Sentences with phrase «interesting cinematography»

British film director Steve McQueen's 2008 debut film, Hunger, is notable for many reasons: It is a great film, a great debut film, uses an innovative narrative structure, uses interesting cinematography in concert with its soundtrack, makes the best use of ambient sound to have the best non-musical soundtrack I've heard in a long time (if not ever), is the work of a black artist that is not obsessed with black only topics, and shows a maturity and grace that goes beyond even the first films of directors like David Gordon Green, in George Washington, and Terrence Malick, in Badlands.

The film has great production design and interesting cinematography, which comes across nicely here.

Many of the dresses exude vibrant colors, there are tricky staged ballroom dance sequences that feature interesting cinematography tracking the tapping of characters» feet, and a few refreshing touches to the overall zombie designs.

He manages to make films with interesting cinematography, without ever distracting from the plot.

This claustrophobic horror film has interesting cinematography and almost nothing else going for it.

Not exact matches

Because the film is clearly made for the American market, the cinematography can be distracting but it provides an interesting look at how politicians operate and what makes them tick.

The plot is interesting, the suspense is taut, and the cinematography is out of this world amazing.

It's immediately clear that Berg's penchant for incoherent, relentlessly shaky camerawork is in full effect here, with the filmmaker's aggressively unpleasant visual sensibilities holding the viewer at arms length right from the get - go - although, unlike most of Berg's previous endeavors, Patriots Day at least benefits from an interesting storyline that generally compensates for its inept cinematography.

When the dance is finally beat, Robert Baker... or Alabama, there's something endearing enough about the pretty points in cinematography and score work, touching occasions in entertainingly well - paced direction, interesting spots in a colorful story, and across - the - board decent performances - especially the one by Evan Rachel Wood - for the final product to border on decent, ultimately falling under the overwhelming weight of the glaring tonal and narrative incoherencies, flat humor, dramatic contrivances, problematic themes, even more problematic leads, ridiculous story and onslaught of clichés which render Andrew Fleming's «Barefoot» an occasionally charming, but mostly mediocrely misguided romantic dramedy.

The sharp screenplay penned in part by Deadpool himself (Ryan Reynolds) never ceases its wit, and the comedic timing throughout is perfectly bolstered by the fast - paced cinematography and polished CGI that convincingly depicts interesting locations and frenetic action scenes.

The production design, editing, and cinematography is strong throughout and the story is interesting but things get a little muddled once the third act rounds up.

The use of music together with the outstandingly beautiful cinematography and interesting things the movie has to say about the gap between rich and poor and how mankind apparently fucked up its gene pool is very fascinating and interesting.

The setting is interesting and the cinematography awe - inspiring.

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

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

As a moviemaking experiment it succeeds rather nicely, if only as evidence that Coppola has discovered his art once again and is actively pursuing it — and this includes a renewed interest in the fine details of cinematography, sound and score.

The film is so beholden to the moods and manners of Malick that even its more estimable elements (the acting, the cinematography, the very conceit of making a movie about Abraham Lincoln that focuses exclusively on what's ostensibly the least interesting part of his life, sort of a Younger Mr. Lincoln) are diffused into the ether.

His cinematography and camera orchestrations are as sumptuous as ever, almost worth watching without dialogue, and yet, he doesn't exactly offer anything new here — it occasionally seems like he is trying to remake his cult classic, Chungking Express, for a Western audience, with some of the more interesting bits of his other films tossed in for good measure.

Looks like it has cool cinematography, but it's just ridiculous that when Steven Spielberg makes a world war 1 movie, it's about a boy who loves his horse... I'm way more interested in World War 1

Olivier Assayas conjures up an interesting, uncertain atmosphere through Yorick Le Saux's smoky cinematography, Francois - Renaud Labarthe's lush, evocative production design and through Olivier Goinard and Nicolas Moreau's rich sound design.

His search takes him to some interesting places in LA, much like a classic noir; the sets, dialogue and cinematography are highly polished and stylized.

The film has beautiful cinematography, an interesting premise, captivating characters and terrific performances all around, yet it manages to fall short.

A Field in England has beautiful cinematography, an interesting premise, captivating characters and terrific performances all around, yet it manages to fall short.

