David Stratton
David Stratton
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Ramke and Howling are at their best when they orchestrate scenes the depend on suspense rather than overt horror. And they're helped immeasurably by the outstanding cinematography of Geoffrey Simpson, whose use of spectacular South Australian locations gives the film a tremendous boost.
Daily Adelaides Independant News
Daily Adelaides Independant News
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Cinematographer Geoffrey Simpson (Shine) does brilliant work capturing the isolation of the characters as they hike through the sun-drenched landscape. The drone footage, in particular, conveys this to great effect.
David Tiley - What's on in film
David Tiley - What's on in film
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Martin Freeman's performance is spectacular and Geoffrey Simpson's cinematography is a hymn to landscape.
Sarah Ward - Screen Daily
Sarah Ward - Screen Daily
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Geoffrey Simpson's sumptuous lensing, capturing the green-and-rust hued South Australian landscape in soaring overhead shots as well as on-the-ground, also helps make the correlation plain, filled as it is with scenic sights corrupted by voracious interlopers.
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Variety
Variety
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... apart from the choice locations and DP Geoffrey Simpson's sizzling widescreen compositions, which nicely capture the feel of a deceptive paradise where terrible happen in broad daylight.
James Marsh - Screen Daily
James Marsh - Screen Daily
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Special mention must also be given to the sumptuous cinematography of Australian DP Geoffrey Simpson, who captures sweeping vistas, bustling street scenes and leaf-swept temple settings with equally impressive majesty.
Maggie Lee - Variety
Maggie Lee - Variety
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Craft contributions aim to be crowd-pleasing, from Geoffrey Simpson's prettified lensing to Han Zhong's fairy-tale-evoking production design.
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Eddie Cockrell - Variety
Eddie Cockrell - Variety
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Simpson's gorgeous lensing on previously restricted areas around the distinctive sandstone formations of the Bungle Bungle Range leads the first-rate tech contributions.
Sandra Hall - The Sydney Morning Herald
Sandra Hall - The Sydney Morning Herald
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... as is this (film), which was shot by Geoffrey Simpson, one of Australian cinema's greats. He photographed Oscar and Lucinda and Romulus, My Father and he has a fine eye for the outback's pale greens, golds and ochres.
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Peter Debruge - Variety
Peter Debruge - Variety
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Lewin ... deserves credit for striking just the right tonal balance, reinforced by Geoffrey Simpson's gorgeously lit camerawork ...
Todd McCarthy - Hollywood Reporter
Todd McCarthy - Hollywood Reporter
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Production values are strong, led by Geoffrey Simpson's lustrous cinematography.
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Empire
Empire
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What is sensual is the patient camera work that lingers on the beauty of everything it touches, from fabrics to faces - not least Browning’s, who’s soulful eyes lend weight and allure to her character when the script holds back.
Simon Miraudo - QuickFlix
Simon Miraudo - QuickFlix
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This film looks amazing. The cinematography by Geoffrey Simpson (Oscar and Lucinda, Shine) is spectacular, particularly in the tighter shots following Byrne and Weaving.
Richard Roeper - Ebert & Roeper and the Movies
Richard Roeper - Ebert & Roeper and the Movies
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. . . some of the most beautiful photography in any film I've seen this year
Desson Howe - The Washington Post
Desson Howe - The Washington Post
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Director Scott Hicks ... his vision is beautifully augmented by cinematographer Geoffrey Simpson, who's eye has graced a number of films, including "The Navigator", "Fried Green Tomatoes", and the upcoming "Some Mother's Son". Here Simpson simply outdoes himself with exquisite images of water, hands at the keyboard and the faces of David's enrapt audiences.
Andrew Urban - Encore
Andrew Urban - Encore
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Seale chose Simpson after considerable thought and research. "I haven't worked in Australia for 5 or 6 years... Geoff's career started during that time so I looked at his films and was impressed." Seale, who has made several films with Peter Weir, adds a footnote that sums up how he feels about Simpson's work: "Peter rang and asked how it's going... now Geoff is shooting Peter's next film."
Sandra Hall - The Sydney Morning Herald
Sandra Hall - The Sydney Morning Herald
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Sally Campbell's production design use is impressively austere and other-worldly and the cinematography by Geoffrey Simpson has a high-contrast elegance which is very powerful.