Sentences with phrase «act of this film sets»

The first act of the film sets everyone up perfectly, starting with the trio of robbers showing their stuff when it comes to hitting a mark.

Not exact matches

The beautiful eighteenth - century costumes and setting seduce us into viewing these affairs with a kind of horrified detachment, as though we were watching a «Nature» film on PBS showing the praying mantis being devoured by his mate in the act of copulation.

Recent and upcoming releases include the romance - horror hybrid Spring; the hotly - anticipated The Look Of Silence, Oppenheimer's companion piece to The Act Of Killing; The Connection, a 70's - set true crime epic and European flipside to William Friedkin's The French Connection starring Oscar ® winning Best Actor Jean Dujardin (The Artist); The Keeping Room, from director Daniel Barber (Harry Brown), based on Julia Hart's acclaimed Black List screenplay, starring Brit Marling, Hailee Steinfeld and Sam Worthington; the multiple Cannes award winning The Tribe, filmed entirely in Ukrainian Sign Language with a cast of deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalOf Silence, Oppenheimer's companion piece to The Act Of Killing; The Connection, a 70's - set true crime epic and European flipside to William Friedkin's The French Connection starring Oscar ® winning Best Actor Jean Dujardin (The Artist); The Keeping Room, from director Daniel Barber (Harry Brown), based on Julia Hart's acclaimed Black List screenplay, starring Brit Marling, Hailee Steinfeld and Sam Worthington; the multiple Cannes award winning The Tribe, filmed entirely in Ukrainian Sign Language with a cast of deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalOf Killing; The Connection, a 70's - set true crime epic and European flipside to William Friedkin's The French Connection starring Oscar ® winning Best Actor Jean Dujardin (The Artist); The Keeping Room, from director Daniel Barber (Harry Brown), based on Julia Hart's acclaimed Black List screenplay, starring Brit Marling, Hailee Steinfeld and Sam Worthington; the multiple Cannes award winning The Tribe, filmed entirely in Ukrainian Sign Language with a cast of deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalof deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalof the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalof 150 untrained lions, tigers and exotic animals.

Angelina Danielle's passion for acting recently landed her the principle role of Hope in the all Michigan based TV sitcom / film «Percipience» which is set to be released in 2016.

That sets up the second act of the film, in which Miller and his men penetrate into French terrain still actively disputed by the Germans, while harboring mutinous thoughts about the wisdom of the mission.

The premise is right up there with any Charlie Kaufman film (Being John Malkovich, Eternal Sunshine of the Spotless Mind, Scynecdoche New York), containing so much juicy potential for interpersonal revelations, but the entire set up is thrown away in the third act for a «thriller» movie that came out of nowhere and does nothing but add a period in the middle of the sentence.

An act of terrorism having set off a chain of events that ripples and reverberates throughout the film, she's the personification of a nail - filled pressure cooker set to explode.

The two also became acquainted with novelist Ruth Prawer Jhabvala around this time; Jhabvala would become irrevocably associated with the two, acting as the screenwriter for all but a handful of their films.The trio's first films were set in India, dramas concerned with questions of cultural interplay, personal identity, and physical and emotional isolation.

It is in the brief last act, set in the hippie culture of 1975 and then the present day, when everyone is gray - haired and wearing wrinkle makeup, that the film leaves its element for a quick gulp of easy sentimentality.

As for that key moment that sets up the final act, I thought the film established the character motivation adequately with the earlier scenes showing us Schultz's reaction to some of the violence against slaves.

The first half of the film is dreadfully contrived and artificial, from the uneven acting to the stereotype - filled script, to the aforementioned set and production design.

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.

And once The Walk enters the final act — the actual getting into the tower, setting up and Petit's mind - boggling walk, Zemeckis unleashes the full effect of the film's 3D.

Everyone knows about different acting methods and a lot of people knew about what Carrey did on the set of Man on the Moon but obviously we never saw it, but that's what this documentary is and although it's not spectacular or anything, it gives another look at the work of the actor and it becomes an excellent companion to the film and especially serves as a testament of one of Jim Carrey's best acting jobs.

For all of its lush and ponderous grandeur, this is a sizable table setting for the acting performance by Reese Witherspoon, who also serves as one of the film's producers.

Put on the spot, she names him after the grocery chain (which nobody in the film ever visits again, though the dog serves as a walking product placement) and convinces the Preacher (how her voiceover self refers to her father) not to kick Winn - Dixie to the curb, then sets about thawing the chilly exteriors of the local would - be shut - ins with her Annie & Sandy act.

The film glides smoothly through its first act, counterbalancing the pompous ridiculousness of the showbiz set against the hardscrabble realities of life in war - ravaged London.

The film was shot after The Act of Killing was edited but before it was released, and Oppenheimer's canny stewardship (and brinksmanship) is not irrelevant to their achievement; like Lanzmann, Ophuls, and Panh before him, in purely formal terms he's set a high bar for chroniclers of violence when it comes to galvanizing an audience.

12:15 a.m. (9:15 p.m.): «Edge of the City» (1957, Martin Ritt) Brilliant acting by John Cassavetes, Sidney Poitier, Jack Warden and Ruby Dee — pitched in an «On the Waterfront» key and set in the same kind of grim dockside milieu — stands out in this tough yet humane film.

By placing at the centre of the narrative a white woman who believes she belongs to the land, against a set of people who see her presence as oppressive and who want to brutalise her, yet who also carry out acts of violence against one another, Denis returns to the core themes of her earlier films (such as Chocolat, 1988)-- the highly problematic issues inherent in the processes of colonisation and decolonisation (2).

