design and visual effects work.

The Creative Recognition category recognizes special achievement in cinematography, editing, music and writing in films entered in the Feature Category.

The cinematography's long shots convey a calmness that is quickly shattered, and along with the music, juxtaposes with the story of the film and the characters in a way that adds insight into the lives of the characters.

This Asian (South Korean / Chinese) film made good use of that figure, with sometimes disturbing, but very well done fight scenes and in general, beautiful cinematography.

In addition to the impressive effects, the film features stunning cinematography from Michael Fimognari (who recently shot «Gerald's Game» and «Before I Fall»).

It has so many great things in it (the period score by T - Bone Burnett and Carter Burwell and the beautiful cinematography by Roger Deakins stand out) that it is tough to find this film to be a disappointment.