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sine-cinematography · 2 years

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MINORITY REPORT (2002) - White and Blue DIRECTOR: Steven Spielberg CINEMATOGRAPHER: Janusz Kaminski

#minority report #2002 #science fiction #film #cinema #movie #stills #screenshots #steven spielberg #Janusz Kaminski #director of photography #dop #cinematography #cinematographer #blue #white

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boardchairman-blog · 10 months

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**Shots of the Movie**

Jerry Maguire (1996)

Director: Cameron Crowe Cinematographer: Janusz Kaminski

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amazingmotionpicture · 1 year

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Cinematography Apprecation | Jerry Maguire (1996) | DOP: Janusz Kamiński

#movie #film #cinema #cinematography #jerry maguire #1996 #tom cruise #movie gif #renee zellweger #janusz kaminski #regina king #cuba gooding jr.#pop culture #iconic films #love story #romcom #90s films

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tinuvielsblog · 10 months

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Daniel Day Lewis in Lincoln (2012) || Dir. Stephen Spielberg

#source: film grab and IMDb #Hollywood #stephen spielberg #daniel day lewis #cinematography #janusz kaminski #lincoln #Lincoln (2012)

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guillotineman · 2 years

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Schindler's List (1993)

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awardseason · 1 year

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2023 Critics’ Choice Awards — Film WINNERS

Best Picture “Avatar: The Way of Water” “Babylon” “The Banshees of Inisherin” “Elvis” “Everything Everywhere All at Once” — WINNER “The Fabelmans” “Glass Onion: A Knives Out Mystery” “RRR” “Tár” “Top Gun: Maverick” “Women Talking”

Best Actor Austin Butler – “Elvis” Tom Cruise – “Top Gun: Maverick” Colin Farrell – “The Banshees of Inisherin” Brendan Fraser – “The Whale” — WINNER Paul Mescal – “Aftersun” Bill Nighy – “Living”

Best Actress Cate Blanchett – “Tár” — WINNER Viola Davis – “The Woman King” Danielle Deadwyler – “Till” Margot Robbie – “Babylon” Michelle Williams – “The Fabelmans” Michelle Yeoh – “Everything Everywhere All at Once”

Best Supporting Actor Paul Dano – “The Fabelmans” Brendan Gleeson – “The Banshees of Inisherin” Judd Hirsch – “The Fabelmans” Barry Keoghan – “The Banshees of Inisherin” Ke Huy Quan – “Everything Everywhere All at Once” — WINNER Brian Tyree Henry – “Causeway”

Best Supporting Actress Angela Bassett – “Black Panther: Wakanda Forever” — WINNER Jessie Buckley – “Women Talking” Kerry Condon – “The Banshees of Inisherin” Jamie Lee Curtis – “Everything Everywhere All at Once” Stephanie Hsu – “Everything Everywhere All at Once” Janelle Monáe – “Glass Onion: A Knives Out Mystery”

Best Young Actor/Actress Frankie Corio – “Aftersun” Jalyn Hall – “Till” Gabriel LaBelle – “The Fabelmans” — WINNER Bella Ramsey – “Catherine Called Birdy” Banks Repeta – “Armageddon Time” Sadie Sink – “The Whale”

Best Acting Ensemble “The Banshees of Inisherin” “Everything Everywhere All at Once” “The Fabelmans” “Glass Onion: A Knives Out Mystery” — WINNER “The Woman King” “Women Talking”

Best Director James Cameron – “Avatar: The Way of Water” Damien Chazelle – “Babylon” Todd Field – “Tár” Baz Luhrmann – “Elvis” Daniel Kwan, Daniel Scheinert – “Everything Everywhere All at Once” — WINNERS Martin McDonagh – “The Banshees of Inisherin” Sarah Polley – “Women Talking” Gina Prince-Bythewood – “The Woman King” S.S. Rajamouli – “RRR” Steven Spielberg – “The Fabelmans”

Best Comedy “The Banshees of Inisherin” “Bros” “Everything Everywhere All at Once” “Glass Onion: A Knives Out Mystery” — WINNER “Triangle of Sadness” “The Unbearable Weight of Massive Talent”

