Sentences with phrase «while cinematography»

The scenes of people eating in diners and restaurants are inspired by film stills, while the cinematography of his films is inspired by his long experience with paintings, and it has been said that it is reminiscent of his art work.

And that while cinematography is quite passive, with information flowing in only one direction.

The film is captured in beautiful black and white as it sets the tone for the entire film while the cinematography catapults the film into a free - flowing renaissance where nature takes on a form of not just setting but a character to sympathize with and examine more thoroughly.

Also, the location where they shot the film was beautiful while the cinematography helped convey the idea of how far away from civilization the group was, adding to the idea they were completely on their own.

While the cinematography is handsome (cradled by forests and dramatically framed by the Dolomites, this town never looks anything less than magnificent) and the performances fine, the mystery itself is quite conventional and the film plays like pieces of the plot were left on the cutting room floor.

While the cinematography is good, it all mostly feels like a generic slasher film with some decent moments here and there.

Sammy Sheldon Differ's costumes meanwhile are similarly beautiful and classy, while cinematography from Kurzel regular Adam Arkapaw brings out the best in everything, adding atmosphere to breathtaking sets and lavish production design.

A rooftop chase scene has a strong resemblance to Martin Scorsese's 2006 film «The Departed,» while the cinematography of David Higgs allows the viewer to glimpse the complete surroundings of the characters.

The final climatic battle between the Soviet zombies and Nazi zombies was well choreographed, while the cinematography allowed you to see everything that was going on during the fights in all their gory glory.

While the cinematography and score don't stand out, it is done well.

Not exact matches

I still love the original best, and while I wasn't crazy about the cinematography, they brought the musical up to speed, and captured the hearts of both my kids.

The black and white cinematography has an icy veneer that chills to the bone, while a new 5.1 DTS sound mix delivers crackling tension.

A complex espionage thriller that makes impeccable use of a careful pace to stretch the tension to its maximum and an appropriately dark cinematography to recreate the paranoia of the»70s and the Cold War maneuvers, while Gary Oldman underacts in a perfect performance.

The film makes use of some kick - ass cinematography (colorful imagery of the summer, and a picture that reflects childhood innocence), while the story sheds light on poverty, and the bad things that come along with it, and how it affects childhood, and for me, that is what pop culture nowadays would describe as «woke», because not a lot of films these days shed light on those important issues.

Tom Hooper directs this film, and while he does a fantastic job and the cinematography is incredible, the substance did not pay off in the way I believe it should have.

This film is desperately deep in its trite fluff, but with its hint of indie flavor, it does try a bit, at least in the technical department, with Alexander Gruszynski delivering on a few pretty points in cinematography, while Michael Penn hits some charmingly perky licks in his score.

The performances are matched by exquisite cinematography, set design and special effects that combine to make something feel slightly different and weird while remaining grounded in reality.

The cinematography, by Rachael Morrison (who worked with Coogler on Fruitvale Station and Dee Rees on Mudbound), is breathtaking — she captures the spirit of the wilds of Africa while also framing the film's action sequences beautifully.

While watching Game Night in a packed theater, I spent my time both laughing and applauding the cinematography.

The Hollywood Film Awards honors the most acclaimed films and actors while previewing highly anticipated films and talent for the upcoming year, also acknowledges artists in the categories of Cinematography, Visual Effects, Film Composing, Costume Design, Editing, Production Design, Sound and Makeup & Hairstyling.

Harry Gregson - Williams provides a touching, often «futuristic - sounding» score that never overpowers the action while Dariusz Wolski's cinematography is gorgeous.

Soderbergh's cinematography is, as ever, superb — a shot of Carano and Tatum in the LED light of an airport departure lounge has the world - weary blearily - lit hum of a John Le Carre film updated for our digital age, while a climactic fight under the morning sun on the beachside shore feels like someone dropped a Donnie Yen battle into a Michelangelo Antonioni art film.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

While the plot is stretched out to within an inch of it's life, the film is saved by gripping and intense set pieces, wonderful direction and stunning cinematography.

Suddenly Bay wants to criticise the male gaze through Wahlberg's censorious parenting while offering cinematography that exists largely to celebrate Peltz's derriere.

Shooting Juarez to look like a hothouse abattoir doesn't take any real imagination (or empathy), and after a while, the skillful framing of Roger Deakins» cinematography becomes oppressive.

While it was a standout (for some) early on that awards season, it quickly lost momentum, only earning an Oscar nom for Cinematography.

Many directors say that while it seems tougher to write a great piece of dialogue than craft some sharp mise - en - scêne, in fact, that's a screenwriter - centric view, and doesn't consider the full trickiness of cinematography and direction.

An abundance of great supporting performances (led by a perfect return by Harrison Ford and incredible newcomer Sylvia Hoeks) and effective cameos move the action forward, while the most vivid cinematography and special effects in years make you wish the movie would never end.

Very theatrical in its sequences while still innovative with the shot selections in the cinematography by Lyle Vincent (Cooties, A Girl Walks Home Alone at Night, A Bad Batch).

