Sentences with phrase «musical score sounds»

The musical score sounds great and the voice acting is good, but sound effects in battles sound cheap and don't convey any power behind any of your attacks, instead generic thuds, clanks and zaps are what you'll be hearing most of the time, making battles not quite the spectacular and exciting situation as they we're in the earlier games.

It helps when the musical score sounds like an unreleased Lord of the Rings track too.

Not exact matches

Still another trend — and this one should have caught Easum's attention, given his interest in «sound tracks» — is the use of music that draws on classical idioms in the composition of musical scores for films of high drama, serious feeling or intense introspection.

The cartoon sound effects pop, as does the musical score; though I again didn't feel the film was at its best.

To fully immerse players in the center of the game's multi-dimensional story, Derivière created a visceral and emotional musical score — rendered in real - time within the game's engine — that infuses sound sources from the game's environments and reacts directly to the actions of the player.

(You'll see kissing, undressing, fondling and facial expressions that would have come with sexual sounds if the musical score hadn't drowned them out.)

«It was like an orchestra and sounded like people who knew each other... it was naturalistic,» she said, comparing Lonergan's adaptation to a musical score.

As with the graphics, the dialogue, sound effects and musical score suit the story and gameplay perfectly and you really can't complain in both these departments.

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.

Sound effects are flawless and the musical score helps serve as glue to bring the entire game together.

At different times sounding like an old - fashioned western musical and terrifying horror film, Greenwood's string - heavy score was at atmospheric triumph.

That Thing You Do is another film that creates a bygone musical era and parodies its sound with an original score.

The sound effects and musical score add to the enjoyment factor of the game which sounds great through surround sound, especially the engines.

Damien Chazelle, «La La Land» Year: 2016 Cast: Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt Distributor: Summit Entertainment / Lionsgate Premiere history: Aug. 31, 2016 Venice Film Festival; wide release Dec. 9, 2016 (United States) Other awards won (selected): British Academy Film Awards (BAFTA) Best Film; Best Actress in a leading role (Emma Stone), Best Direction; Critics» Choice Awards Best Film, Best Director, Best Original Screenplay; Golden Globe Best Motion Picture — Musical or Comedy, Best Actor — Motion Picture Musical or Comedy (Ryan Gosling), Best Actress — Motion Picture Musical or Comedy (Emma Stone), Best Director Other Oscar nominations: Best Picture, Best Actor (Ryan Gosling), Best Actress (Emma Stone, won), Best Original Screenplay, Best Original Score (won), Best Original Song (won), Best Sound Editing, Best Sound Mixing, Best Production Design (won); Best Cinematography (won), Best Costume Design, Best Film

How do things like sound effects, musical score and camera angles add to the overall feel of a film?

Then there's the musical score, which at times sounds like Philip Glass and at other times sounds sentimental, but at all times is simply too noticeable.

However the director deftly uses his isolated environment, subtle sound effects and a highly dramatic musical score to create this fear — as opposed to gore and violence.

SOUNDS: It's a classical musical score.

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.

Best Musical Best Revival of a Musical Best Direction of a Musical Best Book of a Musical Best Play Best Revival of a Play Best Direction of a Play Best Performance by a Leading Actor in a Play Best Performance by a Featured Actor in a Play Best Performance by a Leading Actor in a Musical Best Performance by a Featured Actor in a Musical Best Performance by a Leading Actress in a Play Best Performance by a Featured Actress in a Play Best Performance by a Leading Actress in a Musical Best Performance by a Featured Actress in a Musical Best Original Score Best Orchestrations Best Choreography Best Scenic Design of a Musical Best Costume Design of a Musical Best Lighting Design of a Musical Best Sound Design of a Musical Best Scenic Design of a Play Best Costume Design of a Play Best Lighting Design of a Play Best Sound Design of a Play

«Phantom of the Opera» (1943) Best Art Direction - Interior Decoration, Color: Alexander Golitzen, John B. Goodman, Russell A. Gausman, and Ira Webb Best Cinematography, Color: Hal Mohr and W. Howard Greene * Also nominated for Best Scoring of a Musical Picture (Edward Ward) and Best Sound Recording (Bernard B. Brown).

