Sentences with phrase «synth score by»

Added to this, the combination of hand - held camerawork, harsh artificial lighting and an erratic grunge - synth score by Brooklyn - based electronic musician Daniel Lopatin (aka Oneohtrix Point Never) lends a heart - pounding fever dream quality to this nightmarish vision of urban decay.

The electro - synth score by Cliff Martinez is also great, lending the film a pulse and upping the intensity without ever becoming overbearing.

Many have compared its style to music videos of the 1980s, with its moody synth score by Tangerine Dream lending it a more cinematic atmosphere.

But what separates «Mistress America» from Baumbach's other witty and sharp observational works about (what some people see as) White People Problems, is a madcap screwball comedy energy and a nostalgic, all - things - are - possible «80s sheen (bolstered by a fantastic dreamy synth score by Dean & Britta).

Only the ambient hum of a highly unconventional, effective synth score by The The could count as a standout element of a thriller that otherwise borrows relentlessly from the recent past.

Mounting and soaring around characters is the spectacle, created by the production design with monochromatic blocks a la Jack Kirby and a synth score by Wes Anderson's four - time collaborator Mark Mothersbaugh.

Beautifully shot in 35 mm by the gifted Ben Richardson (Beasts of the Southern Wild) to a hypnotic synth score by Dan Romer, Digging for Fire goes to the tantalizing edge of revelation and leaves us there to filter what we saw through the prism of our own strengths and weaknesses.

Not exact matches

But those whale - sounding synths recall in fits Arrival's score, and by association how much better that film handled a story with open - ended questions; also, how confident you felt its mysteries were by design, and how its open - endedness encouraged the audience to range and ruminate.

The score, by Geoff Barrow and Ben Salisbury, shifts effectively between incongruous acoustic guitar and oppressive breathing - synth sounds that I associate with Denis Villeneuve's Arrival — a film with which Annihilation shares more than a few elements.

The performances aren't routine, and neither is the score by Ex Machina composers Ben Salisbury and Geoff Barrow, adding an emotional complexity with its mix of heartland guitar, spooky AF strings, and submerged - sounding synths.

There are feints toward a bona fide mystery plot, but that genre element is just a pretext for a stealth marital drama, held together through strong improv, tight editing (by Swanberg himself), moody cinematography and a synth score (from Dan Romer) that parties like it's 1991.

The «Girls With Guns» films featured strong female leads, usually supported by ineffective or soon - to - be-killed male counterparts, and blended martial arts action with heavy gunplay, usually supported by eye - piercing 80s fashion, heavy synth scores, and lots of explosions in empty warehouses and abandoned construction sites.

Each suffocating second of Good Time, blistered by the neon backgrounds of Queens, New York and propelled by warped heartbeat of Oneothrix Point Never's synth score, finds Connie evading authorities by tripping into an even stickier situation.

Shot with a painterly genius for night lighting (all muted greens and blues) by Adam Greenberg and scored with an insistent throbbing by Eighties synth group Tangerine Dream (who provided a similarly effective score for Steve DeJarnatt's criminally underseen Miracle Mile), this pair of moments makes up the backbone and the soul of the film: the one serving up the drug theme, the other that feeling of consumptive eroticism.

Halloween's John Carpenter fought hard to make his somber, disgusting masterpiece, an elegant combination of the director's synth - scored minimalism and a maximalist expression of special - effects body horror (creatures designed by Rob Bottin).

The synth - pop score by Anna Meredith elevates Kayla's world just slightly, and the camerawork keeps its comedy visual, like when showing her interactions on Instagram or trailing behind her while going to the pool party, a la Mickey Rourke in «The Wrestler.»

The unmemorable orchestral score is supplemented by contributions from Alan Parsons, whose synth - driven music has an electronic dance beat and sounds like discarded tracks from «I, Robot.»

Cliff Martinez's pounding synth - rock score meanwhile makes it feel like Refn is remaking some lost 1980s classic of existential action cool — John Carpenter at his most ruthless, or maybe something produced by Drive's Bernie, played by Albert Brooks, once a sort of LA Woody Allen, here a late - middle - aged urbane mobster who guts arteries with his razor if you let him get close.

The score by Cliff Marinez further penetrated into the murky situation with foreboding electronic synths and wailing organ pianos.

Even the score, an improvisational guitar - and - synth freakout by Bill Conti and (I shit you not) Ted Nugent, is genuinely weird.

Each Blade composer has had to balance his scoring chores with songs cemented to key scenes and montages: Mark Isham went for a brooding synth and orchestral blend that managed to smoothly weave in and out of the pumping songs laid over the main battle sequences; and Marco Beltrami's large orchestral score was tweaked by Danny Saber and buoyed by a similar number of songs.

While referencing 80s synth scores is all the cool millennial rage now, it's also nice to see their soundtrack tastes can go way back as well to the 50's and 60's singing and dancing days of George and Ira Gershwin and Michel Legrand, as embodied by the composing - directing partnership of Justin Hurwitz and Damien Chazelle.

The film's blaring synth - metal score is oppressive, but its driving beats and rhythms startle more than once by sneaking up from behind.

«Eating» is the film's most notorious sequence, and was I imagine very hard to score well, but Howard did so, musically conveying a range of emotions, using synth pan flutes to provide the inevitable, effective awkward feeling underpinning the longing and desire represented by the flute and violin parts.

Though the uncompressed PCM track is monaural only, the dialogue recordings are generally clean (if uneven) and the music is nicely presented, whether it's the brittle synth - and - sax stylings of the score by L.A. session musicians Gabriel Black and Lance Ong or the party - pop beats of Texas punk band Refugee.

Written and directed by Stefan Avalos (co-creator of the indie breakthrough film, The Last Broadcast), the story of a couple victimized by neighbouring ghosts in an exclusive hilltop community is a narrative jumble, but the film's aided by an effectively moody synth score from Vincent Gillioz.

Assisted with a synth score straight out of the»80s, and led by one of the best lead performances of the year (Michael C. Hall), Mickle's film swerves from left to right, going from one dastardly deed to another.

Backed up by a mesmerising synth score composed by Disasterpeace, Fez is the brainchild of passionate game developer Phil Fish who through 5 tortuous years fine tuned one of 2012's most well received games, solidifying it as one of the best 2D platformers.

The soundtrack is interesting because it's very conspicuously bifurcated: About two - thirds of the tracks in the score are by Chris Köbke and evoke the music of Saturday morning cartoons, and the remaining songs are dark, synth - heavy, Vangelis - inspired tracks by Jordy «Timecop1983» Leenaerts.

For our fifth annual New Year's film program, we'll host a film screening of Philippe Garrel's 1968 film Le Révélateur, with a live score by Philadelphia harpist Mary Lattimore and synth player Jeff Zeigler.

Ballroom Marfa presents a silent movie with live accompaniment scored by harpist Mary Lattimore and synth player Jeff Zeigler

Serpentine Dance performance inside Flashlight Filmstrip Projection Installation Accompanied by Live Score on Synth and Theremin, 2014, PICA TBA Fest, Portland, Oregon.