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Cinematography in sentence

1385 examples of Cinematography in a sentence

The elements used in the cinematography for "Roshine Se" were beautiful.
The cinematography was beautiful, the acting superb, and the story lines were well thought out, wonderfully written and executed.
However, with very green and inexperienced actors in front of the camera--and poor cinematography and sloppy editing going on behind it--the picture loses steam even before the halfway mark.
The things that had me on the edge of my seat during Brokeback Mountain was the amazing cinematography and the thrilling music.
Dennis Coffey's funky, syncopated score and Mark Rasmussen's plain, no-frills cinematography further enhance the gritty realism of this moving and effective picture.
The pretty, fairly polished cinematography by Robert E. Rogers likewise hits the spot.
Besides the four different locations and the great cinematography for a completely unknown cast the acting was great.
As always, Anil Mehta does a fabulous job lensing the story -- his cinematography captures a wide range of urban landscapes that subtly adds depth and context to the story (and be on the lookout for an in-joke concerning his name in the film).
THE WIDOW OF ST.-PIERRE may not be a great film, but amidst a crop of mediocre current releases, it's a fine effort that boasts a hardworking cast, awesome costumes and sets, terrific cinematography and excellent direction.
Nude for Your Killer" is a sleazy and violent Italian giallo that will surely please fans of Italian cinema.There is lots of nudity provided by Edwige Fenech,Femi Benussi and Erna Schurer.The jazz score by Berto Pisano is pretty good and the plot is actually very gripping.The killings are quite gory and sadistic and the cinematography by Franco Delli Colli is excellent.Check it out,if you like Italian giallos.8
The cinematography is horrific - tons of shaky shots/off center shots/ etc. Basically, this is a film where a bunch of extras were put in with a shoddy story (I'm not entirely sure there was a flowing story), terrible dialogue, and a musical score that never fits the scene.
It has some very strong features such as the cinematography that captures the artsy feeling of Paris 1919 and, despite excesses, manages to create some visuals of hallucinations and the wild madness of painters painting canvasses; a rather complex peak into the lives of several of the more revolutionary artists of the time; and a substantial feeling for the interchange between artist and model.
The cinematography was well done with some very thoughtfully choreographed shots with the Huey and the scenery.
No thrills, no action, cinematography that gets painfully awful at some times and a final shot (involving a swarm of more killer dots) portraying that this silly nightmare isn't over yet.
His cinematography is superb, and often highly gorgeous.
The fine acting, stunning cinematography, incredible lighting, and remarkable art direction is all accompanied by the numbing, bouncy, unsurpassable zither music.
While Expendableman covered most of the salient aspects of this fine bit of cinematography he missed one item.
The cinematography is passable, but nothing fancy.
Although the remake in 2003 was excellent and had a tighter, more involving plot than this film, it breaks a barrier because rather than directly approaching the style of the remake and trying to live up to its success, this equally grisly thriller ignores all of the gloss, cinematography, pacing and story that it was inspired from.
The cinematography is quite ahead of its time (the camera rarely sits still, yet remains unobtrusive), the drama is milked for maximum effect (and there are numerous sudden shocks), and the science-fiction/occult aspects of the film never overshadow the human element.
Lance Acord's cinematography is nothing short of masterful.
To wrap it up, Streets of Laredo is a superb film with great acting, directing, cinematography, and a stirring musical score and more.
Despite having the elements in this film, it was missing lot of chemistry between the actors, the time period didn't fit the screen, wasn't really impressed by the lens/filter or the cinematography.
They were typified by wonderful cinematography, excellent sets and magical stories.
This movie has it all - an all-star cast, great acting, compelling story, wonderful cinematography and plausibility.
An Oscar nominee for it's brilliant cinematography, and a Golden Globe nominee for Best Foreign Language Film (lost to Les misérables), this film is directed by Zhang Yimou and stars Gong Li.
Leigh Harline's music is understated and very useful, and the cinematography by Robert de Grasse and Nichloas Musuraca is high-contrast B/W and very good in a number of types of scenes.
This has got to be one of the most AMAZING films ever made, not only for the astounding cinematography, the quiet, subtle, yet overpowering drama, the incredible pacing of the story, the compelling character portraits, but also for very intelligently conceived cinema verite techniques.
The difference between making the movie today, than back then, would be the lack of melodrama between the William and Damita character (heck! it was the era of the woman's picture) Formulaic stuff but good formula all the same with an unusually expensive look (good cinematography, tons of location shooting, great sets, lots of wide shots) for a WB thirties picture tells you this was probably an expected blockbuster in the year of 1932.
Daniel Pearl's grainy, but polished cinematography offers several smooth and sinuous tracking shots that are positively breathtaking to behold.
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