The danger the gang encounters along the road is palpable and immersive, thanks to the excellent sound design, and a minimalist musical score that allows you to focus on the action, unlike the average Hollywood blockbuster which smothers every fight scene with a bombastic musical score that more often than not distracts from the action.

The mix is beautifully balanced between the score, ambience, dialogue, and Marilyn Monroe's musical numbers («I'm Through with Love» sounds peerless).

Long, incredibly difficult camera moves, along with a lush Dolby Surround sound mix and musical score, are woven into the plentiful, but well crafted dialogue.

Porter melts synthetic sounds with musical notes, creating a wholly original score that gets to a scene's vibe and raises its stakes with a nuanced tone.

Jeff Grace's musical score heightens the There Will Be Blood comparison, its spooky cello sonorities sounding like Jonny Greenwood's screeching atonal strings in the Paul Thomas Anderson film but with the volume level turned way down.

Sound effects are great as is the musical score that is quite pumping.

He would contribute a truly cinematic and epic sound to the series, and together with Hibino, create MGS2's distinct musical score.

Considering what's at stake, the tiresome banter — once it finally gets going — drains all suspense from the proceedings, despite a musical score that sounds like it was lifted from an espionage thriller.

Best Film — National Board of Review Film of the Year — London Critics Circle Best Picture — Boston Online Film Critics Best Picture — Online Film Critics Society Best Picture — Chicago Film Critics Best Picture — Utah Film Critics Association Best Picture — Florida Film Critics Circle Best Picture — Kansas City Film Critics Best Picture — Austin Film Critics Best Picture — San Diego Film Critics Best Director — Boston Online Film Critics Best Director — Los Angeles Film Critics Best Director — Washington D.C. Area Film Critics Best Director — San Francisco Film Critics Circle Best Director — Online Film Critics Society Best Director — Southeastern Film Critics Best Director — Phoenix Critics Circle Best Director — Chicago Film Critics Best Director — Vancouver Film Critics Circle Best Director — Utah Film Critics Association Best Director — Florida Film Critics Circle Best Director — Kansas City Film Critics Best Director — Austin Film Critics Best Director — San Diego Film Critics Best Director — Indiana Film Journalists Best Director — Oklahoma Film Critics Circle Best Director — Black Film Critics Circle Director of the Year — London Critics Circle Best Director — Critics» Choice Award Best Actress for Charlize Theron — Kansas City Film Critics Best Cinematography — Boston Online Film Critics Best Cinematography — New York Film Critics Online Best Cinematography — Los Angeles Film Critics Best Cinematography — San Francisco Film Critics Circle Best Cinematography — Online Film Critics Society Best Cinematography — Southeastern Film Critics Best Cinematography — Chicago Film Critics Best Cinematography — Utah Film Critics Association Best Cinematography — Florida Film Critics Circle Best Cinematography — Black Film Critics Circle Best Edited Feature Film (Dramatic)-- American Cinema Editors Best Editing — Boston Online Film Critics Best Editing — Boston Society of Film Critics Best Editing — Washington D.C. Area Film Critics Best Editing — San Francisco Film Critics Circle Best Editing — Online Film Critics Society Best Editing — Las Vegas Film Critics Best Editing — Chicago Film Critics Best Editing — San Diego Film Critics Best Editing — Central Ohio Film Critics Best Editing — Alliance of Women Film Journalists Best Editing — Critics» Choice Award Best Editing — BAFTA Awards Best Original Score — Boston Society of Film Critics Best Musical Score — Indiana Film Journalists Best Score — Phoenix Critics Circle Best Production Design — Los Angeles Film Critics Best Production Design — Washington D.C. Area Film Critics Best Production Design — Chicago Film Critics Best Production Design — Critics» Choice Award Best Production Design — BAFTA Awards Best Costume Design — Las Vegas Film Critics Best Costume Design — Critics» Choice Award Best Costume Design — BAFTA Awards Excellence in Fantasy Film — Costume Designers Guild Awards Best Visual Effects — Las Vegas Film Critics Best Visual Effects — Florida Film Critics Circle Best Visual Effects — Critics» Choice Award Visually Striking Film of the Year — Gay and Lesbian Entertainment Critics Outstanding Effects Simulations in a Photoreal Feature — Visual Effects Society Best Hair & Makeup — Critics» Choice Award Best Hair & Makeup — BAFTA Awards Best Action Film — Las Vegas Film Critics Best Fantasy Film — Art Directors Guild Best Action Movie — Critics» Choice Award Best Stunt Ensemble — Screen Actors Guild Best Sound Design — San Diego Film Critics Best Equality of the Sexes — Women Film Critics Circle Best Actor in an Action Movie for Tom Hardy — Critics» Choice Award Best Actress in an Action Movie for Charlize Theron — Critics» Choice Award Best Female Action Star for Charlize Theron — Women Film Critics Circle Best Female Action Star for Charlize Theron — Alliance of Women Film Journalists

