Sentences with phrase «more movie scores»

I own way more movie scores and fountain pens than I can actually afford.

Not exact matches

The movie's score on Metacritic, another online review aggregator, is a slightly more healthy 40 (out of 100).

The movie, from Time Warner's (TWX) Warner Bros., won awards in categories such as costume and production design, as well as makeup and two sound categories on its way to scoring more total Oscars than any other film Sunday night.

Died At 82, Elmer Bernstein, the composer of scores for The Ten Commandments, The Magnificent Seven and more than 200 other movies.

If the movie scores at the box office, it will be for reasons that are both disquieting and understandable: Gladiator is pitched to an audience that wants, more and more, to be spoon - fed (it's movies like this that help create that audience), but it accomplishes the task with pace, visual grit, and a roster of appealing actors.

This should be a positive but what few of them realize is that it takes more than a synth score and a few bad - ass characters to emulate the thrills of his movies.

The movie is worth more than a 30, but the current score 77 needs seriously watering down.

With a pulse - pounding score by Alan Silvestri, beautiful cinematography from Trent Opaloch, impressive special effects, and an incredible cast, Avengers: Infinity War is more than a great movie, it's an honest - to - god achievement in blockbuster filmmaking.

Even composers Hans Zimmer, who's scored a zillion movies, and John Powell seem to be having more fun than usual.

If I describe the superior craftsmanship of «Unbroken» — the stunning cinematography is by the great Roger Deakins, Alexandre Desplat composed the soaring score — in a way that makes the end results seem more like a convertible than a movie, it's because the film boasts both sheen and efficiency without always delivering an equivalent emotional impact.

Between the visual style, the escalating tension, Day - Lewis» authoritative screen presence and Greenwood's score, the vibe of the trailer is much more similar to There Will Be Blood than to any other previous Anderson movie.

Danna comments, «[Director] Michael Basset was clear that he wanted the score to be more musical for this film than for the first Silent Hill movie.

But like Abrams did on «Star Trek,» Whedon has stepped up his game in a major way: the action is clear and coherent, the pacing is tight (it's 140 minutes long, but flies by) and the technical contributions are top - notch across the board, from the Bond - movie production design of James Chinlund («The Fountain «-RRB- and the razor - sharp cutting of Jeffrey Ford («Public Enemies «-RRB- and Lisa Lassek («Cabin In The Woods») to Seamus McGarvey «s bright cinematography and Alan Silvestri's firmly listenable score (although the latter could, it should be said, use a more distinctive theme).

It's slow burn of a movie, more eerily atmospheric than truly scary with great cinematography, fantastic makeup, and a creepy score.

The Extra-Terrestrial, the definitive boy - and - his - dog movie, as I can't help but feel that E.T.'s departure will leave a bigger, more cavernous hole than the one Elliot started with — a troublesome notion that the pompous uplift of John Williams's score does everything in its power to drown out.

If you rewatch the first movie you'll notice weird moments, like when Deckard and Rachael start kissing and the score has that over-saxaphoned sound that would make more sense in something like Arthur.

It's patient and quiet (as is T Bone Burnett's wonderful futuristic country score), and much more thoughtful than most movies of its kind.

While he has not yet been in contact with the producers of the new film, nor writer Patrick Melton or director Marcus Dunstan, Howarth believes that, aside from Carpenter himself, no one else is more qualified for the job of scoring the new movie.

Howard's score for this movie has nothing more than slight, superficial similarities to the scores that Southall mentions in his review.

It's rare enough for a performer to hitch their star to a movie's soundtrack — although the results can be as transformative as Daft Punk doing Tron: Legacy, Aimee Mann scoring Magnolia, or Curtis Mayfield breathing life into Superfly — but it's even more rare for an artist of Lamar's popularity and clout to take one on.

From the tightly scripted dialogue — by turn sharp, harrowing & funny and without an ounce excess on its bones — to the beautifully melancholic score by Carter Burwell and the powerhouse performances from a cast who've never been better, I fell in love with the entire movie, with every single breath - taking, nauseating, alarming, disturbing, uplifting scene, a fact made slightly more unusual given that I've tried — and failed on repeated occasions — to watch and enjoy Martin McDonagh's back catalogue.

Shot by Academy Award - winning cinematographer Robert Elswit, who has worked with Anderson ever since Hard Eight, scored by singer - songwriter Michael Penn, edited by the great Dylan Tichenor, who started as an apprentice on Robert Altman's movies and went on to do great films such as Magnolia, There Will Be Blood, Brokeback Mountain and The Assassination of Jesse James by the Coward Robert Ford, Paul Thomas Anderson's epic drama went on to garner three Academy Award nominations, did reasonably well at the box office by tripling its initial investment and, more importantly, showcased the surprising talent and determination of one of the few brilliant filmmakers of American contemporary cinema.

Worse than that the movie also loses the novel's grittiness in favor of a more pleasant romance - lite vibe replete with understated string score.

The Big Lebowski is also the first Coens movie in which the soundtrack figures more prominently than the score, and that soundtrack (the Coens» first collaboration with T Bone Burnett) is an eclectic mix that spans decades, though again with an emphasis on the late «60s and early «70s.

