Sentences with phrase «scores on films like»

The greatest achievement of the film's psychedelic roller coaster is the potent and passionate music of Junkie XL, whose previous scores on films like «300: Rise of an Empire» and «Divergent» could have never hinted at the masterpiece composition he would create for George Miller.

Not exact matches

Father John Misty's thoughtful musicality and self - aware lyrics on I Love You, Honeybear played out more like the score of a coming - of - age film than an album.

That's like watching a Fellini film on mute when Nino Rota's score is what illuminates it, intensifies it, and makes you feel like you're living in an Italian dream.

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.

Aside from James Newton Howard's prowling, Bernard Herrmann-esque score, Hitchcockian showmanship clearly wasn't on the agenda here — but halfway through the film's slab - like two hours and 20 minutes running time, you'd kill for a Vertigo art gallery chase or a Sabotage bomb on the bus to gee things up.

From its idyllic, adventurous setting to the selection of music and Alexandre Desplat «s tremendous score, it somehow felt like a classic kids» film (arguably more so than «Fox») airing on TV on a Sunday afternoon, while also featuring some of the most exciting filmmaking of 2012 so far.

Directed by Ken Kwapis in a hyperbolic jump - cut style matched twitch - for - twitch by a score by the late Miles Goodman, whose oom - pah - pah legacy, sadly, lives on in other kid and animal films like K - 9 and Problem Child, the film is a jittery, discombobulated mess.

The result is a taut, unrelenting and frequently hilarious horror - satire that's scored a rare 100 % positive rating from critics on Rotten Tomatoes, as well as raves from hip - hop luminaries like Chance the Rapper, who recently hosted a private screening of the film in Hollywood.

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.

I've been listening to that score nonstop for weeks, and seeing the film felt a bit like seeing my favorite band live on stage for the first time.

The largely interior, dialogue intensive picture sometimes veers into feeling like a TV movie (not helped by Howard Shore «s often overbearing, obvious score) with its static visuals, but strong turns by Del Toro and Amalric (who thankfully ditches a sea of quirks early on and settles into the part) at least keep things engaging, even if the narrative remains stuck in neutral for large chunks of the film.

It's kind of odd, scored and narrated like the kind of corporate video you would imagine running on a loop inside the film's glass tower.

I did like Marco Beltrami's atmospheric score, and felt it really enhanced the moody design of the overall film (even if said mood dragged on and on and on...).

Second, there's Thomas Newman, whose quirky style has been an influence on countless film scores (and plenty of other music) in recent years, to the extent that I'm not really sure any more whether it's worth commenting on how similar the sprightly piano music of a piece like «Sneaking Out of the Barn» is to his style - it's so prevalent in so many films, perhaps it's now just become a film scoring staple.

From this point on, Goblin's wailing, strident prog rock score — all susurrations and strums and pounding rhythms, like nothing ever heard before in a horror film — becomes the near ever - present soundtrack to Suzy's nerve - shattering bewitchment.

Accompanied by a lovely score by Sergei Yevtushenko, the film takes on a dream - like quality, which allows the viewer to bask in its beauty, despite the melodrama on show.

This is another one of the best scores of the year that, like The Martian's, will have to get in on love for the film as opposed to the lesser - known name.

I liked the film's grainy cinematography, nervous editing and moody Clint Mansell score, and even though Tillman Jr. indulges in flashy visuals at times (I bet he's a fan of Tony Scott's «Man on Fire), «Faster» feels surprisingly grounded in general.

Like Michael Dubo de Wit's remarkable film that draws upon the pastel naturalism of Hayao Miyazaki's Studio Ghibli for what might be their best film in a line of classics, Del Mar's music is the equivalent of those soft brushstrokes on a big screen canvas of visual poetry, a score that profoundly captures a life at first seemingly lost at sea, only to soar under, and above it though its graceful music that touches the silent tides of nature's life force.

On a considerably more trivial note, as I noted when reviewing John Powell's music for United 93, it must be very difficult to score a film like this - I must admit, it's quite difficult just to review it, at least from an adequately critical perspective.

When a film like Prince appears out of nowhere, with its pseudo-incendiary electronic score and sophisticated examination of revenge, it revives hope for a pop - art cinema that's not only capable of balancing enraged critique with playful, irreverent aesthetics, but also treats its characters like actual human beings rather than pawns on a chess board.

I don't think there are many younger film composers who could write an action score quite like Goldsmith on an OK day, to be honest.

Variety Dan Hagerty (best known as «Grizzly Adams» from TV died this morning at 74 New Now Next Nico Tortorella gives you tips on how to maximize your Instagram account (of course if you look like Nico Tortorella you probably won't need any tips to get popular on Instagram Playbill the David Bowie scored musical Lazarus set to close this next week off broadway might get a second life The Guardian Mike Lee talks about what he's up to, his past film, his politics and his next project Peterloo (date TBA) about a Manchester massacre in 1819.

The ambient electronic material is chilled - out and evocative, but while this composer is perfectly adept at applying that style of scoring to a film (it usually works very well in context), it's very hard to imagine there are too many people who would like it on album as much as similar styles from other composers who are possibly more at home working that way.

It's produced by Nicole Paradis Grindle, who served as associate producer on Toy Story 3 and Monsters Univ., with music by Canadian composer Mychael Danna, of scores for films like Life of Pi, Fracture and Monsoon Wedding.

