The Grand Budapest Hotel is a blind spot for me. I have seen every other Anderson flick, but not this one, which seems to be many people's favorite...
The 75 best looking films ever made
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No. 74:
‘Shane' (1953)
Director: George Stevens
DoP.: Loyal Griggs
‘Shane' (1953)
Director: George Stevens
DoP.: Loyal Griggs
Loyal Griggs captures the Wyoming scenery very well in Shane. It may not be the best Western ever made but it's certainly one of the best looking. The sparse landscape with mountains and sweeping plains really helps muster up an isolated atmosphere for the viewer while some of the indoor action is just as well filmed.
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I haven't gotten to Shane yet, but that screenshot looks great. Maybe I'll bump it up the queue.
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No. 73:
'Lost In Translation' (2003)
Director: Sofia Coppola
DoP.: Lance Acord
'Lost In Translation' (2003)
Director: Sofia Coppola
DoP.: Lance Acord
Coppola and Acord together manage to capture the city as a character. It melds the into the platonic relationship of the two main characters and just sits there as a backdrop to these lost souls realizing they are lost. It's a really beautiful film that really strikes a chord, and would be nothing without the dreamy bokeh and lovely lights fizzing in and out of the shot.
Last edited by ScarletLion; 01-30-21 at 02:56 PM.
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No. 74:
‘Shane' (1953)
Director: George Stevens
DoP.: Loyal Griggs
‘Shane' (1953)
Director: George Stevens
DoP.: Loyal Griggs
Loyal Griggs captures the Wyoming scenery very well in Shane. It may not be the best Western ever made but it's certainly one of the best looking. The sparse landscape with mountains and sweeping plains really helps muster up an isolated atmosphere for the viewer while some of the indoor action is just as well filmed.
No. 74:
'Lost In Translation' (2003)
Director: Sofia Coppola
DoP.: Lance Acord
'Lost In Translation' (2003)
Director: Sofia Coppola
DoP.: Lance Acord
Coppola and Acord together manage to capture the city as a character. It melds the into the platonic relationship of the two main characters and just sits there as a backdrop to these lost souls realizing they are lost. It's a really beautiful film that really strikes a chord, and would be nothing without the dreamy bokeh and lovely lights fizzing in and out of the shot.
No. 72:
‘The Master' (2012)
Director: Paul Thomas Anderson
DoP.: Mihai Malaimare Jr.
‘The Master' (2012)
Director: Paul Thomas Anderson
DoP.: Mihai Malaimare Jr.
Mihai Malaimare Jr's photography in The Master is a stunning example of a Paul Thomas Anderson film captured beautifully on 65mm. Lots of blue in the colour palette, depth of field changes and amazing shots of the ocean. The images match the performances, Phillip Seymour Hoffman and Joaquin Phoenix at their imperious best. One of those films I personally never get tired of watching clips from.
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I am due for a re-watch on Lost in Translation, which I haven't seen since I say it theatrically when it first hit. I've not seen The Master.
As far as Shane is concerned, I own a copy, and I am a big fan of the film. And for the record, Pale Rider, which is sort of a loose adaptation of Shane, is one of the few Eastwood picture I don't care for.
Shane has some great shots, and even though the kid annoys the hell of of some people, I don't mind him.
As far as Shane is concerned, I own a copy, and I am a big fan of the film. And for the record, Pale Rider, which is sort of a loose adaptation of Shane, is one of the few Eastwood picture I don't care for.
Shane has some great shots, and even though the kid annoys the hell of of some people, I don't mind him.
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“It takes considerable knowledge just to realize the extent of your own ignorance.” ― Thomas Sowell
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No. 71:
‘The White Ribbon' (2009)
Director: Michael Haneke
DoP.: Christian Berger
‘The White Ribbon' (2009)
Director: Michael Haneke
DoP.: Christian Berger
Powerful black and white images force the viewer to look at what Haneke is putting infront of us. He's a master at making the audience uncomfortable about the images we are seeing on screen and this is no exception - we are faced with a community where someone is performing spiteful acts on others. Haneke says there is as much evil in us, as there is good. It may or may not be a nod to the rise of the Nazis in Germany, but Christian Berger's photography is stunningly utilized.
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No. 70:
‘Kill Bill Vol. 1'
Director: Quentin Tarantino
DoP.: Robert Richardson
‘Kill Bill Vol. 1'
Director: Quentin Tarantino
DoP.: Robert Richardson
Of all of Tarantino's films, Kill Bill Volume 1 looks the most satisfying. Possibly because the photography is so varied, mainly due to the terrific locations used. Volume 2 is only slightly behind but that amazingly captured Beatrix v O-Ren fight in the snow seals it. Also, as usual the pace of the editing in Tarantino's films is stylish and noticeable. Really compliments the direction. A visual treat.
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It's been a long time since I watched the Kill Bill films. Probably need to get back to those sometime soon. I remember enjoying them quite a bit back in the day.
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Some nice choices to start
The Grand Budapest Hotel is visually quite gorgeous, sadly the kid irritates me far too much to enjoy Shane but that's not what this list is about and it's certainly shot nicely. Didn't get through Lost In Translation when we tried to watch it and have never revisited it (I've not seen a Sofia Coppola offering yet that I've really enjoyed tbh) so can't comment on that one, maybe one day I'll give it another try. The Master has some lovely cinematography in it, as does The White Ribbon (I do like me some nice crisp b&w imagery) and although I've not watched either Kill Bill for a number of years (really must give them another outing sometime) I remember them having some lovely use of colours and being pleasant enough on the eye.
Looking forward to seeing what else might pop up.
The Grand Budapest Hotel is visually quite gorgeous, sadly the kid irritates me far too much to enjoy Shane but that's not what this list is about and it's certainly shot nicely. Didn't get through Lost In Translation when we tried to watch it and have never revisited it (I've not seen a Sofia Coppola offering yet that I've really enjoyed tbh) so can't comment on that one, maybe one day I'll give it another try. The Master has some lovely cinematography in it, as does The White Ribbon (I do like me some nice crisp b&w imagery) and although I've not watched either Kill Bill for a number of years (really must give them another outing sometime) I remember them having some lovely use of colours and being pleasant enough on the eye.
Looking forward to seeing what else might pop up.
No. 70:
‘Kill Bill Vol. 1'
Director: Quentin Tarantino
DoP.: Robert Richardson
‘Kill Bill Vol. 1'
Director: Quentin Tarantino
DoP.: Robert Richardson
Of all of Tarantino's films, Kill Bill Volume 1 looks the most satisfying. Possibly because the photography is so varied, mainly due to the terrific locations used. Volume 2 is only slightly behind but that amazingly captured Beatrix v O-Ren fight in the snow seals it. Also, as usual the pace of the editing in Tarantino's films is stylish and noticeable. Really compliments the direction. A visual treat.