Hans Zimmer's score reinforces the impression, using natural sound as inspiration for musical beats.

Best Motion Picture (Drama)-- Golden Globe Awards Best Film — BAFTA Awards Best Actor for Leonardo DiCaprio (tie)-- Boston Society of Film Critics Best Actor for Leonardo DiCaprio — Washington D.C. Area Film Critics Best Actor for Leonardo DiCaprio — Dallas - Fort Worth Film Critics Best Actor for Leonardo DiCaprio — Las Vegas Film Critics Best Actor for Leonardo DiCaprio — Chicago Film Critics Best Actor for Leonardo DiCaprio — Utah Film Critics Association Best Actor for Leonardo DiCaprio — Kansas City Film Critics Best Actor for Leonardo DiCaprio — San Diego Film Critics Best Actor for Leonardo DiCaprio — Oklahoma Film Critics Circle Best Actor for Leonardo DiCaprio — Central Ohio Film Critics Best Actor for Leonardo DiCaprio — Golden Globe Awards Best Actor for Leonardo DiCaprio — Alliance of Women Film Journalists Best Actor for Leonardo DiCaprio — Critics» Choice Award Best Actor for Leonardo DiCaprio — Screen Actors Guild Best Lead Actor for Leonardo DiCaprio — BAFTA Awards Film Actor of the Year — Gay and Lesbian Entertainment Critics Best Cinematography — Washington D.C. Area Film Critics Best Cinematography — Dallas - Fort Worth Film Critics Best Cinematography — Las Vegas Film Critics Best Cinematography — Central Ohio Film Critics Best Cinematography — Critics» Choice Award Best Cinematography — American Society of Cinematographers Best Cinematography — BAFTA Awards Best Director — Dallas - Fort Worth Film Critics Best Director — Golden Globe Awards Best Director — BAFTA Awards Outstanding Director (Feature Film)-- Directors Guild of America Best Musical Score — Dallas - Fort Worth Film Critics Best Sound — BAFTA Awards Best Period Film — Art Directors Guild Outstanding Animated Performance in a Photoreal Feature for The Bear — Visual Effects Society Outstanding Composition in a Photoreal Feature for Bear Attack — Visual Effects Society Outstanding Supporting Visual Effects in a Photocell Feature — Visual Effects Society Best Character Animation in a Live Action Production — Annie Awards

Audio is equally as enjoyable, especially the over the top sound effects, voice acting and the great musical score that often helps get your adrenaline ready for the upcoming fights.

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.

I didn't notice a lot of separate effects in the back channels, but it is made up for in crisp and clear production of the dialogue, sound effects, and musical score.

Although this may sound like a ridiculous proposition, the creative team for «Shrek The Musical» gives us hope that the show won't be a complete disaster — Pulitzer Prize - winner David Lindsay - Abaire («Rabbit Hole») penned the book and lyrics, the wonderful Jeanine Tesori (of «Caroline, or Change» fame) wrote the score, and Jason Moore (who guided «Avenue Q») is directing.

