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Visual in sentence

1130 examples of Visual in a sentence

All in all, the Ring is a must for anyone interested in Hitchcock's early work and his development as a visual storyteller.
The care with which the other leading characters have been drawn is a tribute to screen writer Peter Barnes, and the intense visual beauty should have won Oscars for director Mike Newell and cinematographer Rex Maidment.
It isn't the visual dream-scape of Mirrormask, it isn't the adult pretension of Pan's Labyrinth, and it isn't the fun-loving classic The Princess Bride, but it contains just what the fantasy-lover is familiarized enough with to be completely comfortable during the entire viewing.
Hence the visual substitution of the beautiful principals (a young Loren, handsome Della Marra, and a slinky Ms. Maxwell)who make the story much more believable, giving those not familiar with the plot or the music a better chance at being wooed into the lovely arias who otherwise might not be.
Also, the movie is gorgeously shot, costumed, and set, making it a visual treat in every way.
I absolutely went out of my head over the film's visual look (by cinematographer Hagen Bogdansker),who gave each frame of film a painterly look (with the help of production designer,Patrice Vermette),as well as some tight editing (by Jill Bilcock & Matt Garner).
The music is everywhere, and also the shooting, the animals, the crazy bastards, sex and amazing gadgets and inventions, everything colorfully visual to entertain only.
Tsui Hark's visual artistry is at its peek in this movie.
Let us begin by saying that this film's English title "The Power of Kangwon Province" is an absolute misnomer.It is because in Hong Sang Soo's film,there are no actual shots of wars,troubles and conflicts.So the idea of establishing power of a province is neither suitable nor valid in the context of this film.If we were to judge this film by its Korean language title,"Kangwon-do ui him" is going to appear as a cryptic statement about emotional turmoils of its young protagonists whose minds are not at rest.Hong Sang Soo has also directed a highly prolific visual document about erratic choices made by people in their lives.The people in question are a couple of young girls who are constantly in the process of displaying their moods,whims and fancies.
So all in all Sudden Impact is a very visual film that really shows how mature Eastwood is as a director.
Although Eastwood has enormous talent as a director, dramaturgy has always been his weak point (see Play Misty for me, Breezy etc.) Thepace of the narrative leads to the visual elements being well integrated into the film and not distracting from the story.
With unmatched visual sceneries and story of divine proportions, Legend of Zu proceeds to blow over its viewers with its majesty.
Blending Eastern and Buddhist philosophies with the visual chicanery of M.C.
Director Samuel Fuller concocts a brilliant visual set-up: cocky pickpocket unwittingly lifts some microfilm from a woman's purse; it turns out she's a courier for the Communists, and now she and the grifter are being watched by the police.
Much of the film can be spent playing find the circle - a major aspect of the visual design is a circle in the center of the image.
There are so many visual splendors in this one, it's hard to choose a favorite from the film's scenes.
This film is a visual treat, and is deliberately paced so the viewer can savour its sensuous lyric quality, which is presented in an artistic low-key fashion.
In literature and the visual arts, it was the closing of a great fifty or sixty year period of creativity that has yet to be restarted.
quite affecting and sometimes painful to watch, it it a masterpiece of the visual art.
The music and visual styles of the movie are a bit dated (you can tell it's a 70's movie) and the animation is only slightly better than your average "Star Blazers" episode.
Haven't seen this in over three decades, but it remains strong in my visual and emotional memory.
This was an exercise in visual effects, and doesn't cut away when the action happens like every other film does.
Estimable designer Erno Metzner creates stark sets that simulate the tragedy, providing a perception of reality, augmented by matchless sound editing, with the only music being produced by integral orchestras during the beginning and ending portions of a work for which aural effects possess equal importance with the eminent director's fascinating visual compositions.
The creators have put in a lot of effort in the visual department and the outcome is a well crafted future neo-noir.
If ever there is a visual dictionary in global consumerism search for these definitions vital, ambiguous, unrelenting, epic, uncompromising and the sopranos shattered visage will be smiling right back at you.
Throughout the film there is an emphasis on visual detail, on clothing, machinery, decoration, and symbolic images such as a caged bird, a heap of torn photographs, a diamond bracelet.
The imagination on display, the visual interpretation of the script, the humor is constantly surprising.
I'm stymied by harsh, insulting criticism for this film, wondering if one reviewer even heard one word of dialogue, pondered one thought or concept, or if all that was desired of this work was the visual gore of bashing and slashing to satisfy some mindless view of what horror should mean to an audience.
It's a drama with depth beyond how far you can stick a blade into someone with a reverence for a message that doesn't assault your brain's visual center, but rather, draws upon one's empathetic imagination to experience other's suffering of mind and spirit.
Bad things have been unleashed and the general course of the film is a look at how the quest for self knowledge and ultimate therapy brings horror to patients, healers and others and the film is loaded with smart visual clues to the power of the dark forces with which it deals, dark forces unbound by time, place or even personality.
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