Sentences with phrase «score over the film»

Not exact matches

Quenton Nelson's film score was high enough over Barkley's that he was able to retain the top spot, but don't get it twisted: both players (and King Minkah) have Top - 10 player grades on my board.

While the tone of Hudson's film is light and respectful, not to say uplifting, it scores over many subsequent epics on the grounds that it actually has something to say.

Arthouse specialist Kino Lorber typically scores well with critics for its mix of documentaries and foreign films, and 2013 marked a slight improvement over scores that were already fairly high in 2012.

Despite releasing 29 scored films (third-most among all distributors) in 2014, TWC boosted its average Metascore by over 6 points, helping to return the studio to its usual position in the top half of our rankings (following a sub-par 2013).

Over the film's seven days, Tracy reluctantly assists her brother in a drug deal, attempts to score drugs for Lionel, and falls back into a romance with Jonny.

By comparison, IFC is the only other distributor with as many high - scoring films last year, but that studio released over twice as many titles as Sony Classics.

It's composed by Matt Dunkley, a British composer whose name is perhaps most recognisable as an orchestrator of dozens of film scores over the last decade or so, including most of Craig Armstrong's and, more recently, several from Hans Zimmer's stable, though we shouldn't hold that against him.

I really miss John Barry, after his departure from Bond we had to make do with some adequate scores over several years even from David Arnold, then along came a new Bond in the form of Mr Craig and wow DA really found the formula for Bond and composed two truly magnificent scores if only he could have done Skyfall, that said lets give Thomas Newman a chance see the film with the score then listen to the score as stand alone then we can judge, one thing, I really wish just once they could use John Barry's brilliant 007 theme in a sequence just for old times sake and as a tribute to the man that gave Bond so much.

Sean Wilson reviews the tribute concert in memory of the late Titanic composer... It takes a special composer to stamp a singular and enduring personality over the films they score, but James Horner was that person.

Luckily, I woke up at the crack of dawn today and rushed over to the Eccles where I scored a front row seat to the film.

The film, acquired by Sony Pictures Classics over the weekend, received an aggregate score of 3.8 on a review grid from Screen International — a record, the publication tweeted.

After the excitement of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance of every other aspect of the films with the understated timidity of their scores, which seem to serve no purpose whatsoever.

Scoring noticeably fewer films than before, he has concentrated on big - budget studio material at the expense of everything else, seeming to leave behind the smaller movies with which he attracted much of the praise afforded him over the years.

Shrek director Andrew Adamson is back (though he will not direct the third part, The Voyage of the Dawn Treader, instead handing over to Michael Apted) and so is his favourite composer, Harry Gregson - Williams, whose score for the first film was quite pleasant in places but left little impression.

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.

Also carried over is a brief interview from 2005 with Dassin, an earlier, 1972 interview with the filmmaker, Night and the City's original theatrical trailer, and a featurette comparing the scores from the American and British cuts of the film.

I thought the music in the trailer was just part of a quirky marketing campaign, but no, that Ennio Morricone-esque score is right over the opening credits, giving the film yet another layer of fun and interest, as it suggests that Gleeson pictures himself as a spaghetti western hero, cocky but with a deeper layer of dissatisfaction and restlessness.

The menu moves chess piece graphics over a piano - scored montage of film clips.

This is all very subtle, in a way not found in recent film dramas, which choose instead to telegraph every reversal and layer the musical score over every character beat.

Jermaine has scored over 20 feature films, many of which have been released theatrically, and digitally worldwide including the theatrical release of Jamesy Boy (2014) directed by Trevor White, and the teen comedy Mono (2016) directed by Jarrett Lee Conaway.

Laika's «Kubo and the Two Strings» scored an upset victory over «Zootopia» in the animated film category, where it was the only nominee not made by Disney / Pixar.

All that time hanging out with Nolan has obviously rubbed off: Franklin's directorial debut, The Escape, is a handsomely filmed science - fiction short that wears its influences on its sleeve: it feels like something that Nolan might make over a few days while waiting for Hans Zimmer to finish scoring his latest blockbuster.

The indie director of «Pariah» has already received buzz for her work and with films like «12 Years a Slave» and «Moonlight» scoring Oscar gold of the years, the film's strong ensemble could be just what it needs to bring it over the hump.

You can also check out a preview of Trent Reznor and Atticus Ross» new score over on the film's website

There's also a 7 - minute featurette on the Theremin used in the score, an 8 - minute featurette about turning Martin Landau into Bela Lugosi, the 13 - minute Pie Plates Over Hollywood, about the film's production design, a sexy music video starring Burton's then - wife Lisa Marie (who plays Vampira), 8 minutes of great deleted scenes, and a theatrical trailer.

