Sentences with phrase «jazz score by»

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.

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

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.

Elevator to the Gallows (1958) For his feature debut, 24 - year - old Louis Malle brought together a mesmerizing performance by Jeanne Moreau, evocative cinematography by Henri Decaë, and a now legendary jazz score by Miles Davis.

Not exact matches

The Jazz were led by Al Jefferson's 26 points and 10 rebounds in defeat while Paul Millsap scored 10 points to go with 19 rebounds, though his 4 - of - 17 performance from the field wasn't anything to write home about.

A week later Harper came back with several more poems, and Danielpour produced a score influenced by jazz, which he calls «the [one] cultural commodity aside from baseball not inherited from Europe.»

No one knew how the Jazz would score any points with Gordon Hayward gone and George Hill replaced by Ricky Rubio.

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

This light fare is punctuated by the jazz - like whimsy of Alexandre Desplat's score, which keeps the mood upbeat and optimistic.

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

Extras: Interview from 2005 with Moreau; archival interviews with Moreau, Malle, actor Maurice Ronet, and original soundtrack session pianist René Urtreger; footage of Miles Davis and Malle from the soundtrack recording session; program from 2005 about the score featuring jazz trumpeter Jon Faddis and critic Gary Giddins; Malle's student film «Crazeologie,» featuring Charlie Parker's song «Crazeology»; trailers; a booklet featuring an essay by critic Terrence Rafferty, an interview with Malle, and a tribute by film producer Vincent Malle.

Much more complex than the logline bestowed by Sundance fans — «Full Metal Jacket at Juilliard» — the film is indeed a musical, its live jazz core fused with an ambient score by Justin Hurwitz that keeps your pulse rate elevated from beginning to end.

Though Marsalis» score is available on CD, the mix of blues, big band, and Dixieland jazz are sampled in a short medley that's complimented by stills from the recording session.

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).

The world of Reynolds Woodcock — its silky elegance, focused discipline and fetishistic attention to sartorial and ritualistic detail — is captured behind a scrim of nostalgia and romance by Anderson, who invites viewers to luxuriate in the creamy interiors of Woodcock's townhouse and atelier, the dreamy mood heightened by Jonny Greenwood's jazz - inflected musical score.

This might lead you to think that the film will climax with an explosive set piece scored by a jazz standard.

Add to that a cavalcade of clichés from the local color that reads like a Chamber of Commerce video (jazz bands, an overdose of zydeco flavoring in the score by Ry Cooder wannabe Steve Mazzaro, Bobo's swamp house that's apparently just down the bayou from Jason Statham's in «The Mechanic») to the utterly predictable story beats, and you've got a thoroughly generic movie that can only sporadically provide even gut - level thrills.

Damien Chazelle may have scripted one of the more inadvertently humorous titles in recent memory («The Last Exorcism II»), but his heart is clearly in musicals, not comedy: «Guy and Madeline on a Park Bench,» the fractured romance he wrote and directed in 2009, featured jazz trumpeter Jason Palmer, a buoyant score by Justin Hurwitz and cast members breaking into down - market dance numbers in the middle of a restaurant kitchen.

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).

Arguably the first Egyptian mummy score composed by a Frenchman (and a musician best known as a big band jazz artist behind the score to «Borsalino» at that), «The Awakening's» pairing might seem like strange sarcophagus fellows at first.

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.

Moreover, not all of this movie's music, alas, is provided by Ross and her jazz quintet; there's also an insufferable new - age score by the ubiquitous Mark Isham that functions less as commentary than as leveling Muzak.

With a score by jazz master Miles Davis.

The atmosphere is convivial and lively, thanks in part to an accompanying blast of free jazz from legendary saxophonist Idris Ackamoor — one in a number of surprising soundtrack cues, ranging from deep funk to blues, that pockmark the piano - driven score by composer David Shire.

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

The musical score was composed by Matthew Doucette, and the sounds effects were ripped out of a data file from Epic MegaGames» Jazz JackRabbit.

During this time, Moran has written a score, influenced by New Orleans jazz funeral processions, as a sonic counterpart to Mehretu's monumental paintings and unique style of mark - making.

The work is scored by a guitar tune that subtly transitions from that of a guqin (the oldest guitar - like Chinese instrument) into American guitar stylings, including country, blues, jazz, electronic, and / or ambient.

Recognizing an affinity between this spectral film footage and his earlier non-video work dealing with legibility, Ligon left the footage unedited and added a commissioned score played by the jazz pianist Jason Moran, based on the vaudeville song «Nobody.»

He was a 2015 Grammy nominee for Best Jazz Instrumental Album for ALL RISE: A Joyful Elegy for Fats Waller, and he composed his first feature film score for Selma (2014), directed by Ava DuVernay.

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.