Best Animated Feature “Guillermo del Toro’s Pinocchio” — WINNER “Marcel the Shell with Shoes On” “Puss in Boots: The Last Wish” “Turning Red” “Wendell & Wild”

Best Foreign Language Film “All Quiet on the Western Front” “Argentina, 1985” “Bardo, False Chronicle of a Handful of Truths” “Close” “Decision to Leave” “RRR” — WINNER

Best Original Screenplay Charlotte Wells – “Aftersun” Martin McDonagh – “The Banshees of Inisherin” Daniel Kwan, Daniel Scheinert – “Everything Everywhere All at Once” — WINNER Steven Spielberg, Tony Kushner – “The Fabelmans” Todd Field – “Tár”

Best Adapted Screenplay Rian Johnson – “Glass Onion: A Knives Out Mystery” Kazuo Ishiguro – “Living” Rebecca Lenkiewicz – “She Said” Samuel D. Hunter – “The Whale” Sarah Polley – “Women Talking” — WINNER

Best Cinematography Russell Carpenter – “Avatar: The Way of Water” Linus Sandgren – “Babylon” Roger Deakins – “Empire of Light” Janusz Kaminski – “The Fabelmans” Florian Hoffmeister – “Tár” Claudio Miranda – “Top Gun: Maverick” — WINNER

Best Production Design Dylan Cole, Ben Procter, Vanessa Cole – “Avatar: The Way of Water” Florencia Martin, Anthony Carlino – “Babylon” — WINNER Hannah Beachler, Lisa K. Sessions – “Black Panther: Wakanda Forever” Catherine Martin, Karen Murphy, Bev Dunn – “Elvis” Jason Kisvarday, Kelsi Ephraim – “Everything Everywhere All at Once” Rick Carter, Karen O’Hara – “The Fabelmans”

Best Editing Stephen Rivkin, David Brenner, John Refoua, James Cameron – “Avatar: The Way of Water” Tom Cross – “Babylon” Matt Villa, Jonathan Redmond – “Elvis” Paul Rogers – “Everything Everywhere All at Once” — WINNER Monika Willi – “Tár” Eddie Hamilton – “Top Gun: Maverick”

Best Costume Design Mary Zophres – “Babylon” Ruth E. Carter – “Black Panther: Wakanda Forever” — WINNER Catherine Martin – “Elvis” Shirley Kurata – “Everything Everywhere All at Once” Jenny Eagan – “Glass Onion: A Knives Out Mystery” Gersha Phillips – “The Woman King”

Best Hair and Makeup “Babylon” “The Batman” “Black Panther: Wakanda Forever” “Elvis” — WINNER “Everything Everywhere All at Once” “The Whale”

Best Visual Effects “Avatar: The Way of Water” — WINNER “The Batman” “Black Panther: Wakanda Forever” “Everything Everywhere All at Once” “RRR” “Top Gun: Maverick”

Best Song “Lift Me Up” – “Black Panther: Wakanda Forever” “Ciao Papa” – “Guillermo del Toro’s Pinocchio” “Naatu Naatu” – “RRR” — WINNER “Hold My Hand” – “Top Gun: Maverick” “Carolina” – “Where the Crawdads Sing” “New Body Rhumba” – “White Noise”

Best Score Michael Giacchino – “The Batman” Justin Hurwitz – “Babylon” John Williams – “The Fabelmans” Alexandre Desplat – “Guillermo del Toro’s Pinocchio” Hildur Guðnadóttir – “Tár” — WINNER Hildur Guðnadóttir – “Women Talking”

#critics choice awards #critics choice #critics choice 2023 #cca 2023 #winners

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marisatomay · 2 years

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Jerry Maguire (1996)

Written and Directed by Cameron Crowe

Cinematography by Janusz Kaminski

#watching jerry maguire isn’t enough i need to eat janusz kaminski’s lighting #i will not apologize for maguireposting he’s my best friend #jerry maguire

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mylifeincinema · 1 year

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My Best of 2022: Cinematography

My Best of 2022 is a series of annual lists in which I pick the best of the best from 2022, all leading up to my official picks for My Top 10 Films of 2022.