But the film couldn't get over a larger hump — it failed to land a best picture nomination and didn't score a director nod for Haynes.

The film is scored with folk music performed by Sutcliffe employees, and voice - over narration is reduced to the necessary minimum.

In that film, Steve Weibe takes on the «evil» Billy Mitchell as the two fight over high scores in Donkey Kong.

With the rise of Rotten Tomatoes as a resource for film reviews over the past few years, a lot more moviegoers seem to be placing stock in a film's average review score as opposed to the opinions of a few specific individuals that they trust.

Not his finest score - but a very good one - it became probably the most influential film score of its decade, inspiring countless (worse) knock - offs all over the place.

The 2.0 cut was a new version of the film with over 250 reworked scenes, remastered by Mamoru Oshii himself including a new voice cast recording and brand new score from Kenji Kawai.

The Oscar contender starring Saoirse Ronan was «certified fresh» with a 100 percent score earlier this month, but now officially reigns over all other films on the website with 165 reviews (Toy Story 2 has a score of 100 percent, with 163 reviews).

Henze's original film output is relatively sparse, but fans of The Exorcist will no doubt recognize him as the composer of «Fantasia for Strings» - the stirring, harsh work that was excerpted by director William Friedkin in his effectively chilling pastiche score, and placed over the movie's final credits.

Some composers obsess over minimizing their scores in exchange for the drama onscreen, but Carter Burwell always leaves the moviegoer with a sense of time, place and mood, especially in such films as the Coen brothers» Miller's Crossing or Spike Jonze's Being John Malkovich.

The shadow of Harvey Weinstein, the film producer who has been accused of rape and sexual harassment by scores of women, still hovers over Hollywood and global film industry.

And, as he has for over twenty films with the director, John Williams provides a brilliant score that captures the on screen story beautifully.

A sizable contingent of silent - film fans has always insisted on musical accompaniment that feels contemporaneous with the original release, and if you're one of those people, you need never click over to the KTL score.

1967 - Thoroughly Modern Millie over In Cold Blood - Quincy Jones» music embodied the film and should have won Best Music Score.

Filmed with handicams, starring a pair of art - house favorites, and scored by blog buzz band Grizzly Bear, «Blue Valentine» couldn't look like more of a stereotypical indie romance if it tried — but who wants to ring in the New Year with hopeful thoughts for 2011 and a round of «Auld Lang Syne,» when you can head to the theater and watch Ryan Gosling and Michelle Williams getting it on in this bleak romantic drama, already the center of a ratings controversy over the NC - 17 the MPAA slapped on it for an «emotionally intense» sex scene?

Roadside noted Sunday that the title is «so far tracking closely to open Road's 2014 hit, Chef, which opened and expanded similarly» last May, adding: «Whit Stillman's sparkling comedy starring Kate Beckinsale still sports a rare 99 % score on RT with over 100 reviews and is right now the bests reviewed film of the year.»

If the Oscars need an excuse to get over their squeamishness about the film's genre, all voters need to do is look at Black Panther's scores on Rotten Tomatoes (97 percent) and Metacritic (88) to have those tastes validated.

Other records broken include those of the biggest opening for an African - American director, the top - scoring superhero film on Rotten Tomatoes (97 percent) and the biggest February bow, supplanting previous champ Deadpool, which took in $ 152.2 million over the four - day Presidents» Day weekend in 2016.

With a Rotten Tomatoes score of 92 % and over $ 820 million in the box office bank (so far), Thor's third solo film and seventeenth installment in Marvel's cinematic universe has been yet another critical and commercial success.

From the moment the film began, I was terrified, and Joseph Bishara's deliciously over the top score really rams the horror home.

You're Next is filmed in tremendously gory grindhouse fashion, with a wonderfully cheesy and Carpenter-esque synth score pouring over the film's second half.

The breakneck pace and scuzzy desperation of Connie's quest gives the film — which takes place entirely over the course of one night — a certain fun - house quality, enhanced by the delirious close - up cinematography, aggressively stylized lighting, and synthesizer score.

However there was a change in the tide over the course of the night and the Best Picture award, which Reds should have won, went to Chariots of Fire (1981) a rather tepid and, frankly boring British film with a majestic musical score.

Figgis shot «Leaving Las Vegas» on 16 mm and composed the score for the film in order not to go over budget.

Born in 1933, in York, England, composer John Barry is known the world over for his work on the James Bond series, beginning in 1963 with FROM RUSSIA WITH LOVE and scoring nearly all of the Bond films up until 1987 with THE LIVING DAYLIGHTS.

I've yet to see Paul Thomas Anderson's latest, Phantom Thread, but over our holiday break, I found myself obsessed with a short musical excerpt from the film's score that Nonesuch Records published ahead of tomorrow's full digital release.