Not exact matches
That
said, the only thing that is really off putting
about this film is the average level
cinematography.
The use of music together with the outstandingly beautiful
cinematography and interesting things the movie has to
say about the gap between rich and poor and how mankind apparently fucked up its gene pool is very fascinating and interesting.
Plus, I never really
say this
about a movie, but it really has some tremendous
cinematography.
Often times, the well - shot and well - constructed picture (which features some of the best
cinematography of any film so far this year; the soundtrack and score is equally ace) just tries to
say it all at once, posing questions
about whether that grass is actually greener, or whether it grows verdant only after we've shat all over it.
Rachel Morrison fought through the bullshit, she cared more
about her work and
about cinematography than she did
about what people
said to her.
It's like
saying that Drive is just
about a getaway driver — it's not and for anyone who's seen it will know that the languid pace, the
cinematography, the mood and the score are just as important to the film as any plot developments.
I know that's big words to
say about Birdman, but it's a perfect amalgamation of highly skilled acting, tight script, phenomenal
cinematography, masterful editing, and amazing direction all intertwined with intelligent social commentary and metaphorical existentialism.
The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's
cinematography is as good as anything he's done with the Coens, and that's
saying a lot) but because of its ambiguity: because the questions it raises
about narrative and
about society are as interesting as those raised by any other film (but one) of 2007.
In the conversations
about how to capture what Beachler was concocting on film Morrison — who made history this year as the first woman to be nominated for the
cinematography Oscar for her work on «Mudbound» —
said Coogler referenced a variety of inspirations including Ron Fricke's nonverbal «Baraka» and «Samsara,» «The Godfather,» «Sicario» and «The Dark Knight.»
That's a blessing for those who like getting lost in alienating dystopian worlds, and thanks to Roger Deakins» career - highlight
cinematography (which is
saying something), they'll be more than happy to meander in the film's high - falutin» questions
about the evolving nature of humanity.
I went into this film not knowing a lot
about it, and have to
say that I was blown away by the amazing
cinematography within this film, it was a great journey to follow and the story was told in a deep, but often hilarious way.
[Read more...]
about Great
cinematography in not - so - great films («Prisoners» & «Rush») and one of the year's best comedies («Enough
Said»): what to see in cinemas now