Sentences with phrase «zemeckis gives the scene»

The device is the first commercial camera to capture light fields — the amount and direction of all the light making up a given scene.

ILM animators employed a technique they refer to as «virtual background pipeline» to make sure that the animated characters had plenty of room to move in any given scene, whether they were flying, fighting or racing through an intersection.

They give this scene a little more personality and are quite pretty to look at.

Boseman certainly holds his own, but there are quite a few charismatic supporting players here keen to steal every scene they can — and they do, notably the physically imposing Jordan, the radiant Nyong» o and especially Wright, who gives her every scene extra punch and humor.

To get into this movie at all is to be given scenes of weight and depth, so that your character makes an impression.

Scorsese's direction isn't showy but he keeps his camera fluid, giving scenes a sense of movement even when the characters are static.

If you're like me and think 1D makes ears bleed, then the obviously - scripted terrible humor movie this claims to be (heh, calling it a movie as if its good... trust me its not) will throw constant amateur footage of concerts at you instead of giving any scenes with the group in and if so, it will just be dumb little skits.

Broken Age tries to end on a heartwarming final scene, but its an ending that it doesn't feel like the game earned, with Act 2's stagnant characters never maturing or developing in any way that would give the scene the emotional weight it seems to think it evokes.

Special kudos must be given to film editor Michael Kahn, whose facility with these completely unhinged battle sequences should shame anybody who's ever worked on a Michael Bay movie; to cinematographer Janusz Kaminski, who has given these scenes a dull grey cast evocative of nightmares torn from America's sleeping subconscious brain; and to sound designer Gary Rydstrom, who has crafted a World War II soundscape that rattles and unnerves you even when your eyes are closed.

Soon, Violet is flirting with her flamboyant professor (Rhys Ifans, who gives every scene a menacing fizz), and Tom, disgusted, fakes an orgasm when he's in bed with her (perhaps the most quickly detected male deception imaginable).

Radek Ladczuk's vivid cinematography gives scenes a properly macabre sense, the exaggerated colors, sizes, angles, and shadows evoking the living terror of a child's imagination.

Powell gives the scene terrible beauty — the wind whips the cabin, the fire flickers around his face, the clouds have a texture so palpable they look like you could step out into the sky and walk to heaven on them — and an emotional power to match.

And in a neat bit of business, the ambient sound drops out altogether whenever the perspective is on the daughter, which makes for a nice way to tell whose point of view is most important in a given scene.

Philip (Matthew Rhys) and Elizabeth (Keri Russell) must live with this knowledge every day, giving every scene of «The Americans» a remarkable amount of tension.

Zemeckis gives the scene its over-the-top erotic due while also preserving his customary cool, almost antiseptic precision.

By then the movie is already lost, but Oswalt gives his scene a lift.

The Coens give us scenes from the film - within - the - film, which capture both the magnificence and absurdity of filmmaking at this time.

Anderson generously gives scenes lots of space for behavior, listening and talking, pauses.

While the premise is contrived, there are some moments that even had me wondering if what I thought would happen might not in any given scene.

Anyone else, unfortunately, will have to watch one of the dozen or more better films this one rips off, including the goofy Michael J. Fox comedy, «The Secret of My Success,» which contains more corporate intrigue in any given scene than in one hour and 40 minutes of Paranoia.

You can't fault O'Connell, though, as he gives every scene his all, no matter how cringe - worthy the material gets.

«Fury» is two hours and 15 minutes, which gives each scene the space to develop.

Based on the novel by Vincent Patrick, who also came on board to pen its screenplay, The Pope Of Greenwich Village benefits immensely from Rosenberg's decision to film on location in Little Italy, which gives every scene a lived - in feel.

Indeed, in any given scene Jack changes his mind about the $ 200,000 heist, preferring to enjoy the moment, whether he's having a beer, surfing, laying naked in bed with the gorgeous Nancy or playing dominoes with Walter and his friends (Harry Dean Stanton and Willie Nelson in wonderful small roles).

