Sentences with phrase «best shot of any film»

Not exact matches

We felt that the best way to exploit the scale and scope required to close out the final chapter of these three phases, was to be the first films shot entirely on the IMAX / ARRI Digital camera.»

Only in the past few years have a large percentage of films been shot digitally, and shooting on celluloid is still alive and well.

Saloons and shoot - em - ups, good guys and bad, the West of films like Shane and High Noon are all debunked as pure fiction.

And when Keith Smart had finished scoring 12 of his team's last 15 points, including the winning 16 - foot jump shot from the left side with five seconds remaining under massive pressure, most of Indiana didn't even care that the film Hoosiers» Dennis Hopper hadn't won the Oscar for best supporting actor just so long as this real - life Hoosier named Smart had.

But it's good to know that I'm not alone in my horror: Director Luke Gilford has skewered the extreme ends of «wellness» in his new short film Connected, starring Pam Anderson as Jackie, a lonely spinning instructor who wants to feel more, well, connected — so she joins a wellness cult and gets wifi shot into her brain so that Jane Fonda (no, really, she does a voiceover cameo) can tell her how «limitless» she is all the time.

I am writing this post sitting on the sofa here in Doha with my best friend while watching the film LOLITA, one of my favourite films that inspired me for this shooting where I am wearing a super soft pink fur vest.

We shot a bunch of stories last week and I am planning to get filming in the next, this space is so good for that.

My Big Fat Gypsy Funeral: Irish gangster «Fat» Andy Connors laid to rest in # 25,000 GOLD coffin Gangster «Fat» Andy Connors was shot dead in front of his She's Dating the Gangster is a 2014 Filipino teen romantic comedy - drama film based on the best Pop Fiction book of the same name originally published on

Critics Consensus: Miami Vice is beautifully shot but the lead characters lack the charisma of their TV series counterparts, and the underdeveloped story is well below the standards of Michael Mann's better films.

Maybe the shooting script was really written by dropping the scripts of those other two (better) films, then gathering up the pages any old how and hoping for the best.

There's a tonal dissonance here: The gangster - movie dialogue of these different groups, as well as a somewhat lame late movie shoot - out, feel far removed from the terse, beautifully choreographed pandemonium of the film's first act.

Visually this film is pretty well shot, with balanced, eye catching frames, and beautiful visuals of the Seattle landscape.

For better or worse, the trailers set up the film as a shot - for - shot remake of Sylvester Stallone's «Over the Top,» except with fighting robots instead of arm wrestling.

Yates recognizes that Snape's story is the core of this film, as well as the broader story, which in part explains why the opening shots are devoted to him.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

Critic Consensus: Miami Vice is beautifully shot but the lead characters lack the charisma of their TV series counterparts, and the underdeveloped story is well below the standards of Michael Mann's better films.

Filmed on location in Italy and Spain and shot in brilliant Todd - AO and Color and directed by the great British director Carol Reed, Charlton Heston and Rex Harrison (in their first and only film together) give two of the screen's best performances.

The basics have been well - publicized: The film, shot in black and white, is about a German Nazi who took over a factory in Poland during World War II and talked his powerful acquaintances into allowing him to use cheap labor, in the form of Jewish workers.

Despite the PG rating, this film briefly (but heavily) implies teens are partaking of illegal drugs, and contains cigarettes (a brief shot shows a smoke smoldering in an ashtray) and alcohol use as well as brief drug references.

The high point of the film however, is that the film looks great, and it's well shot, but overall it's an empty vessel, a film that lacks effective execution to make a truly exciting thrill ride from start to finish.

Though Akel and Mass share writing credit, Chalk was actually shot in a loose, improvisational manner in the mode of Christopher Guest's films, and its best set pieces are like devastatingly effective pinpricks puncturing the Hollywood hot - air balloon of inspirational teacher / coach melodramas.

He was adamant that the story premise of Free Fire could not be done as a feature film and was, at best, the sort of material for a 20 - minute shoot - em - up short.

Although in many respects a more stylish, authentic, tougher - minded film than «Hotel Rwanda,» director Michael Caton - Jones» respectable and well - intentioned Beyond the Gates (aka Shooting Dogs) still falls into the trap of filtering an inherently African story through the eyes of a noble white protagonist — in this case, two of them.

Good things tend to come when Michael Winterbottom works with star Steve Coogan (24 Hour Party People, Tristram Shandy, The Trip), so we're happy to see Coogan starring as infamous British pornographer, club - owner, real estate developer, multi-millionaire, and so - called «King of Soho» Paul Raymond in a dramedy that spans decades and includes scenes shot in black - and - white and color, constantly changing to match the film styles of each period.

It does have a few holes story wise, but the performances from Granger and Walker alone make this worthy of a view, and it is not hard to fall in love with how Hitchcock shoots his films, as well as the music he selects to raise the hair on the back of your neck at the precise, appropriate time.

A portion of the film was shot in large - format IMAX, and the final draft of the script comes from Michael Arndt, best known as the guy now responsible for not screwing up Star Wars: Episode VII.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

Hands down one of the best films of the year, Sebastian Schipper has directed a one - shot film that is truly a captivating cinematic experience.

