Sentences with phrase «godardian jump cuts»

I think Perkins / Gallman have somewhat similiar style as runners being more start / stop and jump cut guys compared to Darkwa's straight ahead downhill style.

His jump cuts are also nasty and saved him many times from being tackled for a loss immediately after taking the hand off.

By that I mean his sense of when to use certain tools in his arsenal like dropping his pads to finish forward, planting and hitting a jump cut, turning on the afterburners to try to wreck an angle, etc..

To be special — must be able to get tough yards — must have vision for the hole — and then the jump cut and acceleration to take it to the house.

What followed was a five - hour grind of a second round at the 2018 Masters, where Tiger ducked and jumped the cut line throughout the afternoon.

Dobbins has a filthy jump cut and accelerates well, while Weber is a strong, between - the - tackles runner.

Whether it is his vision and patience to read and capitalize off of his blocks, or his subtle jump cuts, Johnson has the skill set of a starting running back at the next level.

What some absolutely gorgeous pieces of clothing, I am in love with that jumper the cut of it is fab!

Matador isn't a comedy, but it has its moments of levity, which is smart — the show shouldn't take itself too seriously, and those very Rodriguez (who directed the pilot) touches of sudden jump cuts and cartoonish violence work perfectly with the overall aesthetic.

Man on Fire presents Mexico City as an oversaturated chop - block of freeze - frames, whip - pans, and jump cuts, which rapidly reduce our senses to a puddle of mush.

There are a number of other confounding jump cuts, too, that reveal Snyder and writers Chris Terrio and David S. Goyer may have been tweaking the story during filming.

But Baker has his own confidently off - kilter style, one that swings freely between micro-budget roughness — shot entirely on the iPhone 5s, Tangerine is full of casually composed shots and choppy jump cuts — and impressive technical sophistication.

At the moment of Moonwatcher's greatest triumph, he tosses his bone - weapon into the air, and 2001 pulls the first of many breath - taking moments as Kubrick jump cuts several million years.

Michael Powell beat Kubrick to the draw with his time - bridging jump cut between the distant past and the near future, but Kubrick's cut from man's first weapon to his latest killing tool is a stunner, an impressive cosmic joke.

Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis» point - of - view, where De Niro's now - famous «You talkin'to me» improv becomes one more sign of Travis» madness.

Before French cinema reinvented itself with jump cuts and cool bobs, Marcel Carné's 19th - century backstage drama was the epitome of good taste: a sumptuous spread of genteel sparring and epic heartache.

The weird jump cuts when intergalactic detective Lemmy Caution fights bad guys are hilarious.

A good example of Duke's editing rhythm is his use of staccato jump cuts, including what appear to be forward zooms broken up by skip framing, or eliminating every other frame — a rhythm that suggests a needle skipping across a record and that perfectly captures the panicky Los Angeles drug milieu the hero penetrates.

Formally it's a precise complement to the earlier jump cuts, as slow and meditative as those were rapid and breathless, each locating a protagonist in a wider world that's metaphysical as well as physical, standing on the brink of inconsolable grief.

«Kubrick (who co-wrote the screenplay with Arthur C. Clarke) first visits our prehistoric ape - ancestry past, then leaps millennia (via one of the most mind - blowing jump cuts ever) into colonized space, and ultimately whisks astronaut Bowman (Keir Dullea) into uncharted space, perhaps even into immortality.»

Yes, this is another of Russells fractured, fractious families, the full chaos of their pinballing, up - to - 11 lives communicated by his redeployment of a hurtling camera, jump cuts and a generous serving of hit tunes on the soundtrack.

All of it is done in shaky jump cuts, with the soundtrack blaring.

So, while your old home movies were often poorly lit, hand - held, and edited with lots of jump cuts and subjective inserts, some Hollywood genres have utilized these techniques in the service of greater realism.

Baumbach and Editor Jennifer Lame do allow the story to run free at times (resorting to showing mini-sections that are unrelated to others and having some occasional jump cuts), but Baumbach keeps Frances and key aspects of her life (namely the relationship with Sophie) in focus.

This scene from Jean - Luc Godard's Breathless was a sensation partly because it used jump cuts to advance the story.

Discovering that Gargamel has a show in Paris, the group — with nondescript tyke Blue (Jacob Tremblay) and gruff stepdad Victor (Brendan Gleeson, «The Raven «-RRB- in tow — whisks off to the City of Lights with nary a jump cut.

