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Cinematography in sentence

1385 examples of Cinematography in a sentence

When it comes to those eerie and uncanny little crime films, the sorts that revolve around characters that are bordering on scum and inhabit equally scummy surroundings, and additionally carry that wavering and bleak feel thanks to some pretty grotty cinematography and some very black comedy; Dead Bodies is the sort of film Paul McGuigan wishes he could make.
The final third of the film had probably the best lighting and cinematography I have seen in any film.
If anything the film should be well-remembered for the gorgeous colour cinematography and the unforgettable musical score.
The cinematography was beautifully done throughout and was most impressive.
A must see for anyone seriously interested in cinematography and the use of the film cell as a canvas on which to display true works of visual art.
The plotline is totally original (who else would think up a town who gets totally obsessed with a certain symbol to the point of death and insanity?), the special effects are amazing, and the cinematography couldn't be better.
The exquisite cinematography, minimalist dialog, somewhat demented story which arguably hints at possible bestiality in about three scenes are what ultimately lead professional critics to pan the film as pretentious and overlong rubbish.
All of the artistic aspects are of true Cassavetes form: the cinematography and camera-work are delights, and the soundtrack -- albeit barely there -- is complimentary.
This cinematography is excellent.
The cinematography is great, and it is this that brings us back to Linda Blair.
There are so many little details that add charm to the film (a trademark of the director) and the colors and cinematography are what send this otherwise simple story over the top as a marvelous cinematic achievement.
The acting is incredibly powerful, the story mysterious and interesting, and the artistic appeal of the cinematography, to die for.
This film further benefits from occasional moments of graphic gore (watch out for the memorable sequence with one poor guy being devoured alive by vicious flesh-eating pigs!), Alejandro Ulloa's slick cinematography, and a decent sprinkling of nudity and soft-core sex.
I thought the cinematography was excellent.
Having seen many of Wong Kar-Wai's other movies (Happy Together, Fallen Angels, Ashes of Time), I knew what to expect coming in to the theatre; the cinematography would be lush, the use of space and perspective would be varied, the acting would be superb, and at least one of the characters would be consumed by an ineffable loneliness.
It's perfect in every sense, the story, the script, the acting, the cinematography...
The cinematography is gorgeous.
James Wong Howe gives effective noirish cinematography to this tale, which was directed by Frenchman Robert Florey who had moved to Hollywood some time earlier.
The cinematography and photography also is somewhat of a letdown because unlike "Jarhead," or "Blackhawk Down," the crisp, raw visceral presentation is missing not allowing the audience to really be there in the movie, there is some distance that keeps the audience from realizing the intensity of the emotions occurring on the screen.
Robert Farrar's spooky score, the grimy set design, a few wild grisly murders, Bruce B. Alcott's grungy no-frills cinematography, plenty of deliciously robust, scenery-scarfing histrionics from a game no-name cast (Ross in particular is a total eye-rolling hoot), and the genuinely shocking surprise bloodbath conclusion further add to the overall infectiously seedy fun of this choice trashy chunk of 70's low-budget regional horror exploitation cinema.
Cliche romance drama movie with very simple plot but very good cinematography and script.The screenplay,directing and acting was also good.The flow of the movie is kind of manipulative in order to bring the audience to tears through the excellent love music and circumstance which works but later on after the movie,makes one feel raped in a way.Jones makes her character very memorable and lovable though.A deeper story could have reaaly taken this movie to a higher level but still,the movie delivers for it's genre.Only for hopeless romantics,big love story fans,big soap drama fans,50's Cinemascope cinematography fans and fans of the lead actors.....
The dolphin cinematography is well done with a beautiful backdrop of ocean scenery and sunsets.
The groovy animated opening credits sequence, Charles F. Wheeler's glossy cinematography, and Hoyt Curtin's funky, pulsating disco score are all solid as well.
However, it delivers a perfectly enjoyable story, along with a magnificent cinematography.
Mark Stevi's puerile cookie cutter script, an amusingly lowbrow sense of no-brainer humor, Chuck Cirino's bouncy cornball score, the two dwarf guys sporting obvious cheap rubber Halloween masks, J.E. Bash's plain cinematography, no tension or gratuitous female nudity to speak of, and the tacky (less than) special effects all further enhance the overall delicious cheesiness of this prime slice of celluloid Velveeta.
The cinematography was certainly different exposing the stage aspect of the set and story.
I was in my mid teens when I saw this movie, and I was struck by the beauty of the young stars as well as the loving cinematography and the simple sweetness of the story.
Great cinematography by Wong and Christopher Doyle.
Credit must go to Jack Bear and Donald Brooks for their costume creations, Reg Allen and Jack Stevens for sets, Fernando Carrere for another beautiful production design, Henry Mancini for his sensitive and appropriate musical score, and to Russell Harlan for his shining cinematography.
A true masterpiece of the Soviet cinematography.
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