There weren’t many films this year that absolutely blew me away in terms of their cinematography. There was a lot of solid work, sure, but only a few that really blew my hair back. Top Gun: Maverick was easily the best of the bunch, and while The Fabelmans wasn’t near the best of what we’ve seen from Kaminski, it was a beautifully shot film. Aside from some really great performances, Sandgren’s cinematography (along with Tom Cross’ editing) was the saving grace for Babylon. And the blending of lighting between CGI and live-action that Carpenter achieved made up for what a corny screenplay Avatar: The Way of Water had. The others are solid/great, too, but I’ve already said too much for a category for which I normally let the work speak for itself. Anyway, here they are…

My Top 10 Achievements in Cinematography in 2022!

1. Claudio Miranda for Top Gun: Maverick

2. Janusz Kaminski for The Fabelmans

3. Linus Sandgren for Babylon

4. Hoyte Van Hoytema for Nope

5. Russell Carpenter for Avatar: The Way of Water

6. Greig Fraser for The Batman

7. Frank Passingham for Guillermo del Toro’s Pinocchio

8. Jarin Blaschke for The Northman

9. Larkin Seiple for Everything Everywhere All at Once

10. Ben Davis for The Banshees of Inisherin

Enjoy!

-Timothy Patrick Boyer.

Next Up: Supporting Actress; Supporting Actor

More of My Best of 2022...

#movies #film #cinematography #best of 2022 #babylon #top gun: maverick #the fabelmans #nope #mybestof2022 #avatar: the way of water #the batman #guillermo del toro's pinocchio #the northman #everything everywhere all at once #the banshees of inisherin #movie #lists #cinephile #movie blog

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byneddiedingo · 11 months

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Liam Neeson in Schindler's List (Steven Spielberg, 1993)

Cast: Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, Jonathan Sagall, Embeth Davidtz. Screenplay: Steven Zaillian, based on a book by Thomas Keneally. Cinematography: Janusz Kaminski. Production design: Allan Starski. Film editing: Michael Kahn. Music: John Williams.

Amid the nearly universal acclaim for Schindler's List, two major criticisms are often heard. One is that Spielberg tends toward the sentimental, especially at the end of the film: He lets Schindler's remorse at having not been able to save more Jews from the Holocaust go on too long, and the appearance of the surviving Schindlerjuden with the actors who played them is an unnecessary extension of the film's already clear moral statement, blurring the distinction between documentary and fictionalized narrative. The other objection is that the appearance of the girl in the red coat during the liquidation of the Kraków ghetto is a too-showy use of film technique in what should be a gripping, realistic scene. The former objection is a highly subjective one: For many, the film needs something to soften the harshness of the story's catharsis. For others, the answer is simply, "Let Spielberg be Spielberg," a gifted but traditional storyteller whose vision of the material he chooses is invariably personal. It's the second objection that gets to the heart of what film criticism is all about. I think David Thomson, in his brief essay on Schindler's List in Have You Seen ... ?, puts the objection most provocatively when he observes, "With that one arty nudge Spielberg assigned his sense of his own past to the collected memories of all the films he had seen. All of a sudden, the drab Krakow vista became a set, with assistant directors urging the extras into line.... It was an organization of art and craft designed to re-create a terrible reality done nearly to perfection. But in that one small tarting up ..., there lay exposed the comprehensive vulgarity of the venture." I can't be as harsh as Thomson, for one thing because when I saw the film in the theater shortly after its release in 1993, I didn't notice the red coat -- the one note of color in the middle of the black-and-white film -- because I am mildly red-green colorblind. (It's difficult to explain to the non-colorblind, but those of us with the color deficiency usually see the color in question, but it's not quite the same color that the normally sighted see.) I did, however, notice the little girl: The framing by Spielberg and cinematographer Janusz Kaminski puts her in the center of the action and makes her search for a hiding place evident even in a long shot. What I did miss that time was the reappearance of the girl's body in a stack of corpses later in the film, something that would be evident to anyone who had earlier seen the red of the coat. Later, when I saw the film on video, after having read about the controversy over the red highlight, I was able to perceive the color -- not so intense for me as perhaps for you, but once brought to my attention inescapable -- and to be shocked by its reappearance in the later scene. And when I watched the film again I realized the function of the "arty nudge": When we first see the girl in the red coat, we see her from the point of view of Schindler (Liam Neeson) himself, on a hillside above the ghetto. And when we see her body, we are seeing it again from the point of view of Schindler, visiting the cremation site where Amon Goeth (Ralph Fiennes) has been ordered to burn the bodies of those killed in the liquidation of the ghetto. It is a subtle but effective move because it coincides with (even perhaps precipitates) Schindler's decision to try to save as many of his Jewish workers as he can. Is it "arty" or "tarting up" or "vulgar"? Perhaps it is, but it's also effective filmmaking. And only the fact that the Holocaust remains so large and sacrosanct an event in the moral history of the West raises the question of whether "effective filmmaking" is inappropriate to such a subject.

