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Score in sentence

1768 examples of Score in a sentence

If I could give this movie a negative score; I would!
i could go on forever about this movie, from its awful direction and cinematography to its lighting and its score, not to mention the films amazing acting.
I don't feel,the film will hurt any religion sentiments.The director did an excellent job in maintaining the balance.A R Rahman's background score was very good and music is freshy.And adding to that,the picturisation of the songs is spectacular.Especially Azeem-O-Shaanshahensha,it is definitely one of the best ever pictured songs in the history of Indian Cinema.Overall, a film worth watching.
The other kills are nicely done, suspenseful but not spectacular and helped tremendously by an ace, Goblin aping score from Trans Europa Express.
The original score by Christopher Franke is both stylish and moving.
i was so looking forward to this film... methought the title held much interesting promise... i was cozy to it at first, however, as the film progressed, I couldn't understand why the director chose to propagandize rather than tell a story depicting the human condition... all the material was there to tell a great story of two peoples, but instead the director prostituted himself to covert politics instead of the art of storytelling... too bad.... the content turned me off as i was never given a chance to make my own mind up, but rather I was constantly told how to 'feel and think' about the story's dilemma... the director missed a great artistic opportunity... that's why i'm giving it a score of 1(awful)...but I did like the score!
Meanwhile the overly complicated plot relies on moronic coincidence to drag itself from one empty set piece to another, and the gaps in logic are filled with unmemorable pop songs, orange filters, Harold Faltermeyer's keyboard/electric guitar/bin lid/biscuit tin score, shoulder pads, bright red lipstick and big sunglasses.
As the film progressed, with awful back projected car chases and hammy faux Hermann/Hitchcock music score, implausible plot twists (personal phone calls to pubic railway platforms etc) and basically disgusting bleeding and body part effects THE FURY was considered a major misfire in 1978.
When I first watched this movie, I felt like it is just one of those movies that I would give a 6 score.
The music score was great, as always.
Final Score: an 9 out of 10.
The country setting is beautifully photographed and Herrmann, in his first collaboration with Hitchcock, provides a nice score.
By far, the closest to a "film" score soundtrack that I have heard in a television movie.
The songs , the score were a perfect blend.
John Crapenter's score is so good (got the remastered CD) and the apocalyptic tone & style of a ruined New York is one of the great things about this film.
The main point of interest in this rarely seen movie now is the equally rarely heard Jerry Goldsmith score, which I rather like.
Perhaps one of the reasons for that, as I've recently read, is that Goldsmith didn't have a good experience doing the score and never had much to say about it or simply didn't want to discuss it at all.
Unfortunate, because the score, though minor Goldsmith, does have merit.
The score is compelling and I now own both the DVD and the soundtrack, lol.
I'm surprised at people that gave this movie a score of 1, I don't know what people expected of this movie but it was exactly what I expected, and cute comedy with a somewhat very thin plot with some fun times.
If you look at the rating percentages, there are next to no 8's and 9's, which is a very good and reasonable score for a movie that is as good as some say it is.
Tony Todd returns as the candy-man again, and Philip Glass' hypnotic score is used, but that's where the similarities end between the two films.
While a small time drug dealer is out for the ultimate score, the outcome could mean the end to a way of life, particularly for Scrapple the Pig.
All the animation techniques that have ever existed seem to come into play here and the music score will take you on the wildest trip possible!
With its flashbacks-within-flashbacks, occasionally philosophical dialogue, a passionate love scene, a constant "poetic" music score, etc., it's obvious that Donnie Yen was trying to make something more than a simple martial-arts film.
It never finds a focus, (ultimately, I cared very little about any of the characters), it has the always fateful flaw of dialog that gets lost in whispered tones or buried beneath the score or SFX, and finally ... WHY, in heaven's name is Anthony Hopkins using his not-so-convincing American accent to play a character that could have been played better by half-a-dozen American actors?
With its garish (green) colours and flared images, a mediocre score and lame libretto, the film is well below par.
Harry Manfredini's amped-up version of his familiar shivery score hits the shuddery spot.
Charlton Heston hams it up like never before as a beaver-trapper reluctant to make way for progress and accept the fact that his precious trade is being supplanted by finer materials like silk; Brian Keith provides the brightest spot in the film as Heston's foul-mouthed partner, along with Michel Legrand's beautiful score and the desolate snowy landscapes.
The film is steeped in cliché, hampered by a witless score, and the acting from the three mentioned leads is often embarrassingly bad, notably in the case of Bridges, which might be attributed to the hackneyed script if it were not that Anne Helm as the doxy and Murray Hamilton as Stagg's partner manage to make something of their material, while Broderick Crawford rises above his during his few scenes.
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