A teraz do rzeczy:With all due respect to Christopher Nolan, no filmmaker has captured the evacuation of Dunkirk better than Joe Wright, who evoked the sheer scale of England’s finest hour via a five-minute tracking shot in “Atonement.”
http://variety.com/2017/film/reviews/da ... 202545711/Dialing things back from his relatively garish adaptations of “Anna Karenina” and “Pan,” this more elegant film’s style brilliantly marries the classical with the cutting-edge, relying on regular composer Dario Marianelli and his swirling, march-like motifs for much of its energy.
http://www.hollywoodreporter.com/review ... ew-1034823Production values are solid, although Dario Marianelli’s score is intrusive in many instances, laying on the obvious when less could have been more.
http://www.indiewire.com/2017/09/darkes ... 201872512/But the MVP here, the one person who’s able to hold the movie together despite all the dodgy bits in its latter half, is composer Dario Marianelli. Wright’s go-to guy has delivered some stunning work for the director in the past, but his score for “Darkest Hour” is a rare thing of beauty. Throbbing with vigor one moment, tumbling pianos towards despair the next, and then eventually entwining those disparate modes together into the cathartic bombast that accompanies Churchill’s famous speech (“We shall fight on the beaches…”), Marianelli’s music holds the film together, and the people of Britain along with it. At least until Churchill can find his rhythm and take things from there.
https://theplaylist.net/darkest-hour-re ... -20170902/This is the fourth Wright and Dario Marianelli have worked on (Marianelli won an Oscar for “Atonement”) and while it may not be as distinctly memorable as their previous collaborations the Italian composer contributions cannot be discounted.
A więc jest ok. Oldman ma niemal pewnego noma, a może nawet i Oscara.
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