Sentences with phrase «of jazz score»

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.

Cinematic links are made among graying sideburns, autumn leaves, decaying edifices and the grown - up pleasure of a jazz score.

Not exact matches

Romantic musical «La La Land,» the tale of a struggling actress and a jazz pianist in Los Angeles, went into the Oscars with a leading 14 nominations and emerged with six, including for its score and theme song «City of Stars.»

Chris Paul scored 29 points, 13 of which came in the third quarter, and hit a pair of free throws with 3.4 seconds remaining in the game to lift the Los Angeles Clippers past the Utah Jazz, 116 - 114, on Friday night in Salt Lake City.

Korver was key in starting the five - game winning streak, scoring 26 points in a tight win over one of his former teams, the Utah Jazz.

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.

The low point came in Game 1 of the Portland - Utah series, when the Trail Blazers scored an NBA postseason record - low five points in a quarter en route to a 93 - 83 loss to the Jazz.

Way down yonder in New Orleans they've got dreamy dreams of the playoffs now that the Jazz has Len (Truck) Robinson, who leads the NBA in rebounding, scores a bunch and keeps the Pistol happy, more or less

He was second in the league in scoring behind Jordan, third in assists behind John Stockton of the Utah Jazz and Tim Hardaway of the Golden State Warriors.

The Bulls for whom he scratched and battled for 10 of his 11 NBA seasons — as a reliable scoring guard (14.0 points per game), an in - your - jock stopper (four berths on the NBA all - defensive first team) and a willing and able pugilist (he squared off against Wilt Chamberlain)-- were recognized as the Best Team Never to Win It All, the backhanded encomium now affixed to the Jazz.

With George Hill and Gordon Hayward's departure there was a huge question of where the Jazz scoring would come from.

Leading the Jazz in scoring over this winning streak has put him in a league of his own in NBA history.

Donovan Mitchell scored 11 of his 29 points in the fourth quarter, Thabo Sefolosha continued to play lockdown defense on James, and the Jazz took it.

When is the last time you downloaded some jazz with its watery improvisation, or a classical score to steady the rhythm of your mind?

The smooth jazz score which punctuates the film gives certain sections the feeling of a silent movie, while the long awkward silences in the second act are like a lighter, less absurdist variant on the work of Samuel Beckett or Harold Pinter.

It's a deeply creepy score, and incredibly engaging as it transforms into some form of electro - acoustic jazz — the kind that's dipped two feet in acid.

The soundmix feels a bit more modern than the cinematography, with a wiretapping making gimmicky use of the discrete surrounds, the various gunshots packing a wallop, and Alberto Iglesias's conspiracy - jazz score enveloping the viewer.

The film is also aurally ravishing; in his fourth project with the director, Radiohead guitarist Jonny Greenwood composes a score that encompasses everything from an opening blast of cochlea - rattling drone to silkiest jazz piano.

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

Since it's an oddball story to begin with, Michael produces an equally oddball score, with elements of ragtime, old - fashioned jazz, and a touch of the recently rediscovered Klezmer style of music.

Since 1972, Allen has stuck to his large record collection of Jazz, and occasional classical scores, -LSB-...]

Bernard Herrmann, a longtime collaborator with Alfred Hitchcock, composed fabulous music that reflects the emotional heart of the entire story — the sultry jazz reluctantly giving way to a doomed, militaristic beat, reminiscent of the brilliant score from Stanley Kubrick's «The Killing» 1956.

Hurwitz's jazz - inflected score, both modern and retro carries us through the film on notes of resonant magic.

The film's ultimately not quite up to «The Wages Of Fear,» on which it's based, lacking the original's minimalist tension, but its pleasures are found elsewhere, with Friedkin's abstracted take on the terror of nature, Roy Scheider «s stoic leading turn (perhaps second only to «All That Jazz» as the actor's best work), and Tangerine Dream «s phenomenal scorOf Fear,» on which it's based, lacking the original's minimalist tension, but its pleasures are found elsewhere, with Friedkin's abstracted take on the terror of nature, Roy Scheider «s stoic leading turn (perhaps second only to «All That Jazz» as the actor's best work), and Tangerine Dream «s phenomenal scorof nature, Roy Scheider «s stoic leading turn (perhaps second only to «All That Jazz» as the actor's best work), and Tangerine Dream «s phenomenal score.