#Schindler's List #Steven Spielberg #Liam Neeson

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xtruss · 10 months

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All 5 Indiana Jones Movies Ranked, Including ‘Dial of Destiny’! All Five of Harrison Ford's Indy Films Definitively Ranked From Worst to Best.

— James Hibberd | Sunday 02 July 2023 | The Hollywood Reporter

Harrison Ford in 'Indiana Jones and the Dial of Destiny' Lucas Film

With the release of Harrison Ford’s final Indiana Jones film, The Dial of Destiny, the saga is officially over. But before we put all five movies in a museum, let’s take a look back. Below, The Hollywood Reporter ranks Dr. Jones’ adventures from the worst to the best. It’s a franchise that helped define the summer blockbuster and represented some of the best work of creators George Lucas, Steven Spielberg and Ford — who will probably be forever more closely identified with his intrepid archaeologist than any other character from his career.

But since we’re starting at the bottom, that can only mean that we must first discuss…

Harrison Ford and Shia LaBeouf in ‘Indiana Jones and the Kingdom of the Crystal Skull.’ Paramount/Courtesy of Everett Collection

5. The Kingdom of the Crystal Skull (2008)

A hokey ramshackle mess. Everything about the fourth film feels weirdly distant and off somehow; slathered in a CG haze. Even the glossy cinematography by the usually stellar Janusz Kaminski manages to make scenes that were shot outdoors look like they’re inside a studio, while the less that’s said about Indy’s son Mutt (Shia LaBeouf) and his Tarzan swing the better (in fairness to LaBeouf, one suspects no actor could have made his character work as written). In other Indy movies, you try to pick out the best sequence; here, it’s a fight for the worst (most pick the infamous “nuke the fridge” scene; my choice is the cemetery brawl with the parkour warriors — because you didn’t even remember that one, did you?). An Indy film’s MacGuffin might not be the most important element, but it’s not unimportant either, and Dr. Jones’ quest for an alien artifact leads to a groaner of climactic sequence and some franchise-worst effects to top it all off. It’s the only film of the five that feels like a slog.

Lucas Film

4. The Dial of Destiny (2023)

Not as bad as the Cannes buzz suggested, yet not nearly as good as fans had hoped, Dial of Destiny represents a clear step up from Crystal Skull while still ranking below the original trilogy. The de-aged Indy opening sequence is surprisingly decent and the film effectively shuffles along for most of its run, with Phoebe Waller-Bridge bringing some bright energy as Indy’s goddaughter Helena Shaw and Mads Mikkelsen ever-watchable as villain Jürgen Voller. Ford is compelling when he’s given something to do, though Indy sometimes feels like a frustratingly passive character. But after two hours of teasing the idea of Indiana Jones traveling back in time, the payoff is letdown. Instead of revisiting, for instance, a moment from Indy’s storied past — it’s so easy to imagine Voller wanting to use the Dial to get the Ark of the Covenant during Indy’s Raiders adventure, or the Holy Grail during Last Crusade, to accomplish his goal of helping the Nazis win World War II — we instead are transported to an ancient Roman battle the audience doesn’t care about. Even Voller’s plan of traveling to 1939 to kill Hitler was a more exciting idea, and for the big climax Voller and Indy are separated and left with nothing to do – except perish in plane crash and get punched out, respectively. (“Continental drift!” should be adopted as a term for whenever a movie or TV show takes an abrupt, disappointing turn). Ultimately, Indy is left in a fine place, yet one wishes the filmmakers could use a Dial of Destiny to go back and rework the film’s third act.

