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Cinematography in sentence

1385 examples of Cinematography in a sentence

The solid cast contribute admirably sincere performances: John D. LeMay makes for a refreshingly unlikely hero as the nerdy Steven Freeman, Kari Keegan likewise impresses as the sweet Jessica Kimble, Steven Williams almost steals the whole show with his colorful portrayal of flamboyant bounty hunter Creighton Duke, plus there are neat turns by Erin Gray as the spunky Diana Kimble, Allison Smith as Jessica's cheery gal pal Vicki, Steven Culp as opportunistic TV newscaster Robert Campbell, Billy Green Bush as the hard-nosed Sheriff Ed Landis, and Rusty Schwimmer as feisty, foul-mouthed diner owner Joey B. William Dill's slick cinematography gives the picture a properly moody look.
I saw this at Sundance (2002) and Daniel Gold won the prize for documentary cinematography.
What it does contain is excellent cinematography by Gregg Toland, superb direction by John Ford and a superior script based on the plays of Eugene O'Neill.
Incredible cinematography.
Cromwell's direction tends to be stagy and melodramatic, but he is helped by Howe's fine cinematography and Newman's rousing score.
This movie is interesting because it features a very well made and elaborated cinematography which contributes much to overcome the script and acting shortages.
Not to mention the gorgeous cinematography or the incredible harpsichord soundtrack.
Same type of cinematography, music, acting and style.
There is no movie here - no plot, no story, no theme, no characters, no cinematography, no soundtrack - just boring shots of the desert inter cut with boring shots of awkward sex - until you finally and mercifully get an ending that is apparently from a different movie entirely.
You have to be prepared for it, because you will be bored and at best bewildered if you're not watching it for the purpose of entertaining yourself by the ridiculously crappy lines (or lack of them), direction, photography, cinematography, edition, idea.
Production values seem good, cinematography okay....it's the story that's awful.
The feeling and pace was graceful, the cinematography and music wonderful.
Writer/director Harry Essex, who also wrote the scripts for the classic 50's fright features "It Came from Outer Space" and "The Creature from the Black Lagoon," pukes forth a 50's style micro-budget clunker that boasts all the necessary bad movie vices to qualify as a real four-star stinker: the flat acting from a lame no-name cast (flash-in-the-pan 70's drive-in flick starlet Maria De Aragon in particular just takes up space as fetching love interest heroine Jeanne), sluggish pacing, ragged editing, rough, grainy cinematography by Robert Caramico, meandering narrative, a roaring, overwrought score by Robert Freeman, several ludicrous touches (the fireball stalks people before it kills them!), and a hackneyed "it ain't over yet!" ending all combine together to create one laughably lousy and leaden lump of a total stiff.
The cinematography is superb and the use of the widescreen aspect ratio contributes significantly to the rendering of what must have been rich source material.
Crummy cinematography, really pathetic script (I couldn't believe the actors actually SPOKE these words without gagging or barfing), even worse acting, not ONE sympathetic character, and an ending that doesn't make a bit of sense, seeing it just tells us the same things we've been hearing since the beginning of the movie!
But what steals the show is certainly Brian De Palma's directing and Stephen H. Burum's cinematography.
Four completely unlikable characters played by four of the worst actresses ever seen, a script that moves along at a pace that would make a snail look like Wilma Rudolph, pointless and goofy religious "symbolism," awful lighting and cinematography... all add up to the biggest waste of time you will ever know.
The cinematography (Michael Ballhaus), art direction (Dante Ferretti), and costumes (Gabriela Pescucci) magically recreate the visual splendor of the era.
The beginning of the film looked promising and the cinematography was very well done but it all got a bit complicated and meaningless.
AMAZING....the story of a doll that everybody love and lust!!! Great cinematography...funny and beautiful!!!
It is certainly in the class of great Italian movies; the script, acting, cinematography, and the music are all great!
Roy Budd's splendidly stirring'n'sweeping majestic orchestral score and Ted Moore's exquisitely rich, vivid and vibrant saturated color cinematography further add to the overall enjoyment of this engaging and satisfying fantasy adventure treat.
Since the origin of film-making, cinematography has maintained its reputation of being a craft, long after the role of the director was given creative control.
From Charles Lang being instructed to "put his shadows wherever he wanted, but not on the actors face" to David Lynch and Frederick Elmes discussing "how dark is dark", the art of cinematography is just as much about being an illusionist as just a mediator between production and aspection.
In commentary to his "sketching of things in the dark" to the point of monochromism, John Alton summed up the spirit of cinematography in reminding us that it is not as much about the lights you turn on as the one's you don't.
Besides all of the T&A I have to say that the cinematography really pulls the story together.
I also thought that the cinematography was a work that I would rate very high.
I liked the feel of 1930's Paris and the cinematography.
The acting, dialog, cinematography and editing are horrible (i.e.
This genuinely creepy Korean serial killer drama has style to spare, with some of the most gorgeous cinematography you're ever likely to see in this type of movie.
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