Sentences with phrase «lush cinematography by»

Plus there's gorgeous, lush cinematography by Rui Poças.

It's part blood - soaked killing ground, part winter wonderland with lush cinematography by Ben Richardson capturing it all.

Not exact matches

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 cinematography by Darius Khondji is gorgeous, as is the lush backdrop of Southern France, but even that can't save the story at the center of it from being so dull.

jack Cardiff's Technicolor cinematography is top - notch, the blacks, whites and grays of the nuns constantly being overwhelmed by the lush greens, blues and reds of the locals and the local environment (green is the dominant color of Kerr's flashbacks: Irish fields, an emerald necklace; red the color of Byron's psychosis: her hair, dress and lipstick).

The cinematography by Sayombhu Mukdeeprom is lush with unique angles, a large part of what makes it so easy to be feel lost in this world.

Like many period romances, a great deal of the film's assets reside in the lush cinematography, beautiful environs, and elegant costumes, sumptuously presented by cinematographer, Stuart Dryburgh (Aeon Flux, The Recruit).

The score by Carter Burwell is perfect, and the cinematography by Edward Lachman is lush and soft, recalling 1950s cinematic color palettes, but also capturing the passion and chilliness of the story.

Yet I left the theater with admiration for all those elements that make a movie worth seeing: the lush cinematography (Dan Laustsen), the makeup and special effects that bring the creature to vivid life, the vibrant score by Alexandre Desplat and the performances (especially Hawkins, Jenkins, Spencer and Jones).

Featuring sensuous cinematography, a lush score, and an award - winning central performance by the great Toni Servillo, this transporting experience by the brilliant Italian director Paolo Sorrentino is a breathtaking Felliniesque tale of decadence and lost love.

Superbly acted and almost flawless in its scene - to - scene construction, Chloe is imbued early on with a woozy sense of mystery and intrigue, something underscored by Mychael Danna's sumptuous score and Paul Sarossy's equally lush and inviting cinematography.

Equally as impressive is the cinematography by Bruno Delbonnel, whose lush visuals are a joy to lay eyes on throughout.

It's a vibe that's perpetuated by everything from Roy Webb's lush score to Ted Tetzlaff's gorgeous cinematography to the uniformly effective performances, with, in terms of the latter, Grant and Bergman's chemistry together ensuring that one can't help but root for their characters» triumph over Rains» nefarious (yet somewhat sympathetic) Sebastian.

Everything from the immaculate cinematography by Christian Berger (The White Ribbon) to the lush score by legendary composer Gabriel Yared (The Talented Mr. Ripley) evokes a forgotten era of filmmaking.

Great cinematography and a lush musical score are the highlights of the film, but can't overcome the poor directing by Mira Nair, who should have been less concerned with making an epic and more concerned with telling a decent story.