To complement this, the sound effects and musical score is also pure olds chool that does lend itself well to this Nintendo Switch version.

It's a warmly melodic, family - friendly spirit that's much like Debney's affable personality, growing from the small screen to apply his lavishly fun orchestral sound to such live - action and animated fantasy epics as «Inspector Gadget,» «The Ant Bully,» «The Scorpion King,» «Evan Almighty,» «Zathura» and «Lair» — a lavish orchestral score that arguably put videogame soundtracks on the map as a musical contender.

The outstanding musical score and sound design is one - of - a-kind, with its industrial bleating and scraping.

Outstanding Achievement in Sound Editing — Animation Short Form - Overwatch Outstanding Achievement in Sound Editing — Student Film (Verna Fields Award)- Homegrown Outstanding Achievement in Sound Editing — Special Venue - Carne Y Arena Outstanding Achievement in Sound Editing — Computer Interactive Game Play - Call of Duty: WWII & Star Wars: Battlefront II (TIE WINNER) Outstanding Achievement in Sound Editing — Computer Cinematic - Halo Wars 2 Outstanding Achievement in Sound Editing — Non-Theatrical Feature - In Search of Fellini Outstanding Achievement in Sound Editing — Non-Theatrical Documentary - Becoming Bond Outstanding Achievement in Sound Editing — Non-Theatrical Animation Long Form - Lego DC Super Hero Girls Outstanding Achievement in Sound Editing — Single Presentation - Oasis Outstanding Achievement in Sound Editing - Episodic Long Form — Effects / Foley - Godless Outstanding Achievement in Sound Editing - Episodic Long Form — Dialogue / ADR - Black Mirror «USS Callister» Outstanding Achievement in Sound Editing - Episodic Long Form — Music / Musical - The Get Down «Only from Exile Can We Come Home» Outstanding Achievement in Sound Editing - Episodic Short Form — Effects / Foley - Game of Thrones «The Spoils of War» Outstanding Achievement in Sound Editing - Episodic Short Form — Dialogue / ADR - Game of Thrones «The Spoils of War» Outstanding Achievement in Sound Editing - Episodic Short Form — Music / Musical - Stranger Things «Chapter Eight: The Mind Flayer» Outstanding Achievement in Sound Editing — Live Action Under 30:00 - Superstore «Tornado» Outstanding Achievement in Sound Editing — Effects / Foley - Blade Runner 2049 Outstanding Achievement in Sound Editing — Dialogue / ADR - War for the Planet of the Apes Outstanding Achievement in Sound Editing — Musical - The Greatest Showman Outstanding Achievement in Sound Editing — Music Score - Dunkirk Outstanding Achievement in Sound Editing — Foreign Language Feature - Loveless Outstanding Achievement in Sound Editing — Feature Documentary - Jane Outstanding Achievement in Sound Editing — Feature Animation - Coco

Rooney Mara, who was originally attached in a leading role, has since dropped out, reportedly due to her commitment to another bizarre - sounding arthouse musical, the Mica Levi - scored, Brady Corbet - directed Vox Lux.

Little to no musical score is used in the beginning, giving way to the most bizarre and on edge sounds you will hear in a feature film this season.

SOUNDS: It's a very classic adventure musical score with villains getting introduction music, and familiar sounds coming back at key moSOUNDS: It's a very classic adventure musical score with villains getting introduction music, and familiar sounds coming back at key mosounds coming back at key moments.

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.

They explore the film's distinctive blend of sound design and musical score, and discuss the producers» wise decision to start the sound design while the shoot was still going on.

The musical score by Yeong - wook Jo also sounds greatly influenced by modern dramas out of the UK.

So Sugiyama - san got very used to that setup very quickly and he wrote out the game's score via musical notation paper with just using three sounds at a time.

Sound: 9 The musical score and voice acting are all spot - on.

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.

Regardless of the spectacular visuals and the enchanting musical score and sound effects, I can not in good conscience recommend this game as it now stands.