But if the construction is awkward, the film's balancing of tones is surprisingly deft; what begins as a raucously funny rom - com for the «Sideways» set gradually segues into a more melancholy study of what it takes to make relationships work, in or out of marriage, before the third act slides effectively into unisex weepie territory.

Joshua Oppenheimer's The Look of Silence, a companion piece to Oppenheimer's own The Act of Killing, opened Doc / Fest and set a bar that the following 150 films couldn't touch.

Because despite how they may be advertised, these films are generally about treading water for as long as possible until bringing out most of the big robot set pieces in the last act.

10 Cloverfield Lane established the film's anthological style by acting as a psychological horror film set in the same universe (it's the best of the trilogy).

With every gunshot, every battle, every flinch - inducing act of violence, Bale's steely demeanor sets a plodding, painstaking tone to a film meant to capture a different view of a classic Western.

Another important element of the film is the setting — downtown Chicago — of a third - act battle sequence.

Entirely absent from the first half of the film, the British actress turns up as Young Joe (Joseph Gordon - Levitt) stumbles across the farm on which the film's last act is almost entirely set.

A tale of out - sourced retirement set in India, this feel - good film is on the flimsy side but is certainly not without its charms and definitely isn't lacking in acting talent.

Alexander Payne (Election) has cast a diverse set of actors to form the central unit to the film: a sketch - comic writer turned actor, an SNL veteran, an acting legend and a journeyman actress.

It was set to debut in theaters but after North Korean hackers called the film an act of war and made threats, many cinema chains chose not to screen the movie.

Though most of the action is set in and around a Los Angeles skyscraper, the film manages to wring many convincing sequences out of such a claustrophobic setting, from one - on - one fights to an explosive last - act rooftop setpiece.

Brilliant acting — pitched in an «On the Waterfront» key and set in the same kind of grim dockside milieu — stands out in this tough yet humane film.

The only moments of note are in the early portions of the film when they're trying to set things up in the opening act.

Over the course of the three acts, the film's context evolves from social satire (set in a public space) to emotional intimacy (confined to the private space of a single room and a single bed) to domestic drama (set in the awkward private - public space of a family apartment).

Written by aviator - turned - author John Monk Saunders (of Wings and The Dawn Patrol fame) and directed by German émigré William Dieterle, the film lacks a strong central personality and mostly meanders through the middle but that easy rhythm and directionless story defines their whole situation and sets up the devastating third act, where the group travels to Lisbon for the bullfights.

It's this innocuous act that sets in motion the switched - identity hijinks of the film.

I'm sure many of us, upon hearing that a film about the operation that led to the death of Osama Bin Laden was set to be released during the holidays, were likely expecting a film more like Act of Valor, all rah rah and bald eagles, wallowing in the success of freedom and revenge, the catharsis was all wanted after September 11.

A film that hold the audience's attention from start to finish and will play very well on both sides of the pond.The authenticity of the sets and period detail compliment the superb acting performances especially by Colin Firth.I previously thought Colin Firth lacked depth - how wrong I was!

Not only will Infinity War feature one of the largest ensembles in the history of cinema, but the movie will also act as payoff for years and years worth of set up that Marvel has spent precious time inserting into all of its past films.

But most important, in its early episodes — I've only seen the first four — Hawley's Fargo has managed the tricky tonal balancing act set out by the original film: the black humor (occasionally quite funny), the bursts of sudden savagery, the moments of human frailty and genuine sadness.

Plot-wise, every beat Let's Ruin it With Babies hits has been done to death in countless post-Apatow dramedies, but it's in the execution of these scenes — the cinematography, the acting, the editing — where the film sets itself apart.

Lately it seems as if the Aussie / Nashville goddess lives, eat, drinks, breathes acting and exists not outside of film sets.

Vividly creepy atmospherics and a strong cast set this film apart, although it's ultimately let down by a rather contrived final act that doesn't make much of the murky plot.

Fortunately, a tart sense of irony and a second act plot point spins the film's emotional trajectory into an entirely different place, setting the stage for a conclusion that more than rewards our attention.

One wonders if Padilha was fought by the studio to dumb down or rush the ending, as the last act of the film doesn't quite live up to the potential set up in the rest of the film.

Not surprisingly, the film delivers plenty of cool set pieces along the way, including a no - holds - barred battle between the Hulk and the Abomination in the streets of New York, and an even more enjoyable fight between the Hulk and a still - human (but super soldier - juiced) Blonsky in the second act.

Dan Hennah (Lord of The Rings, King Kong, The Hobbit) was quietly revealed as apart of the Thor: Ragnarok production team, with a set photo from director Taika Waititi revealing he would be acting as the film's production designer.

This grisly image, which feels plucked straight out of «The Act of Seeing», sets up the film as a scathing satire of the fashion industry.

Essentially The Ice Storm's most traceable influence after the novel on which it was based (both films share a train - platform sequence, a holiday setting, kids of accelerated maturity, a third - act shindig (where swinging seems inevitable, if not encouraged), and, of course, a philandering protagonist), Loving has real integrity embedded in its modest execution.

The predictable critical acclaim it generated does not translate to a major awards season presence, but the film did get recognized with a BAFTA nomination for Outstanding British Film of the Year (ironic, given the setting and cast) and six nominations at the Independent Spirit Awards including Best Feature, Best Director, and acting nods for Lane, Keough, and LaBeouf.