This won't be to everyone's taste, but very quickly became like candy to me — because, of course, by giving each scene and sequence its full weight and measure (there are rich, trenchant dialogue scenes in this movie, several of them; never better than Jesper Christensen's Mr. White having a quiet word with Bond, or Seydoux's Madeleine passing angrily, drunkenly out, muttering to herself in French), Spectre begins to feel like something no Bond movie has ever felt like before: an actual movie.

Kudos to Guadagnino and screenwriter James Ivory — 88 and still alive to the thrill of nuance — for giving these scenes time to play out and resonate.

The gang run riot like a plague of rats, and their attacks happen soundlessly, which gives these scenes an astonishing power, and clarity.

The story of a young Mexican - American who becomes a Green Card soldier in order to secure his US citizenship and not be deported back to Mexico is ultimately too bare - boned and thinly spread to resonate beyond any given scene.

He puts a lot of trust in his cast to improvise much of the dialog in any given scene to provide a natural feeling environment.

The camera is usually static, yet snowflakes and wisps of smoke give scenes a sense of motion and energy.

In addition, Mako Kamitsuna «s editing gives scenes the room needed to breathe and exist in the moment.

It's a testament to Jennifer Hudson's potential as an actress that she gives the scene an emotional core despite its awkwardness.

Douglas gives each scene edge and tension, well supported by Laurence Olivier, Jean Simmons, Tony Curtis and other great stars.

Charlotte Rampling is particularly stunning here, all the way up to the film's final shot — she has gone through so much internal struggle that you almost want her to explode, but for the actress» better judgment, she gives the scene so much more complexity when the cracks begin to show.

There are the characters that are in the foreground of any given scene, and then there are the characters in the background.

Carell, who also co-wrote the screenplay, makes a smash starring appearance here after giving us scene - stealing performances in previous efforts like Bruce Almighty and Anchorman.

It all comes off slightly soapy, and because of the director's perfectionism (he and virtuoso cinematographer Gregg Toland would often do 20 takes or more of any given scene), the film feels fussed - over in a way that other Wyler productions such as the devastating drama The Heiress do not.

A really great musical score composed for any given movie can elevate the story by bringing out the suspense and tension in any given scene.

It's a striking approach that often gives the scenes the feel of a minimalist play, evoking the sort of otherworldly little corner of the Earth these bizarre souls have carved out for themselves.

The trio approach injects some life: Burnett proves an adept analyst of a given scene and Pizzolatto is more excitable this time through.

All the performances are great, and it's clear to me that whilst Snyder doesn't make perfect films, he does elicit wondrous performances from his actors in any given scene.

The acting gives those scenes potency, and veteran director Roland Joffé (The Killing Fields) whips up a political thriller / prison flick / award - baiting melodrama gumbo around them.

Director Curtis Radclyffe has ample time to expand upon this story, but he and writer Romla Walker instead opt to give us scene after scene of the group roaming the hospital and Nick saying something insulting.

It's no longer watching him — from Prince's perspective — but giving him a scene here or there, just to keep him present.

A hearty collection of deleted and extended scenes, 25 minutes worth, seems to run counter to the assertions of slashed scheduling and fine - tooth comb budget consciousness that Zombie mentions in his audio commentary track (more on that in a moment), but you have that material if you want it; a lot of it is of the slightly tweaked variety, with a couple clipped, inessential (often vulgar) dialogue exchanges within a given scene.

They also barely registered the film's interesting shots using infrared film — which gives some scenes a particularly crisp, bleak appearance.

Director John Pasquin («The Santa Clause») uses a cinematic cheat sheet of stubble, beer cans and pizza boxes to depict Joe's breakdown, but Allen gives the scenes emotional weight.

I understand that the desire it to give the scene a docudrama sense (like The Bourne Effect), and there is some logic to film scenes about the aftermath of war that way, to draw connections to the wars and rebellions we've seen on TV and the internet.

But Scorsese gives this scene a piquant flavor all its own by taking us further into the girl's feelings — showing us a certain complicity between the movie's two estranged outsiders that we can easily sympathize with.

The production team put the necessary elements for those scenes and creatures together, and nobody thought to give those scenes and the elements of the world a coherent through line.