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Score in sentence

1768 examples of Score in a sentence

Capably directed by Kallio (who also wrote the tight, astute script), with uniformly fine acting by a sound no-name cast (Jeff Steiger is especially good as Eric's wannabe helpful guardian angel Michael), rather rough, but overall polished cinematography by George Lieber, believable true-to-life characters, jolting outbursts of raw, shocking and unflinchingly ferocious violence, a moody, spooky score by Dan Kolton, an uncompromisingly downbeat ending, grungy Detroit, Michigan locations, a grimly serious tone, and a taut, gripping narrative that stays on a steady track throughout, this extremely potent and gritty psychological horror thriller makes for often absorbing and disturbing viewing.
They employed some independents to do the score, and some of the soundtrack, and they do a fantastic job adding to the movie.
I believe that he is the only director to whom I have given such a high score on all his movies.
The chief interest of this film all these years later is that it uses the first film score composed by George Antheil, who has a lot to say about the job in his autobiography, 'Bad Boy of Music'.
Sorry folks - maybe if this movie had had a score by the Rolling Stones and a hundred intricate and soul searching subplots, you'd all be gleefully gratified.
The technical production was beautiful, with cinematography by the legendary James Wong Howe, a fine score by George Duning, more-than-clever sets by Louis Diage and gowns by Jean Louis.
I rank this the best of the Zorro chapterplays.The exciting musical score adds punch to an exciting screen play.There is an excellent supporting cast and mystery villain that will keep you guessing until the final chapter.Reed Hadley does a fine job as Don Diego and his alter ego Zorro.Last,but certainly not least,is the great directing team of Whitney and English.
Had this movie been made just a few years later, I would have knocked down the score a point or two because the sound quality was rather poor.
The cinematography is excellent, the editing is about as good, and includes a great original score that really fits in with the mood of the movie.
Fred Frith's score is organic enough that it blends everything together without interfering with it naturalistic sound.
Score it 10/10.
Haunting Quincy Jones musical score and terrific acting by Scott Wilson and Robert Blake as Dick and Perry, the killers.
Magnificent music score.
The score is remarkable, breezy and pure.
He also seems to have a knack for lost-days-of-youth movies, be sure to catch his score for the recent "Peter Pan" and the haunting Gothic music of "The Village."
That he gave Dudley Moore his finest role, and every other cinematic element herein its optimal impact, including the score, seems to me patent and egregious.
Even my favorite films tend to have flaws - Rear Window looks a little stagey at times, Chris Elliot's character in Groundhog Day doesn't work, the music score in Best Years of Our Lives is too cheesy, the beginning of Nights of Cabiria is a little too slow - but this film is perfectly executed from start to finish.
Robert O. Ragland's funky score hits the gnarly spot.
It's also the last time Art Lloyd would serve as their cameraman and Marvin Hatley-who composed their theme song which would be known as "The Cuckoo Song (Dance of the Cuckoos)"-their score.
I think the opening 20 minutes of this film is perhaps one of the most exciting filmed, with the brilliant music score working to build tension to a shattering climax.
Kudos to Frank Skinner's pulsating score, Russell Metty's brilliant camera work (every single shot is a masterpiece in itself), and the production design department.
From the psychedelic graphics of the introductory credits and the great score by Ennio Morricone to the lesbian love scene with Capucine and the elaborately produced apocalyptic no man's land battle scenes with poison gas and German cavalry in full gas proof 'storm trooper' gear, this is a movie that should not be missed.
Riz Ortolani's groovy, pulsating, syncopated funk/jazz score certainly hits the soulfully swingin' spot.
David Tattersall's polished cinematography, Joel McNeely's rousing full-bore orchestral score, and the first-rate rate special effects all further enhance the overall sterling quality of this superior science fiction/action hybrid outing.
Anyone who gave this film a low score is obviously too uptight to sit back and have a good laugh at stupid one-liners and cheap gore.
If I have any quirk about this film, it is the music score,by Giuseppe Becce,which goes for an over the top,melodramatic feel to it that gets old fast (certain themes are repeated over & over again,wearing out it's welcome,fast---kind of like some of David Lean's over use of certain musical themes,especially in 'Lawrence Of Arabia',and 'Dr.Zhivago').
Background music score and the songs are outstanding.
The wickedly profane dialogue, Jost Vacano's glossy cinematography, Gary Chang's stirring score, the harshly amoral tone and the rousing conclusion are all likewise on the money as well.
This was the second of three films that Irving Berlin wrote for the Astaire-Rogers franchise and it has by far the largest score and is somewhat unusual in that two of the numbers are performed by Harriet Hilliard leaving the rest to be divvied and/or shared between the principals.
If you are looking for a movie with a beautiful score, complex characters or killer special effects you might not love Class Reunion.
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