2 great recent movies for cinematography (that are deceptively simple):
Gerry
Elephant
I don't think there is a single shot in Gerry that is not perfect and beautiful. Harris Savides is one of my new favorites. Does any one have the New Cinematographer's book he is featured in?
Tucker
Lawrence of Arabia
Cider House Rules
Harry Potter Movies- British Theatre POV
Gone with the Wind
Gettysberg
Willy Wonka and the Chocolate Factory
Wizard of Oz
Glory
Das Boot
I have a list as long as my arm of movies that I thought had good cinematography but at the top of my list is one that has only had one tiny mention;
Blackhawk Down - the cinematography in that film was superb. There is not a single scene in the movie that you can not pause it and go 'Wow, that's a fantastic photo' but then play it and it all fits together seemlessly.
Also Man On Fire was very good and Fightclub. All three are fairly similar in style if not completely different movies.
I think it's quite a subjective thing though. What I think looks great someone else may hate.
[quote author=DVX100Shooter link=board=news;num=1103614109;start=30#39 date=12/25/04 at 11:07:30]What dreams may come....they used a lot of green screen and mattes with that movie. I interviewed an artist in Virginia sometime ago that was suing the producers of the film because they used his paintings of some mountains and other stuff that you can clearly identify with in the movie without permission.[/quote]
My mom's old boyfriend was one of the matte painters on What Dreams May Come. His name is Steve Hannock. I believe he also painted all of Annie's (the character) work. Amazing stuff.
A few of my faves:
City Of God (impeccable)
Eternal Sunshine (amazing what you can do with a few bare 75w bulbs)
Interview With A Vampire
O Brother, Where Art Thou? <----- best cinematography I've ever seen
[quote author=Prairieboy link=board=news;num=1103614109;start=45#56 date=01/01/05 at 15:55:42]Another trend lately that I am not sure how I feel about is colour grading. I was blown away by Amilie, but after watching the DVD features and seeing the raw images, and how it was graded I believe that the timer/grader was much more valuable than the DOP.[/quote]
I fully agree!! Just came off a Super-16 music video, and the things that you can do with film just can't be touched with DV. Put the 12-stop tonal range to use! Mixed color temps? No Prob! It's upsetting to see all of these Vision2 stocks coming out during a period when film is merely a storage medium. On that note, I just saw A Very Long Engagement, and I thought that the grading was overwhelming. It definitely detracted from the otherwise beautiful cinematography. It even looked like video in certain scenes because of the amount of gain manipulation that took place in post! Power windows need some blinds!
Most of the movies I would call are already mentioned. There is one that I will see the coming weekend that needs to be added: "2046".
Check the trailer to see it for yourself: http://www.dvxuser.com/articles/shoot3/
It's the best quality trailer I could find, but it has French subtitles (and the original movie is Chinese). Check www.imdb.com for further info about this movie.
In terms of the dp vs color grading in Amelie - if I remember correctly, it was very difficult to keep the proper color/light ratios so that everything would look correct when they did the timing. So even if the original footage did not look amazing, it was done in away to allow for optimal timing later. That really seems like a team effort.
Doctor Zhivago...and it gives you 3+ hours to marvel at the great cinematography!
Also, if I'm not mistaken, wasn't one of its Oscars for cinematography?