Sentences with phrase «bespin section of the film»

Graziano: We're both music fans and (Mates) had this song that really fit with this one section of the film about the kids from Tilden (High School) and we thought we'd ask.

21:10 - The first sections of film have just been shown.

In one eye - opening section of the film, Thorning - Schmidt - who happens to be the former prime minister of Denmark - asks her husband why he is doing the interview before advising him on what to say.

I knew something wasn't right, and during one section of filming a full - length class, I rolled up for the closing breaths and felt the bleeding.

Certain sections of the film were really laboured and overdone, and for me the highlight of the film was the main character's hilariously OTT facial expressions.

During a deft, seamless section of the film that depicts the setting up of this business operation, Oskar is seen happily occupying an apartment from which a wealthy Jewish couple has just been evicted.

The black - and - white sections of the film, which depict the build - up to the Bride's wedding, are also handled pretty well.

For many young viewers, this section of the film will lose their attention if it doesn't disturb them.

Monoliths link the primeval, futuristic, and mystical sections of the film.

Keener, who has to deal with a sudden loss during the last section of the film, achieves moments of searing emotion, and in the very last scene, another character figures prominently — a teenage friend of Keener's daughter — and the performance by Mikey Madison is one of the most eloquent in the film.

The look of the film is visual ambrosia from start to finish, especially the Bespin section of the film.

Yet, despite the good acting, the middle section of the film, set at the Capitol, is attenuated and rhythmless — the filmmakers seem to be touching all the bases so that the trilogy's readers won't miss anything.

The first section of the film, in which Charley's life seems to be on an upswing, is filled with quiet moments of idyllic and even romantic seclusion — Charley working with the horses, cleaning up after them, taking scenic road trips with Del, watching the horses race, taking in the starry sky while lying the bed of Del's pickup truck.

The film also meanders aimlessly for large sections of the film, particularly for the first hour.

It's a distinct change of pace after the first section of the film, which is, I think, why I didn't like it as much the first time I saw it, but in fact this part of the story is well done and quite compelling.

This section of the film turns out to be its strongest, even though its structure and influences are plain as day.

In many ways, the last section of the film holds the only moments of real achievement.

This section of the film feels cautious and under - populated; it would be better if it had a more documentary flavor.

Sadly, editors Stan Cole and John W. Wheeler don't improve during this section of the film.

There are sections of the film that are beautifully crafted, and look amazing.

The scene comes in a section of the film that includes video of Mick Jagger and Brian Jones of the Rolling Stones introducing a 1965 British TV audience of screaming teenagers to «one of our greatest idols,» blues legend Howlin» Wolf, and an archival recording of Howlin» Wolf describing how he learned the guitar from his own idol, Patton.

Comic - book stylization makes itself felt in other ways in this section of the film.

I credit Demme, Streep, and Springfield for giving this section of the film some depth as you realize that Julie has had just as big of an impression on Ricki as Ricki did on her.

It is most unfortunate, then, that these moving and insightful interviews are intercut with footage taken with a helmet camera on a bicycle ride along a rocky mountain path — these point - of - view shots are supposed to convey meaning for Kedar, and yet they make whole sections of the film almost unwatchable.

Her character still occasionally bumbles her way through some situations, and there's a section of the film where McCarthy's Susan Cooper has to play up her aggressive side in order to fool a villain into believing she's a hard - edged security professional.

He's one of the greats, so for me, it's a privilege to have him on the movie and to give him sequences, and like Daniel says, you're making four movies and every section of the film feels so distinct from the other, feels so alive, it kind of regenerates in front of your eyes really, the film.

This middle section of the film concludes with a kind of slow - motion dance, as the six brothers sing about loneliness on the farm while listlessly doing their chores (the axe chops and wood saws of which provide rhythmic punctuation to the song, «Lonesome Polecat»).

The other section of the film features John Cusack as an older Wilson, as he attempts to escape the influence of a manipulative doctor (Paul Giamatti) who has become a totalitarian guru to him.

The first section of the film establishes the relationships between Dinesen, the Spanish lieutenant Pittaluga, Inga, and Inga's Spanish soldier - lover Corto.

Listen Up Philip meanders a bit for the middle section of the film, but it's largely hysterical and insightful.

An extended period of falling action, the second section of the film hones in on the pockets of emptiness in Jesse Eisenberg's face, and an unrecognizable Dakota Fanning has her child - star innocence reintroduced in a dangerously inconvenient time for her character's comrades.

It's this section of the film that's the most powerful as director Garth Davis plunges us into the reality of the vast unfriendly metropolis, and cinematographer Greig Fraser («Zero Dark Thirty», «Rogue One») creates some memorable shots of the huge, unwelcoming city at night.

The Chicago section of the film goes on forever, until the grim suspicion grows that the intention here was to make a 2 1/2 - hour movie at any cost, even with only 90 minutes worth of material.

Many nudge - nudge hints are dropped in the first section of the film, so when the film goes back to fill in the sordid details, it feels schematic and exasperating.

The second section of the film feels very much like a talky Richard Linklater picture (think «Waking Life,» or moments of «Slacker «-RRB- and essentially boils down to a big table of friends eating and conversing about life — intellectual, philosophical and social ideas revolving around technology, sex, romance, memory, perception and more.

It's hard to tell if it was a function of the digital camera — or the online screener on which the film was made available to us — but the sections of the film where cinematographer Ryan Samul uses a warm color scheme have so many artifacts they look positively out - of - focus.

That is to say, it's primarily about that lumpy section of the film shot in Iceland, where good snow proved surprisingly elusive.

It's worth mentioning that while the middle section of the film is a tad uneven, it all comes together thrillingly in the final movement, which closes things off with a bang and, as with so many good horror films, makes you rethink what you've seen, and want to watch again.

Worse still, the final section of the film seems like it will never finish until, miraculously, it ends on an incredibly touching note.

Even worse, this section of the film immediately follows a series of scenes involving a relationship between Ferrell and Good's characters, which really just amounts to Ferrell making a bunch of tone - deaf and unfunny racist jokes that not only don't work, but actually cross the line to discomfort.

The first section of the film sees the formation of a shambolic artistic collective, consisting of Paul and Stan (Hugo Conzelmann) as Paradise Garage - influenced DJ duo Cheers, their cartoonist friend Cyril (Roman Kolinka, looking like a young Alain Delon), Cyril's girlfriend Anaïs (Zita Hanrot), and later, music journo - slash - club night organiser Arnaud (Vincent Macaigne).

It also delivers some prolonged «dry periods» where jokes fizzle repeatedly, and sometimes unfunny sections of the film drag on mercilessly for minutes.

It's harrowing and the most uncomfortable section of the film to watch.

This section of the film could have been trimmed to improve pacing.

Now, we've got a video that's actually pretty cool — a well - shot look at one of the rappelling stunt sequences in this section of the film.

This section of the film is both fascinating and a bit emotional.

And this — the prologue — is the section of the film with recognisable actors.

Coogler continued, saying, «There's a whole section of the film where T'Challa is out of the movie and you're just following the women.

Her section of the film is closely aligned with DA Pennebaker's 1967 documentary Don't Look Back, as Jude teases the British press (personified by BBC reporter Bruce Greenwood) with a series of non-sequiturs and riddles; and Blanchett comes closer than anyone to really capturing the spirit of the man, with the dry humour and cocksure swagger of her performance being brilliantly observed.

During the sections of the film before Cindy begins going out with Dean, we see her having sex with her previous boyfriend and the act is cold and impersonal.