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Score in sentence

1768 examples of Score in a sentence

For me, all these tonal/harmonic elements of the score could have been lifted out, and replaced by David Kristians excellent sound design.
A throwback to the "old fashioned" Westerns of the 30s and 40s (such as DODGE CITY), DALLAS has a number of things going for it: Gary Cooper at his coolest, blazing Technicolor photography by Ernest Haller (GONE WITH THE WIND) and a pulse-pounding Max Steiner (KING KONG, GWTW, DODGE CITY et al.) score.
Felipe Sacdalan's raw, grainy, scratched-up cinematography, the clumsy use of strenuous slow motion, the funky-groovin' score, the laughably inept fight choreography, and the surprisingly gruesome conclusion add immensely to the overall scuzzy fun of this deliciously cheesy grindhouse exploitation hoot.
The score of this musical is the most wonderfully detailed score I have ever heard!
The musical score to the film adds body to the film without being obtrusive.
Not only is it very funny, it's also a very well made movie with beautiful sets and costumes and a very beautiful score by Hummie Mann.
Throw in a score by none other than the man himself, Eddie Van Halen, and you can't go wrong.
The acting is great, so is the photography, and a perfect score by Philip Glass.
She fails on that score and he soon has his eye on yet another lady-in-waiting.
the score is completely pink Floyd and of course the drug element plays a major part in this movie giving you the doubts about life within the weakest moments.
thing tell me i need ten lines to sum up a movie but i am done that is all you get that is why this movie is a 6.1 which is a major upset to any movie with a score like this.
Add some ambient score from Clannad and you receive unforgettable picture.
Still, this giallo fascinates, with its unusual rural backdrop, unsettling child murders, oddball characters, and freaky score by Riz Ortolani.
The problem with this reissue is it carries the extra film score used to fill in these intentional gaps in score.
Able to hold on to sympathy as his desires take him over and interesting despite the endless close-ups and Mahler score playing above him Not one for a Friday night with your girlfriend but certainly OK if you want to explore the limits of human spiritual limitation.
The musical score is awesome and the chapter beginnings are well-written, lengthy enough to revitalize viewer memories of the former chapter, and expertly scored.
Seeing it in the theater brought back memories of what it was like when the opening notes of Jo Hisaishi's score for Princess Mononoke washed over me and gave me goosebumps just short of a decade ago (the score here is equally as wonderful).
Moreover, Marcello Giombini's funky, throbbing tribal score hits the groovy spot.
Heart-pounding tension, great pacing through editing, and a score that knows when to be quiet all come together here under competent and capable direction.
The settings, music and haunting score are wonderful as well as the excellent contributions from the cast.
Howard Blake's music score has an emotional sting to its cues that simply linger, and director Claude Chabrol's capable handling (well for most part) has a strong stylistic and tight manner, which gets the best out of moody locations and flexible cast.
The Score and its opines), one has to have nerves of steel.
It is a superb comic gem with brilliantly funny writing, embedded in the marvellous array of characters, a wonderfully inventive and funny musical score, and witty, light direction from Montgomery himself.
Lansbury and Hearn are riveting from start to finish and commit 100% to their ghoulish characters aided, by a first rate Sondaheim score, probably the closest thing Sondheim has written to an opera.
But it is breathtaking musical score by Stephen Sondheim and the mesmerizing performance by Lansbury an especially George Hearn that makes this night of Gothic musical theater an experience that stays with you long after curtain call.
Doug Brown's score is on the mark.
Moreover, we've also got rough, grainy cinematography that constantly alternates between washed-out color and grimy black and white, ineptly staged fight scenes, lousy acting from a uniformly pathetic no-name cast (Jerry Angell in particular cops the top crummy thespic dishonors for his laughably abysmal histrionics as slimy no-count psycho criminal Joe Bob), a grating head-banging thrash metal soundtrack, and a generic shivery'n'ominous synthesizer score.
John Arthur Morrill's bright, polished widescreen cinematography, Jamie Mendoza-Nava's spooky score, and the wild, rousing climactic black mass ritual are all likewise up to speed.
I saw this film when it was released to the minor cinemas in the UK some 50 years ago; and the memory remains of a great musical score, and the tragedy of the storyline.
My giving this film a score of 8 is relative to other feature-length films from 1930.
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