Sentences with phrase «much of a musical score»

Not exact matches

It's impossible to know how much of Android's work made it into the score, though as for the lyrics, one guess during a post-show question and answer with the musical's makers put it at 25 per cent computer - generated.

Needless to say, this film is hardly as driven by its musical aspects as its 1969 counterpart, and makes sure to remind you by underusing Richard Addinsell's score, which, upon actually being used, is typically not fleshed out to the fullest, and is all too often tainted by a degree of conventionalism that further disengages, but ultimately does only so much damage to Addinsell's efforts, which are still spirited enough and recurring enough to play something of a hefty part in breathing some liveliness into this generally dry project.

From Clint Eastwood's iconic performance to Ennio Morricone's unforgettable (and much - parodied) musical score, A Fistful of Dollars (****) took the western down trails it had never explored.

The attendant 5.1 DTS - HD MA track proves that Zemeckis is still capable of turning on the afterburners with regards to mixing set - pieces (there's an almost musical quality to the Blitz as bombs clobber the subwoofer and hails of gunfire flank the viewer), yet when I think of Allied, I think of its restrained use of score — much of the music is diegetic — and of how Zemeckis finds a remarkable number of variations in the sound of the air around Max and Marianne's loaded silences.

The nominations for the 72nd Annual Golden Globes Awards have been revealed... and there are a few surprises in the motion picture categories — most notably the complete absence of any nominations for Interstellar (except for its musical score, and even the box office washout Noah got that much attention).

The game supports Dolby Pro Logic II setups for enhanced audio, though the game's actual musical score (all subdued, tinny techno) and its audio effects (hushed and mostly bland, though reasonably varied) won't make much of a showcase for a high - end sound system.

This small film doesn't boast much in the way of cinematography, musical score, even London doubles as Paris with some CGI for budget restraints.

Even better is the return of the guttural sound of The Blaster Beam, Craig Huxley's instrument so familiar to fans of «Star Trek: The Motion Picture» and «Dreamscape,» Given that much of the action is driven by dialogue and character, It says something about Trachtenberg's confidence in McCreary's musical storytelling ability that the whole opening plays only with score with score, setting up a highly dysfunctional nuclear family, locked in by doomsday.

With a fast - paced musical score, it may be an effective way to introduce privileged older teens to a life far too familiar to much of the world's population.

There is so much tension in this movie and the lack of a conventional musical score just adds to this.

The hostile film has two opening sequences, both where the 80's futuristic sounding Blade Runner style musical score aims to assault your eardrums while drowning out much of the dialogue.

Presumably included for the entire family is a sing - along feature that presents three of the film's seven musical numbers karaoke style, but given how weak the song score is, I can't imagine anyone getting much use out of this feature.

The combination of the stellar musical score, which uses much of the music from the original movie (remastered of course) and the sound effects — from the grunts and growls of the Alien to the creaks and groans of an aging space station in the process of being decommissioned and moth - balled — create an experience that many fans have been longing for from the Alien franchise for decades.

Ocarina of Time also set world records for high review scores, although personally I do not like the game very much, apart from two elements — the titular ocarina, which was perfectly designed for the controller and taught the player some actual musical skills, and the horse Epona, about which I will have more to say later in this serial.

During this session they talked about numerous aspects of Alien: Isolation including how they made Alien: Isolation as authentic as possible by getting as much original source material from 20th Century Fox as possible, as well as not only recreating but expanding the original musical score and programming the audio so that the music reacted dynamically to both the player and the Alien's actions.

The musical similarities extend to the background score composed specifically for the game — many cutscenes and the end credits feature ambient, synth - heavy tracks very much in the style of Jan Hammer, who provided the background music for the show, while the «Theme From Vice City» is comparable to Hammer's «Miami Vice Theme».

There are also gaming experiences such as Dragon Age: Inquisition who use such a fantastic musical score that it turns an RPG adventure into an epic journey, setting it vastly apart from other games because of how much detail and time has gone into the music and atmosphere.

Mark Mothersbaugh — currently featured in the critically acclaimed MCA Denver exhibition Mark Mothersbaugh: Myopia — is a composer of scores for movies and television, frontman for the influential musical group DEVO, and an artist who, much like Clyfford Still, has created and shown works on the periphery of the art world throughout his lifetime.

LAURIE ANDERSON: INVENTED INSTRUMENTS Thursday, April 26 — Saturday, June 9, 2018 Ruth C. Horton Gallery Laurie Anderson's Invented Instruments features a selection of the artist's invented musical instruments and unusual musical scores developed over a quarter - century as key creative tools in the artist's much - heralded career.

The exhibition will be accompanied by a new publication in which essays by Michael Tooby and Iris Priest explore the Hugonin's way of working and, in particular, his use of handwritten notebooks; plotting the course of each painting, much like a musical score.

Across a bank of four screens, Maria Callas, Jimi Hendrix, Marilyn Monroe and scores of other musicians and actors make some kind of sound, seemingly in response to each other — much like players in a musical ensemble.

The musical score rolls up and down based on the intensity of the action, much like in the theatrical versions.