Paramount/Courtesy of Everett Collection

3. The Temple of Doom (1984)

Temple of Doom has been criticized (including by Lucas and Spielberg) as being overly dark (its release helped inspire the PG-13 rating), and there are indeed moments that feel like they cross the line for what these movies are supposed to be (like that whipping scene). It’s also been justifiably criticized as leaning heavily on offensive racial stereotypes as Indy stumbles onto a child-enslaving Thuggee cult in India. Many also find Kate Capshaw’s shrieking Willie Scott off-putting. It’s tough to transition from all these elements to an “and yet…” but…and yet…when the film works, it has some of the best sequences in the franchise: The nightclub opener, the raft escape from a crashing plane, the will-they-or-won’t-they seduction scene, the spike room, the climactic bridge showdown — all terrific, and Ke Huy Quan’s Short Round is occasionally winsome too. Many outlets are placing Dial of Destiny above Temple of Doom on their ranking, but there’s nothing in Dial more exciting than moments like “no one’s flying the plane!” or “prepare to meet Kali — in hell!” (Admittedly helping matters: Ford is peak Hot Indy in this one.)

Paramount/Courtesy of Everett Collection

2. The Last Crusade (1989)

The Last Crusade is many Indy fans favorite of the bunch, and it’s easy to see why. The film is a delight — the warmest and funniest in the franchise — with a deft and witty script by Jeffrey Boam. Sean Connery is spot-on as Indy’s father, Henry Jones, and their interplay is at turns playful and touching (after Henry uses his umbrella to compel birds to strike an attacking fighter plane, the expression on Indy’s face as he’s silently overwhelmed by unexpected love for his father gets me every time). The score is one of John Williams’ best. The Last Crusade also has the strongest ending in the franchise, with its three-challenge booby traps and a feeling of genuine urgency with Henry’s life on the line (even factoring in the ridiculousness of the Crusade Knight — the film is a bit too goofy at times). Henry finally calling his son “Indiana” and gently telling him to let the Holy Grail go is one of the saga’s loveliest beats, and their extended sunset ride over the closing credits is so idyllic and gorgeous that arguably nobody should have attempted to make another Indiana Jones film after this one.

Paramount/Courtesy of Everett Collection

1. Raiders of the Lost Ark

Raiders of the Lost Ark is the closest you can find to a perfect action film. After his WWII comedy 1941 bombed, Spielberg was out to re-prove himself to Hollywood and it shows: Every scene is impeccable, starting with the opening temple raid that became one of the most iconic (and parodied) sequences in movie history. Ford deftly balances gravity and humor, demonstrating at turns competence and fallibility, as Indy struggles — and fails, time and time again — yet stubbornly refuses to quit. There are so many moments one could single out, and even the quiet ones are great. The lecture hall scene is a master class in delivering a ton of exposition in a compelling way (credit to screenwriter Lawrence Kasdan). The map room scene keeps the audience enthralled by simply showing Ford spending four minutes figuring something out — nearly all the storytelling is done on his face. Karen Allen’s savvy and punchy Marion Ravenwood was ahead of her time as strong action co-lead. And the truck chase remains one of the best stunt sequences ever shot. What does it say about the evolution of Hollywood filmmaking that the Indy film made with practical effects — aside from some dated climactic animation — and for the least amount of money (just $20 million/$78 million with inflation) visually remains the saga’s strongest and most grounded-looking entry? Clearly, top men — and women — were working on this one.

#The Hollywood Reporter #Movies #Movie News #Indiana Jones Movies #Harrison Ford #Worst to Best Movies Ranked

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moviewarfare · 1 year

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A Review of “The Fabelmans (2022)”

The Fabelmans is a semi-autobiographical based on Steven Spielberg. Funny enough it is also directed by Steven Spielberg. I haven't ever seen a biopic story that is also directed by the person the story is about. That interested me a lot but knowing it was about the legendary director Steven Spielberg is what made me want to watch it. Is the movie an overly self-indulgent semi-biopic, or does Steven continue to show why he is such a great director?