The jump cuts lacked and the scenes werent that great... then it just got awesome about 3/8 in.

Other moments also hark back to Butterfly Kiss, such as a sequence in which Sue is viewed through a series of rapid jump cuts.

The familiar Byington visual touches include jump cuts and voyeuristic peeks from around corners.

Trailer Highlight: Lots of jump cuts and spooky noises, but nothing resembling an intelligible plot.

Wong's avant - garde filmic aesthetic is composed of elliptical storytelling through the use of deeply drenched tones, slow motion, jump cuts and fragmented images.

Perhaps intended as loving homage, «The Better Angels» instead borders deeply on self - serious parody, virtually utilizing a checklist of every stylistic trope Edwards» cinematic maharishi uses — hushed ponderous voice - over about the nature of life; that gliding camera; dancing wide - angle shots; jump cuts; dancing in fields; a spiritual connection to nature — and one by one employing them all without a trace of ironic self - awareness.

A jump cut does not belong in the middle of an emotion song about lament and survivors guilt; keep the camera steady on the actor.

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.

Never mind the jump cuts; today, it's the attitude that makes Breathless so euphoric.

When the beautiful she - devil leans down for a kiss, lesser films would resort to jump cuts or gore, yet the scene's simplicity makes plain Caleb's complex feelings: A kiss is what the poor horny kid most desires and fears — with good reason.

You know they are weaving in and out of traffic, there are near misses, and flying bullets; but there are only quick glimpses of that on the screen in the midst of the unsteady camera work and split - second jump cuts.

The means to this end is an expertly poised scene as mother and son dance in each other's arms to Soft Cell's «Tainted Love» before a clever jump cut leads us towards a harrowing confession that really pushes the prowess of the proceedings, especially Reynor and Collette's quietly chaotic heart to heart, a world away from the dish throwing teeth baring savagery of prior scenes and yet all the more powerful.

Playfully approaching the grand canyons of personal trauma and the emotional ruptures of global adoption politics through popping aural ellipses and jarring jump cuts, Jensen deftly handles a sensitive issue, based on her own experience as a Danish adoptee returning to South Korea to find her birth mother.

Mashing - up different film stock, lenses, video and in - camera effects with quick jump cuts and forced continuity, both directors seemed hell - bent on ignoring the source material as much as possible in favor of creating over-cranked «ecstasy trips» on screen.

Sadly, hurricane Hooper begins to ravage the good ship «Les Misérables» with direction that works to put the audience in the most awkward position to view the film, with odd camera angles, extreme jump cutting and swift passages through time.

Almost no scene is immune to her constant need for jump cuts, multiple angles, and color changes, which not only makes the proceedings highly disconcerting, it also cripples any chance that the narrative might become interesting.

Casting rakish rising star Jean - Paul Belmondo as a hoodlum on the run from the law and American ingenue Jean Seberg as the sly, pixieish girlfriend who ultimately betrays him, Godard was riffing on the American gangster picture, but with its revelatory handheld camerawork and frenetic jump cuts, Breathless is clearly more than homage: it launched a New Wave, rewrote the rules of cinema, and along the way became the definition of cool.

Rather than stick with the typical training montages that see our heroes learning about their newly acquired powers to shredding Slash solos and plenty of jump cuts (like a kid tinkering with his newly discovered member), Trank exploits the horror that is discovering your anatomy is grossly, irreparably altered.

What seems most significant about the camera and editing styles is the way they play against one another (as in Godard's Breathless, which also features jump cuts and a mobile, hand - held camera kept close to the characters).

Best - case scenario: The movie remembers what made the first one (and its Japanese inspiration) so damn scary, and director F. Javier Gutierrez emphasizes tension over jump cuts and jarring sound cues.

No jump cuts or alternating over-the-shoulder shots, just tricks to enhance the fluidity of time.

There is a heavy abundance of jump cuts as each man tries to recollect the night before, an idea that sounds viable on paper, but feels obnoxious and flashy rather than relevant.

This is an energetic film in its Scorsese - inspired stylistic flourishes — disorienting jump cuts, nearly nonstop contemporary music cues, free - flowing camerawork, etc. — and winding plot of corruption, but the real momentum here is in the fact that we have no idea how these damaged, desperate characters will react at any given moment.

The unscripted LSD scene involves jump cuts, displaced, fear - filled and remorseful dialogue, and a mix of distorted imagery, such as the use of a fish - eye lense and close - ups of the sun.