Sentences with phrase «then comes the film»

Then comes the film's unforgettable final sequence, a culmination of everything that comes before it: an exploration of interpersonal relationships, familial ties and the notions of attachment & co-dependence.

Not exact matches

Then came the cyber attack aimed at stopping the film's release, including the leak of several versions of unreleased films, confidential information, and embarrassing emails.

And he finally said... He called me up and said we're on the last day of a picture and then the last day of the picture if you'll come out I'll just shoot some film on you and nobody will know the difference and then you can see what you look like and all that kind of thing.

Peep - show booths that ran film loops came first, then camcorders and VCRs — many of which were invented in Japan, but adopted first in the United States by porn directors.

Then last night as I was flipping through the TV channels looking for a good ballgame I came upon an antiabortion film on the Christian Television Channel.

I saw quite a few where I saw the throw on the film and was like don't do it and they were completed but then I saw others where I would cringe and then throw my hands up like I saw that coming.

The film will then be released on DVD and Blu - Ray from the 14 August, so we don't have too long to wait before it comes out.

«If there was no game today, then, yeah, most of today would have been spent watching film on him and calling people that I know around the league that may either have played with him or coached him and coming up with game plans,» Walton said.

One parent is off working, while the other cares for the children, then the one parent comes home and the other goes off to film a movie.

We started out watching films we wanted to see, then dove into all the Disney stuff, and now we've almost come full circle.

The comments come after Labour MP Jack Dromey was filmed also criticising Corbyn's leadership — and then warmly greeting the leader when he showed up at the Labour leadership hustings in Birmingham.

First came party election broadcasts (PEBs) by radio, then 20 - minute polemics by TV, followed by blockbuster - style short films produced and directed by some of the Hollywood greats in the 1980s through to today.

We've come a long way from the then - cutting - edge makeup and masks of the 1968 film Planet of the Apes, but do you feel, effects-wise, that Dawn is an improvement even on 2011's Rise?

It was PIC's Celldance subcommittee chair Duane Compton who came up with the idea of directly commissioning a small number of films from ASCB member labs and then providing post-production services, according to Atkinson.

And then instead of coming out and going to a back bend because I've already done like 50 back bends, because they were filming it and it has to look perfect and that's how it works.

The film, which hits theaters February 16, is a modern twist on a romantic comedy (boy and girl meet, fall in love, but then break up, and are suddenly reunited, ending up in that awkward stage where they have to debate whether to wave hello while taking out the trash), but it's also a particularly female spin on the coming of age story, the likes of which we're only beginning to see onscreen as more women carve out a place for themselves in writer's rooms and director's chairs.

Users can film 10 - second videos from the app and then post them to their profile, which can be viewed by anyone that comes across them.

Since then, she's gone on to score an independant film project as well as other big - budget films which should be coming to theaters in the near future.

It's a shame, then, that screenwriters Ben Garant and Thomas Lennon have opted to throw in a series of increasingly dramatic interludes, as there's just no denying that such moments come off as entirely needless and flat - out forced (ie unlike certain similarly - themed efforts, the film's more schmaltzy attributes stand out like a sore thumb).

For much of the film, Jérémie comes off as sullen, then unsettled, then just creepy.

Then again, it's a long game and even at seeing six years worth of manuvering in this film, there's still more to come.

What human intrigue there is finds itself secured by consistently inspired performances, the highlights of which include the dashing, then - up - and - coming Jude Law as Lord Alfred «Bosie» Douglas, - a man who must choose between embracing his lover and escaping the tragic fate of this lover - and, of course, leading man Stephen Fry, whose capturing of Oscar Wilde's classic charisma, broken by a profound vulnerability which Fry captures through striking dramatic layers, molds a leading man more consistently engrossing than the film itself.

Man, that's a lazy reference, but then again, the song was a little lazy to begin with, though not necessarily when this film came out, because it's somehow older than the song in question.

Early features (produced mostly in Australia) included Praise (1998), Dogwatch (1999), and Erskineville Kings (1999), but Edgerton came into his own with his popular ongoing turn as Will McGill on the Aussie soaper The Secret Life of Us, then branched out into increased international exposure with onscreen contributions to two of George Lucas» Star Wars films, Star Wars: Episode II — Attack of the Clones (2002) and Star Wars: Episode III — Revenge of the Sith (2005).

He accepts an invitation from Charlie to come to Los Angeles for a job writing a film starring rapper / actor Samurai Apolcaypse, then reunites with Karen, her former professor and now - husband Richard, and his daughter Becca, who now has a boyfriend named Tyler that is the spitting image of Hank himself... in the worst possible way.

