Sentences with phrase «white cinematography»

I borrow this term from film — as in film noir — of course, which refers to a genre of hardboiled American crime dramas of the 1940s and 50s shot in a German Expressionist - derived style of black - and - white cinematography.

Given the level of contrivance employed in its production (black & white cinematography; silent, subtitled dialog), this movie should never have worked.

Bert Glennon provided the luscious black - and - white cinematography, with its many effective night shots.

Filmed in beautiful, luscious black - and - white cinematography, and dealing with spiritually resonant themes, this is a small gem of a movie worth checking out.

I was immediately fascinated by the stark black and white cinematography, the fine performances from the cast, the unsettling gore (for it's time), and the sheer terror that George A. Romero had created on such a low budget.

With its high - contrast, black - and - white cinematography and jazzy Elmer Bernstein score, the film conveys a certain kind of mythical 1950s New York City more vividly than any other film I can think of.

Robert Rodriguez successfully brought Frank Miller's neo-noir comic to the big screen with a highly stylized, atmospheric look consisting of stark black - and - white cinematography and splashes of bold color (mostly red).

(The black - and - white cinematography by Christian Berger is very fine.)

John Williams's haunting score and Janusz Kaminski's breathtaking black - and - white cinematography sparkle.

With to - die - for high - contrast black - and - white cinematography and a sexy cast that oozes charisma, horror has seldom seemed so hot.

With John Forsythe, Charles McGraw and evocative black - and - white cinematography by Conrad Hall.

This would be a minefield even if its creator weren't dealing with rumors regarding his own alleged bad behavior; as it is, the movie's questioning of whether great art excuses artists with personal failings and how privilege plays into it («I guess only poor people are pedophiles,» says one character) comes with C.K.'s usual sharp wit, anything - goes experimentation (that black - and - white cinematography, those old - school Hollywood credits) and a refusal to offer up easy answers.

The startling black - and - white cinematography of Aldo Scavarda is rendered beautifully in this 4K restoration, and there are numerous extra features to sink your teeth into that place the film culturally.

Fernando Lockett's grainy 16 mm black - and - white cinematography captures the textural lushness of the vegetation in the city gardens and accentuates the architectural chiaroscuro of the colonial buildings.

The lush black - and - white cinematography hearkens back the those noir films upon which this film draws its inspiration, films like Double Indemnity and The Phantom Lady.

It superiority starts at its black - and - white cinematography from Mart Taniel (1944) that embraces the natural and the surreal with striking detail.

All the classic noir staples are there in 1946 ′ s The Killers: Shadowy black - and - white cinematography, the sexy femme fatale (Ava Gardner), the doomed protagonist (Burt Lancaster), and the dogged investigator (Edmond O'Brien).

But Potter's use of lush black and white cinematography and clever editing are distinctly cinematic.

The black - and - white cinematography and Brooks» documentary - like approach bring a stark realism to this harrowing thriller.

Adding to the noir feel of the film is Roger Deakins» black - and - white cinematography.

This obsession grows out of a more generalized sense of isolationist machismo, revealed through DP Michael Chapman's alternately seductive and unforgiving black - and - white cinematography, Thelma Schoonmaker's stunning POV editing, and the masterfully manipulated soundscape of bustling Bronx streets and swanky Manhattan nightclubs.

Will Forte and June Squibb are among the inspired supporting cast, and the stark black - and - white cinematography gives everything a bleakly beautiful sheen.

The beautiful black and white cinematography with surprising and powerful bursts of color.

The black - and - white cinematography from the late, great Gordon Willis combined with the amazing faces of the real life Borscht - Belters and showbiz schnorers Allen assembled for the cast makes the whole thing look like a Drew Friedman cartoon come to life.

The pervasiveness of technology is at the forefront of the new film Creative Control, whose star, co-writer and director Benjamin Dickinson utilizes black - and - white cinematography and dry humor to satirize our overreliance on wearable tech and how that blinds...

Scorsese depicts the bloody rise and destructive fall of LaMotta with stunningly beautiful black and white cinematography and with unforgettable editing by Thelma Schoonmaker, who has since edited all of Scorsese's features.

Visually, the black - and - white cinematography is striking, but it quickly loses its edge and is buried by the barrage of clichéd quick cuts and sped - up footage that no less than 100 horror movies before it have used to denote madness and / or haunting.