Prediction: La La Land blurs the line separating its score and its individual songs, both by Justin Hurwitz; melodies from some of the more infectious numbers pop up throughout the entire movie, echoing and entwining across the soundtrack.

of Defense Graham Allison writes «that this movie will shape more Americans» understanding of the war against Al Qaeda than scores of books and major articles.»

Though it's hard to choose just one, the retrospective featurette «Chinatown: An Appreciation» is an engrossing discussion about the movie by industry vets like Steven Soderbergh, Kimberly Pierce, Roger Deakins and James Newton Howard on everything from the script, to Polanski's shooting method, to its memorable score and much more.

Now in his seventies, this master modern classical composer remains as driven as ever to crank out his experimental operas, symphonies, movie and dance scores and more.

During our conversation, Salisbury also recounted how he and Geoff Barrow approached Annihilation's score, how those few notes came to be part of the movie's trailer, and why they're so much more powerful when you hear them in the theater.

Selma, for example, at least got more nominations; The LEGO Movie won Best Animated Feature, and Birdman Or (The Unexpected Virtue of Ignorance) won for Score (while being not being considered at all for that award by Oscar ®).

Crafting a score for a movie where music itself is an essential part of the story can be as challenging as it is a wealth of opportunity, no more so than when seeking to embody an Israeli composer haunted by her parents» Holocaust past.

Fans of Barker's work may find Saint Sinner more satisfying than the myriad Hellraiser sequels, but the movie's most enjoyable aspect is Lennertz» lengthy score.

Don't go into it expecting a gloriously sweeping career swansong, and don't go into it expecting anything like Elmer Bernstein — listen to other scores from Antoine Fuqua movies and expect a slightly (but only slightly) more expansive version of that, with James Horner mannerisms injected from time to time.

The movie's sentiment is nothing new for the Farrelly brothers, but its complacency certainly is; I can't help but think that scores of people being trampled at a sports event would be more up their twisted alley.

A filmsite doesn't have to stick behind «1 score», Ethan might give a movie you gave 8/10 a 4/10, would be interesting to see more of your opinions on the same films.

Over the Golden Globe weekend, awards movies are scoring big as they expand to more theaters ahead of Oscar nominations.

However, even as he completed two movies with more satisfying results — «Dog Eat Dog» and «First Reformed,» which scored some of his best reviews ever on the festival circuit — he remained haunted by the experience.

Superbly acted with a deliciously creepy score from Michael Abels that ingeniously mixes up Swahili vocals (another ghostly warning echoing from the past) with Bernard Herrmann-esque suspense, the movie is a treat for the intellect, gut and funny bone: 12 Years a Slave meets Invasion of the Body Snatchers, yet infinitely less glib, more ghoulishly delightful and more endlessly surprising than that description implies.

This figure is striking, but not entirely shocking, especially when you consider that The Ridiculous 6 (which somehow has a 0 % Rotten Tomatoes score) was watched more in 30 days than any other movie on Netflix ever.

3:45 am (10th)-- TCM — Girl Crazy One of the few Judy Garland - Mickey Rooney team ups that I recommend on its own, largely because the George Gershwin score sets it apart a lot, and also because they're old enough by this point for it to be a bit more than just a teen movie.

Movie 43 Directed by: Peter Farrelly, Elizabeth Banks, James Gunn, Bob Odenkirk, Brett Ratner, and more Starring: Halle Berry, Gerard Butler, Terrence Howard, Hugh Jackman, Emma Stone, Kate Winslet Rating: Not Yet Rated Release Date: January 25, 2013 TRAILER SCORE: 2/10 Thoughts by TSR: Oh boy, this thing sure has an amazing cast!

In a Rotten Tomatoes era which has a Svengali effect on the box office, Fifty Shades movies are critic - proof, and film reviewers aren't any more forgiving slamming this James Foley - directed title with a 13 % Rotten score, the second lowest of the three (Fifty Shades of Grey earned a 25 % Rotten and Fifty Shades Darker logged a 10 % Rotten score).

But writing great scores for great movies is more fun, right?

The unique marriage worked: Zimmer won his first and only Oscar in 1994 for The Lion King before gaining more renown with scores for a battery of action movies for directors Ron Howard (Backdraft), Tony Scott (Crimson Tide), and Michael Bay (The Rock).

got their nominations by virtue of expectation; of course Spielberg's big movie gets a score nomination, and of course John Williams is going to be nominated for writing Star Wars music again, despite the fact that both felt more than a little by - the - numbers in their execution.

With Mangold directing, Martinez scoring and an R rating being implemented, it looks like we're in store for one of the more unique and artistic superhero movies in the same vein as Watchmen, X-Men: Days of Future Past or Nolan's Dark Knight trilogy.

He has continued to score increasingly desperate - looking horror thrillers (and they don't come much more desperate - looking than Joy Ride) and is now stuck in a seemingly never - ending rut of providing low - budget, low - impact music for these mediocre movies.

Talk about an «epic score»; Hans Zimmer does it again and it sounds even more awesome on the IMAX sound system; it really amplifies the movie.

Much more than just a cop movie spoof, Hot Fuzz does excellent things in toying with audience expectations while scoring points as a murder mystery, a detective drama, a slasher film, a small - town sitcom, and a fish out of water story.

We'll cover Best Editing in the next few days, but the movie still seems more of a spoiler than a frontrunner for original score and adapted screenplay *.