Sentences with phrase «jazz score»

6:30 am — TCM — Anatomy of a Murder From rock n» roll to jazz — sure, this is a great courtroom drama with attorneys James Stewart and George C. Scott facing off in an attempted rape case, but what always sticks in my mind more than anything else is the amazing original jazz score by Duke Ellington.

Peanuts Movie does not capitalize on the nostalgic goodwill we share for this universe, the timing of a November opening to invoke the holiday most closely identified with the franchise, the rich tradition of jazz score provided by Vince Guaraldi (who is briefly played) and David Benoit over the years (it repeatedly drops in original Meghan Trainor pop songs instead), or the visual possibilities afforded by CGI and 3D.

Even if it's too short, the experience is memorable for what it does great: its mechanics feel great, it's beautiful, well - rhythmed, with a fantastic jazz score.

The smooth jazz score which punctuates the film gives certain sections the feeling of a silent movie, while the long awkward silences in the second act are like a lighter, less absurdist variant on the work of Samuel Beckett or Harold Pinter.

Warren Oates, Scott Wilson, Lee Grant and (especially) Anthony James, offer sterling support, and there's a cool jazz score from Quincy Jones.

The original jazz score is by John Lewis and the Modern Jazz Quartet.

In 1958, Edwards produced, directed, and occasionally wrote for a hip TV detective series, Peter Gunn, which was distinguished by its film noir camerawork and driving jazz score by Henry Mancini.

The soundmix feels a bit more modern than the cinematography, with a wiretapping making gimmicky use of the discrete surrounds, the various gunshots packing a wallop, and Alberto Iglesias's conspiracy - jazz score enveloping the viewer.

With its obtrusive jazz score and flat humor, «Bottle Rocket» is in trouble from its first minutes.

These early scenes have a Parisian vibrancy about them that is enhanced by a rattling jazz score.

The great Bernard Herrmann provided the seedy jazz score — the first time in years that a director did not ask him to copy his work with Hitchcock.

The jaunty modern jazz score is by Johnny Mandel, with the formidable Gerry Mulligan on baritone sax.

The film is also well - remembered for its brilliant Duke Ellington jazz score (also unusual at the time) and the focus on Stewart as a character rather than simply focusing on the plot.

Basically faithful recreations of lost fetish loops, narratively strung together by thin bio sketches, the film includes a surprisingly vibrant jazz score by Ryan, who appears in a short composer featurette with musicians.

Perhaps the worst of the film's flaws comes from the acapella jazz score, which echoes the onscreen action like a Greek chorus — intrusive to the point where you might have a better experience with the sound completely off.

And the picture has one of the finest jazz scores in the movies, written and orchestrated by Eddie Sauter and improvised by saxophone genius Stan Getz.

Featuring a great jazz score from actor and musician John Lurie (The Lounge Lizards, Fishing With John, Stranger Than Paradise, Down By Law).

Director of photography Owen Roizman, Oscar - winning editor Jerry Greenberg, and composer Don Ellis (with his innovative jazz score) make invaluable contributions to the film's effect.

And that's aside from the top - notch jazz score by Duke Ellington, which is in itself reason enough to see the film.

also wrote and directed Fading Gigolo, a gently humorous, offbeat tale that often pays homage to Allen's screen work in terms of dialogue, tone and atmosphere, right down to the delightful jazz score.

Paul Grabowsky's classy jazz score is equally beneficial, tenderly instilling an evocative sense of time and place.

A gorgeous jazz score, a terrific performance by Denzel Washington, a top - notch supporting cast, beautiful costumes, outstanding sets and automobiles, and adept direction by Franklin (One False Move, High Crimes).

Irrational Man is light, but not quite a comedy, even with some comedic elements, and an upbeat, toe - tapping jazz score.

Andre Previn's jazz score suffuses this black - and - white film with melancholy.

Here, however, there isn't nearly as much satisfaction from Adam's memories being projected, their home - video quality doesn't match the overall tone of the film and is hastily assembled with the most clichéd old - school slow jazz scoring it.

With Herzog's boozy direction and Mark Isham's gloomy jazz score, the film takes on the same hilariously sordid rhythm as the increasingly messy Terence, lurching from languid to leery to hyperactive and back.

Set in a posh Swiss resort and accompanied by an easy - going light jazz score by Henri Mancini, Blake Edwards» mix of elegance and slapstick was a hit and Sellers was back as Clouseau in A Shot in the Dark (1964), this time without a wife, which gives him time to romance lovely murder suspect Elke Sommers.

French animated action - adventure, set to a «moody retro jazz score» about Dino the cat and his contrasting friendships with a stealthy cat burglar...

Phenomenal live jazz score.

Even if it's too short, the experience is memorable for what it does great: its mechanics feel great, it's beautiful, well - rhythmed, with a fantastic jazz score.

He instead relies on James Newton Howard's peppy smooth jazz score.

Cinematic links are made among graying sideburns, autumn leaves, decaying edifices and the grown - up pleasure of a jazz score.

Playing as part of the tribute to Sam Fuller, The Naked Kiss opens with the bald, half - dressed Kelly (Constance Towers) repeatedly clubbing a man with a blunt object, the jazz score boiling and the camera mirroring her desperate swings with its own jagged movements.

The jazz score further amplifies the throwback feel.

First - time director James Fargo (Every Which Way but Loose, Forced Vengeance) shoots without any of the style that marked Don Siegel's Harry, and with the jazz score and trademark loose delivery, you can bet that Eastwood had a major hand in how the film was made, much as he did with Magnum Force, perhaps worthy of sharing co-director credit.

Otomo has also woven in elements from Ridley Scott's Blade Runner (the jazz score, film noir, the robot - hunting «Marduks»), from Hayao Miyazaki's Laputa: Castle in the Sky (the gentle «Albert II» robots and the climactic emphasis on collapsing verticals), from James Cameron's The Terminator (androids with damaged, half - metal faces) and even from his own graphic novel / film Akira (especially in the final scenes of an individual's destructive power).

The Jazz scored maximum points in the side barrier test, with good protection of all body regions.

The Jazz scored maximum points for the protection provided by the bumper to pedestrians» legs.

Josh Siegel, an associate film curator at The Museum of Modern Art, has organized more than 90 film, media, and gallery exhibitions, including The MoMA International Festival of Film Preservation (2002 - present), Werner Schroeter (2012), Dziga Vertov (2011), Jazz Score (2008), Projects 84: Josiah McElheny (2007), Errol Morris (1999), Marguerite Duras (1996), and The Łódź Film School of Poland: 50 Years (1999), for which the Polish government awarded him an amicus poloniae.

As elements of Binion's personal history reveal themselves, his painted marks look more like the quilts and jazz scores that surrounded him during his youth than pure geometric abstraction.

Making that film included witnessing a creative miracle: a jazz score created by a gifted blind saxaphonist improvising in response to a sighted pianist, first in a church and later in a sound studio.