Beneath its smart, satin-touch cinematography and the lively exertions of Gyllenhaal himself – an actor who has woken up to his potential in recent years, while sometimes dozing on his script choices – it's not hard to see why this curious, tonally nervous bereavement comedy failed to connect across the board.
With its frisky performances and gorgeous, touch-of-caramel cinematography, it brings just a hint of warmth to Rendell's signature froideur.
There are a few redeeming touches: the fashion, the cinematography that manages to capture the energy of the city, the girls' quick quips.
The cinematography brings a touch of predawn gloom to the most idyllic settings.
And Marcelo Durst's cinematography has a touch of poetry, with well-framed shots of inherently unpoetic subjects.
The performances from Fuith and Rauchenberger are superb, and Schleinzer's direction and Gerald Kerkletz's cinematography have the touch and sheen of cold steel.
The cinematography includes some noirish touches, and there is somber music by the Kronos Quartet.
For all the brushed-steel modernism of the film's cinematography, the plot pays touching tribute to Miss Marple, and in particular to the old Agatha Christie trick of ushering the entire dramatis persona into the vicarage, before allowing the finger of suspicion to fall on each in turn.
But this disappointment is mitigated, along the way, by Juan Ruiz-Anchia's glowing blue-gray cinematography and by innumerable little touches of Mametude.
Amid a few invitations to dinner and to sing at weddings, readers touched on a range of topics — the cinematography on "Yentl," potential new projects (like "Gypsy"), Ms. Streisand's years at Erasmus Hall High School in Brooklyn, the recent Duck Sauce hit song named after her.
Handsome cinematography and authentic production design lend a touch of class to the deliciously broad comedy, as Wilder's latter-day Dr Frankenstein gets back to his Promethean roots.