The stark black and white cinematography and a stunning supporting performance by Joe Pesci make the film one for the ages and are easily the greatest boxing movie in cinema history.

The black - and - white cinematography looks terrific in HD, with excellent contrast and natural film grain (there is a hardly noticeable, intermittent, translucent vertical band that occasionally appears on the right side of the frame, but most properly calibrated TVs won't even display it, so no worries).

Thanks in large part to some lovely black - and - white cinematography, it's probably the best killer witch flick of all time.

film has little of the visual dazzle often associated with Boorman's movies (EXORCIST II, EXCALIBUR), but the somber, black - and - white cinematography helps even out the often larger - than - life tone.

The film's jazz soundtrack, gorgeous black - and - white cinematography and deadpan humour create a romantic melancholic atmosphere that is highly enjoyable to indulge in, with Niko as a charismatic flâneur.

And the timeless look of the black - and - white cinematography reminds that young people probably always will be awkward, confused, and chaotic.

Robby Müller's stunningly beautiful and exquisitely composed black - and - white cinematography, which includes a wide range of intermediate grays, is punctuated by fade - outs and blackouts between scenes, as if giving us forecasts of Blake's death even before he's wounded.

Everything comes together in this movie — a phenomenal story; great performances (particularly from Perkins, whose take on Norman evokes precisely the right mix of sympathy and horror); the black - and - white cinematography (done, by most accounts, as both a cost - cutting measure and to lessen the impact of the bloody scenes), which contributes to an edgy, noir - ish feel that serves to increase the tension; and a killer soundtrack (horrible pun intended).

Moreover, the black - and - white cinematography brims with light, especially in the early scenes of a fog - filled heaven and in scenes set in the Farnsworth home.

The black and white cinematography looks wonderful, however, the transfer does show damage at numerous points.

This contains some of the most luminescent black - and - white cinematography ever seen.

The black and white cinematography from Oscar Nominated cinematographer Ted D. McCord (The Sound of Music), is exceptional in both its technical aspects and use of framing to tell a story.

«Ida has a lot going for it: Pawel Pawlikowski stepping back into the limelight; nuanced performances from leads Agata Trzebuchowska and Agata Kulesza; a thoughtful, meditative soul; crisp, clean black - and - white cinematography from Lukasz Zal; and historical import.

Tagged With: black and white cinematography, Guy Maddin, lighthouse, memoir, memory, mother - son relationship, silent film, tortured sexuality

Testimony has one great dramatic center, some bravura Steadycam sequences, effective newsreel - styled black and white cinematography, and a greater diversity of music to offset a weak script, clumsy montages, and surprisingly banal performances from supporting players (except Ronald Pickup, who also played Nietzsche in Wagner).

«Spellbound» (1945) Best Scoring of a Dramatic or Comedy Picture: Miklós Rózsa * Also nominated for Best Picture, Best Supporting Actor (Michael Chekhov), Best Director (Alfred Hitchcock), Best Black - and White Cinematography (George Barnes), and Best Special Effects (Jack Cosgrove).

The first «talkie» adaptation of Oscar Wilde's novel, «The Picture of Dorian Gray» won for Best Black - and - White Cinematography, although the film features two Technicolor inserts of Dorian Gray's portrait for effect.

The tinting of Jean Dujardin's toothy mug to accommodate black - and - white cinematography is about to rob recognition from the folks who toiled away, one last time, on magically morphing Ralph Fiennes into the pasty bane of Harry Potter's existence.

«Gaslight» (1944) Best Actress: Ingrid Bergman Best Art Direction (Black - and - White): Cedric Gibbons, William Ferrari, Edwin B. Willis, and Paul Huldschinsky * Also nominated for Best Picture, Best Actor (Charles Boyer), Best Supporting Actress (Angela Lansbury), Best Adapted Screenplay (John L. Balderston, Walter Reisch, and John Van Druten) and Best Black - and - White Cinematography (Joseph Ruttenberg).

The Black and White cinematography is breathtaking, the sets and costume design endlessly impressive, and the performances from Fonda, Mature, and Brennan in particular are as memorable as it gets.

It's an incredibly stylish homage to the genre, with gorgeous high contrast black and white cinematography and plenty of slow motion moody dream sequences.

• We did an entire program in celebration of black - and - white cinematography in May 1989, and filmed the show itself in black and white.

From 1939 to 1967 (with the exception of 1957), there were also separate awards for color and for black - and - white cinematography.