Sentences with phrase «synth scores»

We looked at the musical journey of the game as kind of a «history of horror film», from orchestral, through the 1980s synth scores, and on to a more processed, artificial modern sound.

He has recently enjoyed a surge of popularity thanks to his retrospective FM synth scores to the Etrian Odyssey series.

during a Goldsmith film was when he experimented and made a bad creative call, like his all - synth scores or when he decided to use Tommy Walker's Charge in Mr. Baseball.

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.

For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman's Excalibur (1981) and Jim Henson's The Dark Crystal (1982)...

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.

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.

For all of its carefully executed, cool style, soundtracked to a retro synth score and ironic music cuts, «Revenge» is intensely raw, a violent and hallucinatory acid trip for the senses that asserts a feminist perspective in this historically exploitative and misogynistic genre.

This should be a positive but what few of them realize is that it takes more than a synth score and a few bad - ass characters to emulate the thrills of his movies.

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 Guest Blu - ray — One of the best Halloween - themed John Carpenter movies that John Carpenter never made, The Guest was the most badass movie of 2014, the only one with the balls to feature some prominent Halloween III Silver Shamrock imagery amid the pounding synth score and carnage of the mysterious stranger who comes trick or treating.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

The accompanying Dolby 2.0 Surround audio is hushed at reference volume but responds well to amplification; Barry DeVorzon's synth score has some nice stereo imaging, but the whole thing sounds a little damp.

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.

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.

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.

That somebody is David Robert Mitchell, who nailed the «70s and «80s slasher feel with long tracking shots, a synth score and a plot to scare you off sex for life.

Though the «sex equals death» rule isn't as prominent in modern horror movies that defy those decades - old tropes, «It Follows» is very much a retro homage to «70s and «80s genre classics, from the «Halloween» - esque synth score, to the striking similarities to «Nightmare on Elm Street,» both in Jay's perpetual helplessness and the film's dreamlike atmosphere.

Let me tell you, the ever - present synth score makes the film even spookier.

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).

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.

Swaddled in Angelo Badalamenti's gorgeous synth score, with foreboding bass - thrums occasionally making way for a recurring, cascading piano theme of faltering heartbreak — soaring into lonely, plaintive high notes before falling back into a busier, lower register of despair.»

It's a killer premise and has an even better synth score that would put «Stranger Things» to shame.

That said, the first Terminator movie has also aged the worst of the bunch thanks to a dated synth score, low - budget effect work and some bad «Eighties fashion.

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.

Even if all you remember is that shot of Olympians running on the beach to Vangelis's pounding synth score, it's fine.

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.

«Notes on a Headstone» (7 mins., HD) has composer Fabio Frizzi discussing his synth score in a surface - y kind of way, and «All in the Family» (6 mins., HD) is a chat with Fulci's daughter Antonella, who provides an occasionally sad defense of her asshole dad.

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

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.

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.

A nice bonus, but pretty useless, since the film's Cantonese track is mastered in a robust Dolby 5.1 mix, and the overtly synth score is reduced to a flat mono track, sharing limited headroom with intrusive sound effects.

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.

In each video, he performs a single ritualistic action in slow - motion sequences set to a creepy synth score — a nod to Bava and his fellow Italian horror director Dario Argento.

Not exact matches

Moreover, its exclusively synth - based soundtrack anticipates Stanger Things's justly admired score.

Instead, the analog synth - driven stylings here are more reminiscent of Vangelis film scores (with a slightly glitchy, IDM twist to prevent things from getting too dated or sleepy), while one track even samples Carly Simon.

Composer Mark Mothersbaugh's synth - laden score captures the vibe of»70s and»80s sci - fi fantasy films effortlessly.

The title theme is a lampoon of Oklahoma's «Oh What a Beautiful Morning» and the score weaves throughout, though there is a hint of synth leftover from the eighties.

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 is also unexpected, as Cliff Martinez's compositions give the driving party atmosphere a welcoming but foreboding synth sound.

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.

Mica Levi's score is absolutely terrifying in its strangeness — all clanging noises, repetitive drum beats and weird synths.

Jewel's score is undoubtedly the film's biggest redeeming feature: a similar synth - pop DNA to «Drive» and Jewel's other work is in there, but it's more varied and unexpected, with rockabilly and industrial influences melded into something that sounds coherent, inventive and even catchy.

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.

The «80s are on everyone's mind these days: a purple, synth - scored explosion of sex, action movies and the greatest blockbuster summer movies of all time.

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.»

there was this gritty ditty - a siege picture that first introduced the director's love of synth - scored anamorphic photography and his fear of faceless, invading danger.

Just as Goblin was key to the success of Argento's best work, Simon Boswell's synth / electronica score for StageFright is, apart from Soavi's visuals and film - smarts, the movie's MVP, and it's given full breadth in a dynamic lossless presentation.