Famous for his use of jazz, Glass was comissioned to write the score for Cassandra's Dream.

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.

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.

With the score never overplaying the already heightened drama of the most miraculous crash landing ever, «Sully's» uses the cool of jazz to represent the spirit of a captain who remained the height of calm under pressure.

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.

Joining Ottman on the score is rising action composer David Buckley («Jason Bourne»), together forming an action - comedy buddy - cop band that spins out spot - on spy jazz grooves, club funk and wah - wah guitar jams with a propulsive orchestra, along with a dramatic slice of film noir moodiness.

An accomplished jazz musician and connoisseur of America's musical art form well beyond his other gigs of directing and acting, Clint Eastwood's scores have always been about memorable thematic simplicity, memorable melodies that other artists have helped him expound upon in such scores as «Unforgiven» and «Flags of Our Fathers.»

Having helped create an all - singing serial killer tuner for «London Road,» Adam Cork uses his instrumental voice to capture the despair and ebullience of North Carolina author Thomas Wolfe for «Genius,» (Milan Records) his Americana - accented score capturing the unique, orchestral spark of literary inspiration along with the jazz bounce of a copious writer's enthusiasm on the loose in The Big City.

Expect further conversation about prospects for Jonny Greenwood, whose original score moves between peppy jazz, lush orchestration, and some eerie, dissonant tones — as befits a member of Radiohead — and costume designer Mark Bridges.

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.

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.

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.

Director of photography Owen Roizman, Oscar - winning editor Jerry Greenberg, and composer Don Ellis (with his innovative jazz score) make invaluable contributions to the film's effect.

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.

Paul Grabowsky's classy jazz score is equally beneficial, tenderly instilling an evocative sense of time and place.

Shot in black - and - white and scored to orchestral jazz, it looks like Allen's Stardust Memories but it plays like the most explosive drama of the year.

Ranking up with the accents in terms of prominence is Graham Reynolds» score, which consists perhaps entirely of somber jazz versions of familiar Christmas carol melodies.

Smeaton does great with instruments native to Australia — his work with Schepisi on Jimmie Blacksmith and Devil's Playground is honourable — but his score for this picture is the worst kind of jazz - fusion hummer.

Director Steven Soderbergh (Solaris, Traffic) does still score many points in the style department, with a hip funk - jazz soundtrack, cool retro vibes, and camerawork that has a dash of European new wave cinema elements.

Probably only John Barry would think of scoring a film like The Specialist with moody jazz rather than bang - bang action music.

First - time director James Fargo (Every Which Way but Loose, Forced Vengeance) shoots without any of the style that marked Don Siegel's Harry, and with the jazz score and trademark loose delivery, you can bet that Eastwood had a major hand in how the film was made, much as he did with Magnum Force, perhaps worthy of sharing co-director credit.

Otomo has also woven in elements from Ridley Scott's Blade Runner (the jazz score, film noir, the robot - hunting «Marduks»), from Hayao Miyazaki's Laputa: Castle in the Sky (the gentle «Albert II» robots and the climactic emphasis on collapsing verticals), from James Cameron's The Terminator (androids with damaged, half - metal faces) and even from his own graphic novel / film Akira (especially in the final scenes of an individual's destructive power).

In his approach to scoring the film, Cacavas uses modern jazz / pop sensibilities to score the villains of the piece, saving the traditional orchestral writing for Van Helsing and his associates.

A departure from his primarily orchestral work, his jazz - based score was as great as any of his other works.

But when he learns that big - time producer Bud Grossman (F. Murray Abraham) may be looking for new acts, Llewyn hitches a ride across the country with an eccentric jazz musician (John Goodman) and his mysterious driver (Garrett Hedlund) to audition in hopes of scoring a recording contract.

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.