Heavily influenced by horror films like «The Stepford Wives» and «Invasion of the Body Snatchers,» «Get Out» keeps you on the edge of your seat throughout its intense 104 - minute runtime, utilizing extreme close - ups and Michael Abels» eerie musical score to build tension and create an unsettling atmosphere of paranoia that effectively puts you in the protagonist's shoes.

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?

It may not be strictly speaking a horror film — it's not scary or particularly unsettling apart for a few exquisitely created images — but it is breathtakingly lovely, visually composed like a painting, scored and sound designed by Toru Takemitsu with a spareness that leans on silence, and suffused in sadness, regret, and loss.

Broken into eight pieces but flowing like one long consistent companion, it covers adaptation; casting; characters; costumes, hair and make - up; set design; training and stunts; filming on location in North Carolina; adding visual effects; editing; scoring; sound mixing; and the film's premiere and reception.

The nicely scored menu plays clips from the film, stopping on them like snapshots until fading to a bank resembling a slightly animated version of the cover art.

In a roster that makes The Thin Red Line cast look like the lineup for a one - act play, the film stars a score of A-list actors, like John Goodman, Jeff Bridges, Penelope Cruz, Ed Harris, Bruce Dern, etc. (everyone wanted in on Dylan's film, naturally).

A thriller like Taken is considered an anomaly, but horror films stand a chance of scoring a touchdown on Super Bowl weekend.

Just like Harry, the film was left off many critics top 10s as well as many best - of ballots, in spite of the fact that both films landed a mid-nineties score on Rotten Tomatoes.

On a much larger scale, Kurt Swinghammer's score for the new NFB [National Film Board of Canada] release McLuhan's Wake archives almost 71 minutes of score, titled and chapter - indexed like the bonus audio gems in Warner Bros.» classic film sets.

When your main cast includes the formidable trio of Retta (priceless on «Parks and Recreation»), Christina Hendricks (timeless on «Mad Men») and Mae Whitman (pitch perfect from a young age in films and shows like «Arrested Development» to «Parenthood») and your tagline is «They're done playing nice,» you could probably just point and shoot and score.

The L.A. Riot Spectacular looks like it was filmed on a dusty old video camera looted in the actual Rodney King riots (for authenticity), yet it features, in addition to Snoop Dogg: Charles S. Dutton as Mayor Tom Bradley; Emilio Estevez and Christopher McDonald as two of the police officers who beat King; He's My Girl star T.K. Carter as Rodney King; the aforementioned Cox as Gates; Jerry Maguire tot Jonathan Lipniki as hate - mongering youngster Tom Saltine Jr.; Silence Of The Lambs» Ted Levine as Tom Saltine Sr.; Charles Durning — who in a more blessed time scored back - to - back Best Supporting Actor Oscar nominations for To Be Or Not To Be and The Best Little Whorehouse In Texas — as King's Jewish lawyer; George Hamilton as the «King Of Beverly Hills»; veteran character actor William Forsythe as the man who videotaped the beating; and porn star Ron Jeremy as a Ron Jeremy - like porn star.

There are some amusing bits, like Wu blowing out «It's the Hard Knock Life» on his flute or an action sequence scored to Jim Croce, but the film's cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.

Released in theaters 40 years ago in October, the super -»70s flick had a cool title, a killer poster, a score by Jerry Goldsmith, a cast that included George Peppard, Jan - Michael Vincent, Paul Winfield, Jackie Earle Haley, and Dominique Sanda — and the ultimate post-apocalyptic survival vehicle: The Landmaster.It capitalized on cold - war fears that nuclear armageddon was right around the corner, and what we'd be left with would be a radioactive wasteland, plagued by bizarre weather patterns and populated by mutated insects and deadly scavengers.The film also had a gimmick: Like BATTLESTAR GALACTICA's limited 1978 theatrical run that was released in «Sensurround,» DAMNATION ALLEY boasted a big - screen release bathed in «Sound 360» — basically full - range stereo speakers turned up to 11 to envelop the viewer and make the seats vibrate (a technique also used for the release of DAMIEN: OMEN II).

The original MCA LP was a re-recording of select cues (typical for the band, much like Firestarter or Flashpoint), and Varese Sarabande reissued the album on CD a few years later, but TD's original score recording's never appeared anywhere save on fan edit and bootleg albums (mostly as a pastiche of unreleased cues among other film & non-film bits & pieces).

Rozsa ultimately won an Oscar for his score, though «Spellbound» pigeon - holed the composer as an expert on psychological films, before the hard crime sub-genre (like «Naked City») gave him a new, hard - to - escape casting.

From Lalo Schifrin's (Joe Kidd, Dirty Harry) lackluster and repetitive Psycho - like scoring, to the god - awful performance late in the film by the glam rock / new wave artists, Sparks (any ideas on how to get the incessant chorus from «Big Boy» out of my head?)

The relationships and events amount to a credible portrait of modern city and family life, but it's the intimate, improvised shooting style (16 mm, natural light, all on location) and Michael Nyman's evocative, memorable score (this often feels like a film made to music) that define the film and give it the sense of immediacy and compassion that make it so enduring.

It's like there's a film score playing behind him, heavy on the castanets.