And then we come to the unexpected «coming of age» angle in the film, which belongs entirely to Kay Graham (Meryl Streep), publisher of The Washington Post.

However, other then a clever way to tell a coming of age story, this film really lacked a spark.

Then the score for the film (which is brilliant, more on that later) comes in and it's guaranteed to make your skin crawl.

Maybe then, if some of them become become directors, they won't just be ripping off Tarantino and P.T. Anderson and causing Roger Ebert to write worried commentaries about the state of modern film, but will know the source that it all comes from

It is a bit odd to point that last part out, given that the film celebrates the Day of the Dead, but then again, there is a lot of odd charm in this film that may be overstuffed with ideas, but is so lighthearted and fun, it is easy to look over some minor flaws, when it comes down to supporting a nice little animated film such as this.

There are science fiction films that deal with the subject of time travel and then there is Looper, which comes across as refreshingly original as well as entertaining, with a story full of interesting twists.

Direction is generally dully cold, but if it does resonate something, then it's typically a sheer sense of ambition that, I must admit, is pretty endearing, maybe not to where the film is saved, but decidedly to where the film comes close to being saved.

The film really comes alive (no pun intended) after Manolo gets killed its as simple as that, up to then everything is bit meh to be honest.

If Verhoeven's intention was to make a satire of Las Vegas as a place of exploitation and hypocrisy then his film is brilliant, but it does feel like he is trying to make something serious, which makes its hilarious campy vibe come off as trashy and completely unintentional.

And beneath it all, the film's central thesis comes to a simmering boil: if one does as one's enemy does, then how is one any better than one's enemy?

What unravels is then a familiarly convoluted and busy spectacle film about yet another clash between the rival robot alien Transformers involving their human allies, with Sam Witwicky (Shia LaBeouf) once more coming to the rescue on the side of the Autobots.

In their comparative sombreness, King Vidor's The Big Parade (1925) and Lewis Milestone's All Quiet on the Western Front (1930) are greater anti-war films, but then Vidor and Milestone couldn't possibly have feared, as did Gance, the coming conflagration.

And then I came here and showed the film.

I really miss John Barry, after his departure from Bond we had to make do with some adequate scores over several years even from David Arnold, then along came a new Bond in the form of Mr Craig and wow DA really found the formula for Bond and composed two truly magnificent scores if only he could have done Skyfall, that said lets give Thomas Newman a chance see the film with the score then listen to the score as stand alone then we can judge, one thing, I really wish just once they could use John Barry's brilliant 007 theme in a sequence just for old times sake and as a tribute to the man that gave Bond so much.

The two spoke at a pre-screening cocktail reception and then introduced a screening on the film, setting a strong precedent for the quality that was to come, projects made around the world by many filmmakers due to receive a warm Chicago movie - lover response.

Here's an entirely respectable film about Johnny Cash that begins in his childhood, proceeds into the Big Break, then segues from there into the euphoria of fame; the drug abuse and the groupies; the «Come to Jesus»; the rehabilitation; and the closing obituary.

But then it comes into a revenge drama and blows up, and... it's a really interesting film.

Still, if viewers are arriving to this collection of films — it unfortunately doesn't come in a Blu - ray alternative — on the back of Midnight in Paris then I'm sure they'll be surprised, enraptured, confused and elated all at various points.

The plot is similar to other Herbie films, especially The Love Bug, where someone comes into ownership reluctantly, then discovers that the car has a personality, and they become attached.

After I saw it at the Toronto film festival last September — where Rudolph and Willis said they were proud of having made it even if nobody saw it — it received nominal runs in New York and Los Angeles, cities where viewers and critics are regarded by distributors as being more demographically significant than those in Chicago, and then early this year it came out on video.

It's not a great film, but it looks beautiful, is well - acted (Jeremy Irons is excellent as the passive senior missionary, Robert de Niro as a reformed mercenery and Ray McAnally as a papal representitive and smaller roles for Aidan Quinn, Ronald Pickup and Liam Neeson) and then of course comes the pièce de résistance, one of the greatest contributions to cinema of one of cinema's all - time - greatest contributors, Ennio Morricone.

There is literally no better time then now to watch this film, in a world where we need to communicate and begin to mend and come together.

If you've purchased this disc, watched the film, and remain hungry for information on the making of The Witch Who Came from the Sea, then it's more than possible that unexpurgated interview pieces would be welcomed with open arms, at the least more so than Gersh's decision on which bits to keep and in what order.

The film makes light use of a fairly heavyweight cast: Michael Douglas and Antonio Banderas in particular come and go, act in a couple fo scenes and then leave without making much of an impression.

The way it was going, I really loved Part 2 and then having it come later in the film — I feel like it could be a lot to digest.