Sentences with phrase «widescreen composition»

As a western, River of No Return is conventional; as an exercise in widescreen composition, it is exceptional.

It's probably Mamet's finest film as a director, his widescreen composition is wonderful — there's this one shot where Emily Mortimer's head, in profile, sits in the center of the screen while she talks and it's exceptional.

All the elements are here though - cool as fuck Clint w / his black stub cigar and his inscrutable squint - Morricone's wonderfully stark music and Leone's devastating widescreen compositions.

The movie looks like it cost a fortune, with Dean Cundey's glistening widescreen compositions and Bill Brzeski's towering, storybook sets providing the backdrop for seamless visual effects.

Seeing Wiseau's idiosyncratic delivery and body language in moody widescreen compositions is more than a little discombobulating, and given that he's being deployed as a supporting player, I'm in.

The widescreen compositions and thrumming music evokes John Carpenter's early, scary movies but the use of nearabandoned neighbourhoods and urban districts gives it an unusual, subtly haunted post millennial feel.

Cinematographer Philip H Lathrop cut his teeth working with Orson Welles, another denizen of weird Hollywood, and here he conjures dramatic widescreen compositions that at times veer into the avant - garde.

With its gorgeous widescreen compositions and sophisticated look at American male obsession, this stripped - down narrative from maverick director Monte Hellman is one of the artistic high points of 1970s cinema, and possibly the greatest road movie ever made.

Ichikawa takes the conventions of melodrama and turns them on their head, bringing the hero's fractured psyche to life in boldly experimental widescreen compositions infused with kaleidoscopic color, pop - art influences, and meticulous choreography.

Perhaps less showy than «Pariah,» it's nevertheless a gorgeous - looking film, with widescreen compositions and a shallow depth of field that give it a production value that belies its meager budget.

By now, it might be a given that Pixar's movies are visually spectacular, but The Good Dinosaur may be the studio's most purely cinematic, the richness of the design and the emotional power of the widescreen compositions stirring deep, almost primal feelings about childhood, the loss of innocence and the untamed ferocity of the natural world.»

As in his earlier films, including the Palme d'Or winner «4 Months, 3 Weeks and 2 Days,» Mungiu employs a patented style that involves long takes (many scenes entail only a single shot) and eye - level widescreen compositions.

For a film noir, Scott's widescreen compositions are usually quite colorful; the ultra-modern posh homes and hotels in which the counselor lives and works are contrasted with the dusty, brutal desert to further illustrate the idea that these wealthy neophytes believe they can remain above the violent fray.

Scott's widescreen compositions capture the expansiveness of the heat - soaked Southwest plains; however, with the exception of a stunning Joan of Arc - inspired ending, Scott's gift for slick visual splendor is wasted on a run - of - the - mill Bonnie and Clyde - ish tale posing as profound social statement.

Not exact matches

Long recognized as one of George Lucas» primary inspiration for Star Wars (among other things, the bickering peasants who wander into the odyssey inspired R2D2 and C - 3PO), it's Kurosawa's his first go at the widescreen format and he proves to be a master at it, dynamically spreading his compositions out to an epic scope and boldly setting his cascade of sharp action scenes against a magnificent landscape.

When the sounds are revealed, the anamorphic widescreen frame takes on an expansive but claustrophobic quality thanks, in part, to Spielberg's deep focus compositions.

As opposed to the frantic handheld camerawork of Shiri, JSA makes full use of its widescreen frame (it was the first Korean film to use Super-35, the Hollywood big - budget standard), to create more deep - focus static compositions.

Preminger's preference for developing action within the frame was ideally suited to the widescreen format, for which he created horizontal compositions and lateral movements that draw the spectator's eye across the frame.