blue – The Red Lipped Reviewer

Spotlight on Cinematography: Shades of Blue (round two)

the life aquatic with steve zissou — The Life Aquatic with Steve Zissou (2004) || Robert Yeoman (DP)

beetlejuice — Beetlejuice (1988) || Thomas Ackerman (DP)

charlie and the chocolate factory — Charlie and the Chocolate Factory (2005) || Philippe Rousselot (DP)

fear and loathing in las vegas — Fear and Loathing in Las Vegas (1998) || Nicola Pecorini (DP)

la la land — La La Land (2016) || Linus Sandgren (DP)

iron man 1 — Iron Man (2008) || Matthew Libatique (DP)

the royal tenenbaums — The Royal Tenenbaums (2001) || Robert Yeoman (DP)

April 10, 2018March 19, 2018 by theredlippedreviewer

Spotlight on Cinematography: Sparks Fly

Now that my first round of color-centric cinematography posts is wrapped up, I wanted to pause and explore a couple of other themes. These seven frames all feature fireworks and sparks as a focal point. It’s exciting to see how such a variety of movies uses a similar item in a variety of ways for a variety of reasons.

Disclaimer: Thus far, I have only posted frames from films I’ve watched and that is a habit I have every intention of sticking to. However, the below frame from The Theory of Everything popped up on my dash and was such a perfect addition that I had to include it. This will be the very rare exception of including a frame that wasn’t hand-picked after a viewing.

the man who cried — The Man Who Cried (2000) || Sacha Vierny

theory of everything — The Theory of Everything (2014) || Benoit Delhomme (DP)

wonder woman 2 — Wonder Woman (2017) || Matthew Jensen

gatsby — The Great Gatsby (2013) || Simon Duggan (DP)

order of the phoeniz — Harry Potter and the Order of the Phoenix (2007) || Slawomir Idziak (DP)

The Lord of the Rings: The Fellowship of the Ring (2001)(Screengrab) — The Lord of the Rings: The Fellowship of the Ring (2001) || Andrew Lesnie (DP)

v for vendatta — V for Vendetta (2005) || Adrian Biddle (DP)

February 5, 2018February 9, 2018 by theredlippedreviewer

Spotlight on Cinematography: Shades of Blue

girl asleep — Girl Asleep (2015) || Andrew Commis (DP)

hero — Hero (2002) || Christopher Doyle (DP)

birdman — Birdman (2014) || Emmanuel Lubezki (DP)

moonlight — Moonlight (2016) || James Laxton (DP)

the truman show — The Truman Show (1998) || Peter Biziou (DP)

rocky horror — The Rocky Horror Picture Show (1975) || Peter Suschitzky (DP)

tarantino wide angle blue — Kill Bill: Vol 1 (2003) || Robert Richardson (DP)

January 15, 2018February 9, 2018 by theredlippedreviewer

Spotlight on Cinematography: Sand vs Sky

The use of expansive spaces on screen most often serves one of two purposes: to draw the eye towards something or someone, or to highlight the enormity (and sometimes hopelessness) of a specific situation. Expansive spaces can be used to highlight the hopelessness of a single person stumbling across an icy wasteland, or to emphasize a focal point of importance or beauty. Below, you can see some of my favorite frames that use skies and sand for one (or maybe even both) of the above purposes.

lawrence of arabia 2 — Lawrence of Arabia (1962) || Freddie Young (DP)

arrival — Arrival (2016) || Bradford Young (DP)

skyfall — Skyfall (2012) || Roger Deakins (DP)

mad max — Mad Max: Fury Road (2015) || John Seale (DP)

prince of egypt — Prince of Egypt (1998) || Brenda Chapman (Director)

The-Fall-0067 — The Fall (2006) || Colin Watkinson (DP)

where the wild things are — Where the Wild Things Are (2009) || Lance Acord (DP)

December 28, 2017February 9, 2018 by theredlippedreviewer