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Score in sentence

1768 examples of Score in a sentence

I'm not familiar with Greenaway's other work; I mostly experienced this for Louis Andriessen's score (I'm a fan, and this isn't his best work, but it does have its moments).
Like the "Special Collector's Edition" DVD says, "'Footloose' jumps with spirit, dazzling dance numbers, and an electrifying musical score.
Oh, by the way...interesting side note...did anyone know that Marco Beltrami, who did the score for The Incorporated, just did the score for T3 with the good ol' Governor?
Cromwell's direction tends to be stagy and melodramatic, but he is helped by Howe's fine cinematography and Newman's rousing score.
It has the best score and the filming is excellent.
This disgraceful presentation deserves a score far lower than the allowed minimum of 1 out of 10.
When the British make a costume drama it is simply a feast for the senses: Luminous colours in the most beautiful shades of red, gold and brown, costumes full of little details and precious jewelry and a great music score that takes you straight to Shakespearian and Bronte England.
Obviously, some people enjoyed this movie based on the score it received, but I found this movie very disappointing.
The tech aspects of the film, from the lushly dark camera-work to Joseph Conlan's inventive and eclectic score, prove that cheaper can be as good as, if not better than, a big budget extravaganza.
At least some must exist since this movie got a score above 2. Come on, be realistic, people.
An Eric Clapton score is used insensitively, underscoring dialogue with unnecessary frequency; the acting (especially from Colm Meaney) renders the characters close to parody; the camera work is needlessly jumpy; while the plot is reduced to a series of set-piece encounters.
Putting a cherry on top of the cake is a minimalist score and creepy, electronic sound effects.
There's also a magnificent score by Bruce Smeaton that deftly blends the romanticism of Nino Rota with the majestic sweep of Morricone's best work and adds a dash of electronic dissonance for good measure.
Yet another jokey gangster film which proliferated the screens in the wake of BONNIE AND CLYDE (1967); the ragtime score, then, is clearly inspired by the recent success of THE STING (1973).
The music/film score, Francis Monkmon (Sky) fame: Manic orchestral dizzy strings,coupled with the heavy saxophone solo's,puts this film tune theme, up there with the greats of Barry & Roy Budd inclusive: Super-stellar performances from Hoskins & Mirren, make this a must see No 3 of the Bulldog switchblade movies, before your soul, starts feeling the heat or touching the sides of your wooden crate: Helen Mirren (Probably the greatest British female treader of the boards, in our history).
Before that there is water skiing, card playing, occasional use of a typical but fun slasher score and some relatively rocking tunes by a group called Voyager.
The musical score is also awesome, and fits the movie very well.
The film makes excellent use of its desert locale, and Gerald Fried's bizarro score keeps the tension ratcheted fairly high throughout.
The score was terrific, set design fantastic, and all around excellent.
And as far as I found "Breaking the waves" terribly boring either, the score is 2 thumbs-down out of 2 for Von Trier.
Kudos also to Tom Clancy, director Phillip Noyce, James Horner's fine music score and the fine cast.
Writer/director Harry Essex, who also wrote the scripts for the classic 50's fright features "It Came from Outer Space" and "The Creature from the Black Lagoon," pukes forth a 50's style micro-budget clunker that boasts all the necessary bad movie vices to qualify as a real four-star stinker: the flat acting from a lame no-name cast (flash-in-the-pan 70's drive-in flick starlet Maria De Aragon in particular just takes up space as fetching love interest heroine Jeanne), sluggish pacing, ragged editing, rough, grainy cinematography by Robert Caramico, meandering narrative, a roaring, overwrought score by Robert Freeman, several ludicrous touches (the fireball stalks people before it kills them!), and a hackneyed "it ain't over yet!" ending all combine together to create one laughably lousy and leaden lump of a total stiff.
This film is beautifully photographed with the visual opulence one has come to expect from Italian cinema, with a haunting score and memorable performances, especially by the ravishing Dominique Sanda, quite possibly the most beautiful woman to ever appear on film.
It seemed as though whoever wrote the score was just not paying attention to the movie.
A new version is coming out March 28,2006 with a new music score.
I heard that the new score is all piano and that the composer also did the score for The Mechanical Man.
And the music score in dramatic scenes for eg.
Wonderfully extravagant political western with a lovely Morricone score.
Also along for the ride, for only the second time, is cab driver Birmingham Brown (Mantan Moreland)...The noticeable changes from Fox to Monogram, besides more comic relief with both Fong and Moreland, is some more time for the music score to go along with some more action sequences near the end before we hear Charlie's assessment of the case.
Another modification I would make is to perhaps change a piece of score or two.
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