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Score in sentence

1768 examples of Score in a sentence

This movie is most of all a work of style and dedication, which makes clear why Luc Besson is a director of my choice: good taste, beautiful framing, excellent use of music (I also marveled at Eric Serra's first feature-length score) and the promise of great achievements.
The unknown young Mexican actors do a great job and the musical score is endearing.
Also the music by Mark Snow is possibly the best score I've ever heard.
With its eerily pleasing music score, minimalist dialogue and character development, and uncanny fantasy sequences involving some very unique angels, the Polish brothers put their focus on what every good film artist knows a film should be about, the moving pictures...the images, the scenes...paintings of deep beauty captured on celluloid.
Though not completely original--it owes much to The Texas Chainsaw Massacre, it holds its own with a sense of humor, genuine creepy moments, a brilliant score by Pino Donaggio, and the fun performances by Chuck Connors and the cast.
Film score composer David Winter (Jon Finch) is tormented by the 17th century witch Lucinda (Patricia Quinn)...
The episode is accompanied by a nice score which plays along well with the atmosphere.
This was his first sound movie and the use of the musical score by great russian composer Serge Prokofiev in the sequence of the battle is a perfect contrast between music and image.
Andre Previn's score was rejected, and the one eventually used was composed by - unfortunately - Leslie Bricusse.
Half a century ago,having made the hugely influential,"Laura","Where the sidewalk ends" and "The moon is blue",he set about filming Nelson Algren's controversial novel "The man with the golden arm" in his eccentric and individualistic manner.Rather than take his camera out onto the streets he stayed in the studio and used stylised almost Expressionistic sets,quirky casting(Mr Frank Sinatra - hot from his success in "From here to eternity",the young,inexperienced but breathtakingly beautiful Miss Kim Novak and Mr Arnold Stang,a man whose oddities were after his own heart)and a remarkable era - defining score by Elmer Bernstein featuring the cream of West Coast jazzmen.
The films haunting score adds to the mood.
With a great cast and film score by Danny Elfman, the movie takes us on an adventure as Batman battles the evil forces that are trying to take over Gotham City.
It is chilling, funny, and moving all at once through Sondheim's most memorable and incredible score and sharp performances.
David San Jose's moody score likewise does the trick.
Above all, the superb musical score of the late Johnny Douglas underpins the story throughout, adding extra emotional depth.
The opening shot of a winding, deserted road in a downpour at dusk (and the score that accompanied it) set the tone so well -- just terrific.
The movie is very nearly perfect, in fact, from Saul Bass's title graphics to the ground-breaking jazz score by Elmer Bernstein.
Directed, co-written, co-produced and co-edited with dumbfounding maladroitness by Melanie Anne Phillips, acted with dismaying flatness by a rank no-name cast, further marred by lethargic pacing, a drably meandering narrative, murky, under-lit, eye-straining cinematography, a shivery, redundantly thudding pseudo-John Carpenter synthesizer score, and a cruddy, herky-jerky stop motion animation wormoid thingie that's only quickly glimpsed at the very end of the movie, this extremely clunky, amateurish and hence quite delectably dreadful would-be scarefest commits all the necessary bad film missteps to qualify as a real four-star stinkeroonie.
You can draw your own conclusions on that score but if you like Sam, you'll like this.
Filled with gorgeous cinematography, beautiful people, and an intoxicating 70's score from the legendary Nico Fidenco, this one is sure to please.
Waxman's rousing score is a big plus.
This is a very modest, very lovely movie with a great score by Hoagy Carmichael and Frank Loesser with a standout number, We're The Couple In The Castle, that is totally evocative of the period and harks back to Penthouse Serenade just as the opening premise (Hoppity's coming) may well have inspired Fred Saidy and Yip Harburg's opening (Woody's Coming) in Finian's Rainbow six years later.
The score is suitably overwrought.
The jazz score is unforgettable, Kim Novak's likable despite a ludicrous accent, Eleanor Parker is annoying and waaaay too dramatic, the turtle-like Arnold Stang is amusing the first time but more embarrassing every time out, and Darren McGavin makes a wonderfully slimy drug dealer, the sets are unconvincing - at first glance it seems a peculiar mixed bag tossed together by the great Otto Preminger with an off-center charm.
Most of the credit must go to Eric Anderson for his choice of visual style and for writing an interesting story, but credit is also deserved by Anuj Majumdar for the narration and the wonderful music score.
Through it all Sondheim's score never fails to underline the dark seriousness of the story.
Here, however, he does wonders in making his score distinctly English, from parlour songs to operatic duets and soliloquies to society waltzes to Gilbert/Sullivan style patter.
Yeah, there could have been better cinematography and less of a constant "movie of the week" score, but Ed Harris was impeccable, Cuba Gooding adorable and touching, and let's face it people, in real life, how many of us really get to know the motivation of others.
A mediocre story is helped along by a grand and lyrical classical score by the late great Barry Gray, the John Williams of Britain.
The Danny Elfman composed score is as good as it gets, and is among his best work.
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