The film is such an interesting piece as the characters themselves are fictional but based on real people. For example, the character that is meant to represent Spielberg is named Samuel "Sammy" Fabelman (Gabriel LaBelle). What I appreciate is that Steven doesn't shy away from the flaws of the character representing him. Sammy is very passionate about filmmaking but he loves it so much that he puts it above his own family. His conflict is trying to pursue his passion while his family is tearing apart. On that note, there is a complex family dynamic with the clash of the logical but stern yet loving Dad (Paul Dano) and the artistic but selfish yet encouraging Mother (Michelle Williams). Sammy inherits both qualities from his parents but also some of their worse. Seeing the struggle of chasing a dream and their isolation is such an engaging theme. None of the characters is terrible people. They do wrong things but there is a lot more nuance to them. The story is incredibly warm, funny, gut-wrenching and powerful.

The performance here is terrific and worthy of an Oscar. Michelle Williams gives an unforgettable performance as the mother, Mitzi. She shows how caring yet weird of a mother she is but shows how she is gradually getting more and more broken as the movie progresses. She could have easily made her character incredibly hatable but her performance succeeds in making the audience sympathize with her despite her being the main cause of the rift in the family. Paul Dano is also terrific as the dad, Burt. His performance is less eccentric and more subtle but he perfectly conveys the internal struggle of the character. Gabriel LaBelle plays Sammy and he is great. His character is sort of arrogant and Gabriel manages to convey that without being overly pompous and annoying. LaBelle is terrific at communicating a young kid whose emotions are on the verge of exploding. He is a very promising young actor. In terms of supporting actors, Judd Hirsch appears for only two scenes yet he gives such a strong performance that takes over the scene. David Lynch also appears in just one scene but his scene might be the most memorable moment in the film.

The music is composed by legendary composer John Williams and he continues to do a great job. Although, the score here isn't his most memorable. The cinematography is done by Janusz Kaminski of Schindler's List fame and he continues to be great here. There are tons of great and memorable shots that capture the essence of filmmaking in The Fabelmans. There is an amazing shot that has Sammy using his hands as a screen with a projector aimed at his palm which is stunning. If I had any issue with the film then it has to be the 2nd act with Sammy in high school. Scenes concerning Sammy's romance and his bullying are a little uninteresting compared to everything else. It doesn't help that his girlfriend feels very over the top and the bullies act like all the generic jocks you have seen over a dozen times. Fortunately, the high school stuff have a strong landing.

Overall, Steven Spielberg continues to show that he is still one of the best directors out there. Despite the film being a semi-biographic on him, he doesn't shy away from the flaws of him and his parents. He shows the struggle of chasing your passion which might resonate with a lot of people. If Spielberg decided this was his last film then this would've been a great final outing. However, from this film alone, I know he loves making films and he won't stop here. I can't wait to see his next work.

For more reviews like this visit:

https://moviewarfarereviews.blogspot.com/

#movies #films #Movie Reviews #Film Review #steven spielberg #the fabelmans #paul dano #michelle williams #batman #jurassic park #Indiana Jones #star wars

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biglisbonnews · 1 year

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‘Anything but Avatar’: readers’ picks for the 2023 Oscars From patriarchy-shattering dramas to an Irish-language gem, our readers share their thoughts on Sunday’s extravaganzaThe Fabelmans should win big. Whoever says it isn’t that exciting doesn’t understand the beauty of the film and its subtext. I’ve never seen such a positive portrayal of Judaism on screen that celebrates the unique lives we lead. When I came home the evening after watching it, I realised the only future that I can ever have is in filmmaking. This is what films are made for, to inspire. Janusz Kaminski’s cinematography is incredible and captures such nostalgia within the frame, and John Williams’ score elevates this into being heavenly. Uncle Boris is my spirit animal, and the Jesus jokes are hilarious. Jacob Epstein, 19, London Continue reading... https://www.theguardian.com/film/2023/mar/10/anything-but-avatar-readers-picks-for-the-2023-oscars

#Oscars 2023 #Film #Culture #Guardian readers #Culture | The Guardian

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boardchairman-blog · 1 year

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