Meanwhile, Shortland maintains our interest with beautiful cinematography, a consistent state of dread, and a wonderfully melancholic score by Max Richter.

The cinematography itself is beautiful, and the film makes good use of a Steadicam, but often it feels like the gaffer was only interested in natural lighting.

Also of interest is the beautiful scenery and cinematography by Emmanuel Lubezky (Meet Joe Black, Sleepy Hollow), with the foggy vistas and gorgeous green vineyards.

The fact that the most interesting part of the nominations announcement was Academy president Cheryl Boone Isaacs saying «Dick Poop» instead of «Dick Pope» for Mr. Turner's Best Cinematography nod probably says it all.

In addition to stunning cinematography, sharp dialogue and rich character development, Appaloosa also features a nice turn from Renee Zellweger as Allison French, Cole's love interest who proves to be surprisingly cunning.

Although the cinematography and acting were beautiful, I often lost my interest while watching this film that seemed longer than it should've been.

I thought the visuals and cinematography were amazing, the interaction between the characters amusing and the storyline interesting.

There's a surprising amount of versatility on this list, and it's interesting to see how the art of cinematography has evolved over the past nearly two decades as digital photography has taken hold.

Despite it being the Scottish director's début feature, the film along with its exquisite cinematography, subtle elegance, dark humour and impeccable performances, it's no surprise Slow West has been generating such interest of the International film festival circuit.

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.

Although this is based on a Japanese film from 1998 entitled Ringu, which itself was based on a novel and also TV film from 1995, the reason why The Ring maintains interest is mostly due to the effective direction by Gore Verbinski and the eerie cinematography by Bojan Bazelli.

In fact, the cinematography is not just crisply shot, but experiments with interesting quick zooms and close - ups, crosscutting between facial expressions and focusing quirkily on smaller material objects as a way of foreshadowing later events.

The cinematography is workmanlike whilst Chad Bernhard's score starts off interesting before becoming increasingly distracting.

Anderson's first film is an interesting look back at the development of filmmaker's now signature style: the methodical cinematography, with its bright coloring and compulsive need to center - frame the actors, along with humor so dry you'd better pack a canteen.

The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's cinematography is as good as anything he's done with the Coens, and that's saying a lot) but because of its ambiguity: because the questions it raises about narrative and about society are as interesting as those raised by any other film (but one) of 2007.

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 certainly competent and watchable, but not as gorgeous or interesting as most films within the western genre — it feels a little flat.

Also, the cinematography works but doesn't do too much interesting with the urban fantasy scenario.

Yes, the acting is very good (still not outstanding), it has good writing, good cinematography, interesting outdoor sets, seems authentic, etc...

Thanks to truly engaging performances and Christopher Blauvelt's darkly atmospheric cinematography, which drags the audience deep down the noir rabbit hole alongside Katherine, one is easily lulled into State Like Sleep despite the central mystery lacking interest.

My thoughts on this are that it will be interesting to see whether or not the Cinematographers embrace the new 3 - D cinematography on February 27.

Meanwhile, I'm interested, and quite pleased, to see that they've reverted to a general technical - contribution prize rather than the simple Best Cinematography prize they've handed out in year's past: singling out the witty, inventive production design of Jaco van Dormael's «Mr. Nobody» is both resourceful and intelligent.

It's a stylish, downbeat noir piece, with good cinematography and an interesting electronic soundtrack, but the story elements never elevate it into much more than passably interesting at times.

Interesting plot and beautiful cinematography.

Though I'm not a huge fan of declaring each category's runner - up, it is interesting to see the difference between their first and second choices, especially when they can be as different as GRAVITY and INSIDE LLEWYN DAVIS for Best Cinematography or GRAVITY and UPSTREAM COLOUR for Best Editing.

Mudbound is nominated four times, but they're a long shot in Adapted Screenplay and Supporting actor, and we're all agreed on rooting for Roger Deakins in Best Cinematography (though a win for Mudbound «s Rachel Morrison there would mean the first win by a woman in that category ever, so rooting interests abound), so it's Mary in Best Original Song as Netflix's great narrative hope.

Luna isn't interested in obtuse camera angles or memorable cinematography; it's a linear story told with emotion and backbone.