Sentences with phrase «act structures of film»

Not exact matches

A one - of - a-kind film that really makes other movies» depictions of sex seem very shallow, this one doesn't have the best acting, or writing, but it's interestingly structured and makes it point very well.

Pearce, meanwhile, pulls off a tricky hire - wire act of his own, keeping the film's whodunnit structure tightly screwed without lapsing too far into genre contrivance — with the many, varied screeches and squeaks of Jim Williams» terrifically rattling score lending a significant hand in this regard.

Though it does have its own version of a three - act structure, this film is not a conventional narrative that will fit into a tidy box and it's not a story so much as an experience.

About the resilience of one man's mind, body, and spirit in the face of unending pain and indignity, Angelina Jolie «s POW prestige piece («a true story», according to the film's intro) is an excruciating watch, but the too neatly - packaged structuring and presentation act as something of a blockade between us and Zamperini's mind.

They clearly were films of high quality, well - acted and well shot, but the subject matter and plot structure did not engage me in the slightest.

Such sequences have become the keystone of modern action films, a set - piece as familiar as the three - act structure.

I Used to Live Here, like all great neo-realist films, bears a very poignant, deliberate message that culminates in the closing moments, and is crucially told depicted via the more ardent elements of filmmaking, i.e. — script - structure, editing, framing and acting.

The film's one - note thematic structure suggests that the boy's stop - start journeys into manhood, bolstered by Christian values, will find worthiness in a single act of selfless courage.

There is a pretty clear three act structure at work in Life of Pi, partially because of the bizarre choice of a framing device to introduce and conclude the film.

Gook is similar in structure and tone to Spike Lee's masterpiece Do the Right Thing, in that both films use their first two acts to give the audience a false sense of comfort, only to let racial tension slowly boil beneath the surface before exploding in tragedy at the end of the film.

When a Twitter user asked Landis why he thought the villagers in the original film didn't stop the werewolf themselves, the screenwriter revealed that he's exploring this detail in his script, and it will account for one of the biggest deviations from the original film: «Answering this question and the nature of the village's role in the plot in the second and third act as of now are the biggest changes I've made to the original structure... Doing some fun stuff.»

So even the first film's structure is replicated, beat - for - beat: at the end of 21's second act, the pair's partnership flailed after a chase scene caused Schmidt to miss a school play; the end of 22's second act sees the same occur, only this time, it's because a chase scene causes Jenko to miss a football game.

Instead of a three act structure, this film takes a three film structure; none of which has a beginning, middle and end.

While Felix von Groeningen «s film, which centers around a couple whose child is diagnosed with cancer, could easily have strayed into maudlin territory, the deft, non-chronological structure and the constantly surprising, beautiful performances — both acting and the musical — elevate it well clear of any Movie of the Week associations.

One could argue the tonal disconnect between an act of terrorism and comedy, and yet the injection of some quips and the odd running joke about a producer obsessed with balls turns out to be one of the film's greatest weapons, moreso than the overly familiar stench of disdain and dissidence as a poorly planned hostage stunt yields a much more complex discussion about class structure and the corruption of the American financial system.

It propels the film into a tightly structured first act focused on character motivations, which unfortunately leads to a second act that loses a bit of that momentum.

With Wiseman's films, it's often tempting to try and work out the underlying structure, even while you're watching them, to break them down into discrete sequences, and thereby discern the broader thematic movements or acts (depending on your artistic analogue of choice).

Addressing the structure of the medium, the nature of the cinematic experience, the relationship between still and moving image, the quality of illusion, the power of narrative, the live act and its representation, Wallinger's film and video works have explored an astonishing thematic range with great intelligence and originality.

Following the three acts of traditional film narrative, it is structured according to the three phases of description, situation and condition.