The film is exceptionally well - made, shot in a chilly style that utilizes intriguing close ups between the two men, evoking the coldness both of a winter in the Pacific Northwest and of a truly psychopathic crime.

For all of its simplemindedness and deck stacking, the film is distressingly well made — Pollack is no artist, but he has a glistening technique (there aren't many American directors left who know how to plan their shots for such smooth cutting) and a strong sense of how to hold, cajole, and gratify an audience.

Well - intentioned, competently shot and put together, solidly acted, especially by tomorrow's superstar Jacob Lofland (who we'd call a revelation if he hadn't already impressed us so much as Neckbone in Jeff Nichols» «Mud»), and unafraid to swim in the traditionally shark - infested thematic waters of the American class system, the film nonetheless can't quite slip the «seen it before» noose.

I know I have said this before but 1926's Faust has got to be one of the most well shot and put together silent films.

Her perception and understanding seem to grow only richer over the years, and her newest film, 35 Shots of Rum, is surely one of her finest — and thereby one of the best films of the year.

It seems remarkable that the film was shot by Barry Ackroyd, the man responsible for filming the wonderful The Hurt Locker and who was robbed of a Best Cinematography Oscar by the idiots who think cinematography is something that occurs inside a computer's CPU.

Wasteful of whatever talent was assembled, Rebound misses its shot at the existing market filled by years of similar, but better, films.

Given that the Russo brothers are also directing the Infinity War films after Captain America: Civil War, look forward to a lot of Blu - ray commentary tracks by this creative team, saying things like, «Well, as anyone who saw the fleeting shot of Starfox at the 35:42 mark of the last film knows...»

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

A murky, brain - dead stab - a-thon packed with so many inane chases, laughable special effects, and mismatched stock footage shots that it begs to be made into a drinking game, London Has Fallen is one of those rare films that is good at absolutely nothing.

I've pretty much described what happens for most of the runtime of the film, the discussion now moves to how freaking gorgeous and well shot the film is.

Since his film was only screened for the Hollywood Foreign Press he wasn't able to earn SAG or Critics» Choice nominations but now that the film has been seen and Plummer is all over it (with just nine days of shooting and as many days of post-production) this may be the easiest and best way for the Academy to recognize the efforts and ability of director Ridley Scott (if they don't give him a Best Director nomination, that best way for the Academy to recognize the efforts and ability of director Ridley Scott (if they don't give him a Best Director nomination, that Best Director nomination, that is).

The youth and comparative inexperience of the «Social Network» ensemble would make it an atypical winner in the category — but at the same time, counting out Jesse Eisenberg's long - shot Best Actor bid, this is the only place where voters can acknowledge the most acclaimed and awarded film in the race.

The festive film was shot at the height of summer in order to be ready for in time for the Christmas market, but the stifling heat in Louisiana got the better of John and he ended up taking out his bad mood on the crew and his fellow castmembers.

The other elements of the film come together splendidly as well, from the loving - but - not - trite shots of Manhattan, courtesy of cinematographer Ben Kutchins (the «Veronica Mars» movie), to a first - rate comic ensemble that also includes Jason Mantzoukas, Andrea Savage, Natasha Lyonne, Amanda Peet, and Marc Blucas (plus brief but memorable appearances by Adam Brody, Anna Margaret Hollyman, Billy Eichner and Michael Cyril Creighton).

But the truth is that the film is beautifully shot, making good use of location shooting in Houston and capturing Winona Ryder's Gen - X goddess status better than any film ever would.

director Mike Mendez — that, while it has a charming sense of humor about itself, leans too heavily on CGI blood; The Girl With All The Gifts (B), a well - shot British zombie film that attempts to inject new life into a tired genre, and almost succeeds thanks to young star Sennia Nanua; and the disappointing Phantasm: Ravager (C --RRB-, a low - budget labor of love which, while it plays like a Phantasm fan film, ultimately undercuts the emotional closure it attempts to bring to the franchise by failing to resolve the central conflict between good and evil.

Nolan's awe - inspiring masterpiece «Interstellar» will be released on 4K Ultra HD in a 3 - disc Combo Pack that includes the film on 4K UHD and in high definition on Blu - ray, as well as a bonus Blu - ray Disc ™ with three hours of in - depth, behind - the - scenes content detailing the epic shoot, the scientific realities explored in the film, a look at creating the stunning visuals, and much more.

There are some good «making of» shots here, too, which are just as visually striking as the film's footage itself.

It's rare for the cinematography prize to go to a film not nominated for best picture — not that Deakins hasn't had more shots on goal than many of his contemporaries; five of his 14 notices have come for best picture nominees, and one of them, «No Country for Old Men,» won the big prize.

It's sociopathic focus will make sure it doesn't win... it may win best screenplay, but that's still a long shot, I have a hard time seeing the Academy old timers seeing the relevance of this particular film.

Well, he does save the world and in the final scene returns to her cell for his «reward», which is conveyed in the film as a POV shot recorded by the agent's spy glasses, much to the shocked disgust of Q-esque Merlin (Mark Strong).