Caleb Deschanel's cinematography is its greatest achievement; the first half of the film unfolds almost silently against the backdrop of a rocky desert island and the rolling seas, while the latter half is set in upstate, 1940s New York.

Needless to say, this hyper - atmospheric art film is a little too reliant on its environment, but the deep snow setting of this lyrically bleak drama was always going to be instrumental in the establishment of both tone and aesthetic value, and sure enough, this film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black - and - white palette, is playful enough in lighting and scope to attract you into this film's handsome world.

What bumps the film up from minor to major achievement is its expert cinematography, which captures the majesty of horses unlike any movie I've seen, while capturing the stunning Icelandic landscape just as well.

Still, Herzog's typically expressive cinematography and eye for quietly eccentric moments aren't absent: A recovering internet addict is introduced while clumsily running across a playground bridge; a hermetic community living in a cell - tower - free zone celebrates together on banjos and fiddles; cows run across a field in slow motion while a rocket launches behind them; monks stand around staring at their smartphones.

While none of the «Insidious» films have cost very much, this is the first one that can be said to look cheap, with the flatly lit, washed - out digital cinematography of Brian Pearson a poor substitute for the silky elegance John R. Leonetti brought to the previous films in the series.

The cinematography by Andrew Lesnie once again captures the elegance of the New Zealand topography while establishing a unique look for each new location to which the heroes travel, from the bleached and ruined former splendor of a city of Gondor (home of men) to the claustrophobic, rain - drenched Helm's Deep.

is misleading because while draped in Darius Khondji's luxuriant, golden - hued cinematography like the silks of Lady Liberty's gown, and decked in loving period costume and detail, the film is really a small - scale human drama in which those Gray staples, a love triangle and a love / hate brother-esque relationship, play out beat by minutely observed beat.

While Thomas W. Kiennast's black - and - white cinematography is quite beautiful to behold (Gröning's film certainly features some excellent cinematographic moments as well), Atef's film never manages to convey why we should care, today, about this brief moment in Schneider's well - documented life, including her never - ending struggle with the German press, her inability to escape the role of Sissi that made her instantly famous as a teenager, and the various tragedies that befell her, including the suicide of her ex - husband.7 The film is not a biopic per se (and Atef declared that she did not intend to make one): thus, audiences who are not already familiar with Schneider certainly will not come away from viewing the film with much of a sense of her life's story); yet, given it is not a biopic, one wonders what the film is, or what it tries to accomplish.

There is a lot of flair and bravado to the action sequences here, whether it be in - car chases, boat chases, Nazi torture doctors, and powerful slaps that can knock a man out while keeping him standing still upright, but your left solely appreciating the idiosyncratic nature of it all alongside some admittedly wonderful cinematography that captures these scenes with, again, style.

And while John Toll's cinematography is often breathtaking, it, too, struggles to supply theme where the film hasn't; there's a difference, unexplored here, between elegiac and overcast, and Toll's a long, long way from working with Terrence Malick.

Using a combination of a great score, sleek but beautiful cinematography, and a story that plays with the discovery of something that could change everything, writer & director J.C. Chandor crafts a dramatic thriller that does put you on the edge of your seat while waiting to see how everything plays out on the eve of a financial meltdown that we're all very familiar with.

While those may be unfair comparisons when it comes to subject matter, this really is the film to see on the big screen, if only for Bradford Young's breathtaking cinematography.

While the trilogy is more known for its writing than cinematography, these transfers may help to change that; outdoor shots glow with high - key light, which is perfectly modulated by the 4K technology.

While it's still the same old Underworld fantasy playground of gloomy cinematography and histrionic acting, much has changed behind the scenes for the latest installment.

ome directors — most, really — define themselves in their visuals, and while the movies of Joel and Ethan Coen deliver plenty of eye candy, courtesy of their brilliant choices in cinematography (Roger Deakins, holler), the Coens have, well, something else on their minds.

The cinematography — thanks largely to the use of black & white — also contributes to the portrayal of Los Angeles» seedier elements, (but) essentially the film is of two people meeting and then having a prolonged conversation while wandering around.

Geoff Barrow and Ben Salisbury's industrial - strength dissonant score uproots us (though it dips into quiet, acoustic tones for the truly shocking moments) while Mark Digby's production design and Rob Hardy's cinematography seem to always position us so that there is nowhere to plunge but deep into the most terrifying part of the landscape.

The cinematography is breathtaking, and you won't mind the film being slow after a while and just sit there admiring all of the relaxing scenery.

Although the cinematography and acting were beautiful, I often lost my interest while watching this film that seemed longer than it should've been.

We received the former for review, which contains a 2.35:1 transfer of the film in anamorphic video; the image is quirky in accordance with John Seale's cinematography: grain is overemphasized in several climactic shots, as if to ground the ludicrous plot machinations in some kind of hard - edged reality, while blacks are chalky throughout and detail has a filtered quality — a Lawrence Kasdan trademark.