Sentences with phrase «anchor scene of the film»

The anchor scene of the film, where Smith gets into a heated double - or - nothing battle with the great B.D. Wong at the Super Bowl, builds dynamically and stands on its own as one of the best scenes of the year.

Not exact matches

Kruger's performance anchors the film; she appears in every scene (often smoking), and her journey through grief and into a kind of numb desire for justice (or is it vengeance?)

In the film's funniest scene, Bruce takes over the new anchor's body and speech control on his first day of the job, causing him to spasm and spout out unintelligible blabber.

Stalwart yet yielding as the Hollar family's gimlet - eyed emotional center of gravity, Martindale anchors the film just as her character anchors her husband and sons, infusing her scenes with a magnetic combination of warmth and pragmatism.

While Kunis anchors the film with a solid blend of humor and heart, Applegate and Bell both get moments to show off their comedic skills — Applegate in particular hasn't been this unhinged since «Anchorman» — while Hahn steals every single scene she's in, a hilarious ball of pure comedic id.

Variety «s Andrew Barker gave the film a strong review: «Slower and more deliberate than some of his recent work, though anchored by a remarkably honest and unrestrained sex scene, «Disobedience» may not catapult Lelio beyond the arthouse world, but it's yet another triumph in what's shaping up to be a major career.»

It's very heartening, too, that the DVD features such a robust slate of bonus material, anchored by 50 minutes» worth of behind - the - scenes footage that includes interviews with all the cast and crew, and charts the movie from inception (producer Ian Birkett was a film school classmate of Andrews, and his older brother Paul worked up the script) through pre-production work, shooting up in Canada, and post-production.

Minimalist in its focus on Marina, this engrossing, character - driven film reveals a tender and strong love that sustains Marina, literally anchoring every scene, often in the center of the frame.

The DVDs also come with behind - the - scenes footage, as well as a 75 - minute making - of documentary, «Shooting Days,» that not only shows the intricacy of Emir Kusturica's technical achievement, but also the careful consideration beneath the filmmaker's seemingly freewheeling aesthetic, such as the way that recurring images act as anchors for the film and help to mark the passage of time.

It is a notably unsettled experience for the audience, as director Robert Greene chooses to anchor the film on a sort of framing device, opening the film on Kate in wardrobe on the day she will shoot her climactic scene, and then constantly revisiting it as she builds her character.