Sentences with phrase «for beautiful cinematography»

To call Mr. Turner one of the year's most overrated films seems unfair, as it's worth watching for beautiful cinematography and a plethora of gentle laughs.

Not exact matches

Which means that somehow director Matt Reeves (Cloverfield, 10 Cloverfield Lane) keeps the audience gripped in suspense for nearly two and a half hours largely with facial expressions, minimal dialogue, a sparse but hard - hitting score, and stunningly beautiful cinematography.

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.

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

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.

The sometimes - campy, somewhat noir-esque tale, told from the perspective of the self - absorbed police inspector who fancied his search for his prey as his own work of art, presents its material with ample laughs, great style and beautiful cinematography.

With soaring cinematography by Eric Gautier (Christmas Tale), an anthem - like soundtrack for ascetic rebellion by Pearl Jam's Eddie Vedder, strong acting, lyrical narration written by poet Sharon Olds, beautiful landscapes, and non-linear structure, Penn masterfully fills the 148 - minute runtime.

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.

And besides, it's a martial arts movie centered around sword fighting, with some downright beautiful choreography and cinematography... Not to mention, it's set in the 1930s, which is a very unique era for these types of movies.

The cinematography is stunning, the beautiful yet harsh South Australian landscape in perfect harmony with the haunting score courtesy of Frank Tetaz (known for his work with David Thrussell and Snog, and more generally on the Dorubo label).

Luckily, the film's images are top - notch, with beautiful, exotic production design for Krypton and their technology and gorgeous cinematography.

Speaking of Oscars, the movie should have also been nominated for Howard Shore's bongo - music score, Stefan Czapsky's beautiful black - and - white cinematography, and Tom Duffield's production design, which carefully re-created all of Wood's old cardboard sets to the most minute detail.

The film, itself, is not always up to Patel's level, but it is mostly competently made, with beautiful cinematography courtesy of Greg Fraser (Zero Dark Thirty), whose opening shots of a little child playing in a cloud of butterflies sets a dreamscape tone for the innocence soon to be lost.

Thankfully, one person who was not snubbed was Roger A Deakins, who took home the Oscar for his beautiful work in Blade Runner 2049 in the Best Cinematography category.

What a shame that such terrific cinematography, competent actors, beautiful sets and costumes, and an interesting plot end up all for naught.

The cinematography is beautiful, and sets the tone for a part of the world that knows beauty from architecture to gardens.

From the classic Tarantino - style dialogue to the beautiful cinematography, audience members are in for a real treat.

Beautiful cinematography, intense acting and a sprawling, morally exhausting plot come together to form the definitive crime drama that quite easily could pave the way for the rest of Gosling and Cooper's career alike — and I'd be more than okay with that.

We love it for its globe - spanning cast of should - know - better Shakespearian talent; for its mixed bag of ideas (most originating in Herbert's book, others, like the gratuitous heart plugs, from Lynch's own warped mind); for its twisted wedding of ornate Euro - pudding epic, grotesque experimental horror flick and action blockbuster; for the stunning cinematography, immersive sets and beautiful costumes — and yes, even Sting's black nappy.

But it's probably the single most beautiful looking film released this year, and yet no nomination for Cinematography.

For a film that enjoyed only limited theatrical exposure, Mee - Shee: The Water Giant offers great production values, convincing computer graphics and beautiful cinematography.

The cinematography does look beautiful, the visuals mostly look great, the direction was well done and the overall concept is cool, but some of the dialogue was cringe - worthy, it gets a little convoluted, and most of the characters don't serve any purpose for the overall story.

With excellent acting across the board, beautiful cinematography and a pace that makes The Two Towers (minus the painfully boring Ents) feel slow, this film is a must - watch film, especially so for anyone who remembers the Lord of the Rings franchise fondly.

N - bombs easily outgun F - bombs as Deep South race relations are mined for Blazing Saddles humour («It's a nigga on a horse,» gawps one smalltown local), along with QT's twists on genre touchstones (Sergio Leone crash - zooms, Broomhilda's yellow dress, Waltz and Foxx riding through the snow like John Ford's searchers), his anachronised musical cues (Morricone to hip - hop), his fanboy cameos (a nice one for Franco Nero; a nutty one for himself) and Robert Richardson's bold, beautiful cinematography.

Jurors Dianna Agron, Joy Bryant, Diane Lane, Zoe Lister - Jones and Christina Ricci awarded the film for its «intrepid and compassionate storytelling, beautiful cinematography (by a woman), complex characterization of the female experience, seamless...

The jurors — Dianna Agron, Joy Bryant, Diane Lane, Zoe Lister - Jones and Christina Ricci — awarded the 2017 Nora Ephron Prize of $ 25,000, (which is sponsored by Chanel), to The Divine Order's Petra Volpe: «For its intrepid and compassionate storytelling, beautiful cinematography, complex characterization of the female experience, seamless navigation of both drama and comedy, and true embodiment of the personal being political.»

Road Warrior isn't ever going to be remembered for sparkling dialogue or breathtakingly beautiful cinematography, but it does unabashedly examine many ways in which sharp projectiles, barbed wire and moving vehicles can ruin your whole day.

From its perfect casting, to its beautiful story, to its gorgeous cinematography — which includes an early 1960's era California, this film is a real treat for the Disney fan or just any movie fan.

The cinematography by Bojan Bazelli is beautiful and haunting and the film delivers a fine level of mystery for its first two - thirds, recalling great haunted house and asylum movies from the 50s and 60s.

With its alternately beautiful and gritty cinematography, this sequence could easily be mistaken for an adaptation of a Bond short story had Fleming written one like this.

Inferno is a fun movie with beautiful cinematography, but the film version falls short of the excitement that made the book so enjoyable, opting for unimaginative plot changes which will leave fans shaking their heads.

The film is captured in beautiful black and white as it sets the tone for the entire film while the cinematography catapults the film into a free - flowing renaissance where nature takes on a form of not just setting but a character to sympathize with and examine more thoroughly.

He's acclaimed for his cinematography and art direction work with musician Jack Johnson, as well as for his beautiful short films, such as «Tranquil Music,» about the summery musical vibe in a pre 9/11 NYC, «The Half Way Tree,» a tale of Jamaican surfing made with Dan Malloy, «Oxfam Make Trade Fair,» documenting Minnie Driver's trip to Cambodia to raise awareness on sweat shop labor.