Sentences with phrase «between shots of the film»

Men, Women & Children fades between shots of the film's leading men, women and teenagers attached to their modern tech devices.

Not exact matches

Casting light on the inherent contradictions between the public claims of Scientology as an applied philosophy and its actual practices, the film gives voice to these peoples» stories by inserting them as recurring reference points throughout the film, from its opening credits to its closing shot.

In addition to rumors of a bloated budget and unrest on the set between director Mark Forster and star Brad Pitt, the film's original release date was pushed back six months to accommodate major rewrites and additional shooting.

Guerín has employed a small camera and the help of a minimal crew to shoot, between Naples, Sardinia and the City of Barcelona, the film to fascinate Guerín's cinema lovers and to irritate its detractors.

When shooting the showdowns between police and gang members, Carpenter roped in a lot of film students from USC, who relished in the opportunity to play with fake blood and provided him with many inventive screen deaths.

Wenders is clearly intrigued by the connection between Francis and his namesake saint, opening the film with a gorgeous time - lapse shot of the Umbrian village of Asissi, and even recounting the life of St. Francis in recurring black - and - white vignettes.

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.

A brief yet action packed little story that looks at what happens to the Chitauri weapons following the events of AVENGERS, it's a fun little bonus, though unlike the previous Marvel One - Shots from the THOR & CAPTAIN AMERICA Blu - ray releases, it does suffer due to the lack of Clark Gregg as agent Phil Coulson, who previously helped bridge the gap between the feature films and the shorts.

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.

One of the most striking elements about this film was the way it was shot, which gave it a voyeuristic sensibility reminiscent of North by Northwest (1959) in particular — especially in terms of the way the character of Héctor 1 was set - up and the power dynamic between the multiple Héctor sequels and the young girl.

with great sequences, including movies within the movie (these are more introductory sequences for our cast), a smart banter between different religious figures on how Jesus should be portrayed, and some beautiful imagery (the film is shot by Roger Deakins of «Skyfall» and «No Country for Old Men»).

Frank desperately desires the power that Morton's money and influence commands, and the film becomes, in part, a portrait of his failure to straddle the line between old world (shoot first, ask questions never) and new world (wielding money as a weapon) criminality.

In almost every shot there's a sharp differentiation between background and foreground space, through lighting and focus, and the cinematography is reminiscent of approaches more common to black - and - white film than color.

This is an abstract making - of alternating B - roll shot in a variety of media, watermarked outtakes (including one from a deleted scene between Phoenix and Amy Adams), and snatches of dialogue from the film that gives the impression of a tight - knit cast and crew there to serve Spike's vision.

After a near - mutiny of the production in China because of the conditions there, there was a hiatus while more money was raised and the production moved off to Spain, and shot in Montréal, and afterwards it went through disputes between Borsos and the producers about cutting the film.

The film alternates between scenes of them talking about what's happening, meeting a specialist in ghosts and such, and the stationary shots of the camera on its tripod at night.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

Although the film's controversial nature depends in part on the explicitness of some of the unsimulated sex scenes — an ejaculation shot, for instance, and images of cunnilingus in which the labia are clearly visible — the crux of the problem for many critics has been the slender division between fiction and documentary.

Snyder himself hosts an ongoing commentary - «The Ultimate Watchmen Experience» - featuring behind - the - scenes shots, a timeline covering the history of the Watchmen universe, remarks from the director himself and (best of all) a side - by - side comparison between shots in the film and frames from the graphic novel.

Victoria (Germany, 2015)-- 9:00 PM «Victoria (2015) is an impressive technical achievement: a street film turned romantic drama turned crime thriller, shot in a single, unbroken take in real time over the course of a couple of hours between late night and dawn.

In between those was 2007's The Hoax, a film that might have given Gere one of his best shots at Academy acknowledgement.

Shot largely in a Louisiana doubling for the vast, unforgiving landscapes of Mississippi — with occasional depictions of combat and romance on foreign soil — the film revolves around the fraught relationships between, and within, two families: one white, one black.

(Its epilogue, taking place in a deli between two protagonists after the storm, is shot in exactly the same way as Brooks's conclusion to Broadcast News, while a late - film kiddie rendition of «Memory» from «Cats» exhumes musty memories of Jersey Girl's Sondheim desecration.)

But I can confidently report that it's another mammoth achievement for Anderson, who shot the film in 65 mm — not for the sake of spectacle (it doesn't have anything like the grand vistas of Marfa, Texas in There Will Be Blood), but for the intensely intimate relationship that develops between a knockabout WWII veteran (Joaquin Phoenix) and the charismatic religious visionary (Philip Seymour Hoffman) who offers him a way forward.

The self - reflexive quality of The Larry Sanders Show was of a different nature, bouncing between the drama behind the scenes (shot on film) and the «show» itself (shot on video in traditional TV talk show style), but it wasn't about acknowledging the conventions so much as deconstructing the business.

All XMen movies should be treated as «one shots» because there is no continuity between any of the films.

Civil War was also partly filmed with IMAX cameras and the movie in general tends to feel big, visually - speaking, in - between its action sequences and many establishing shots of locations around the globe (as well as the massive title font that's used to identify each individual change in location)- making IMAX the preferable viewing format for Civil War.

Without a word spoken, the first two shots in Thief, Michael Mann's groundbreaking 1981 feature debut, announce a simultaneously grim and dreamlike vision that seems, in retrospect, perfectly poised between the great urban crime films of the 1970s and the formal aesthetics of the 1980s — the «style decade» that Mann's subsequent cinema and television work did so much to help shape.

The two stars fell in love during filming of the earlier To Have and Have Not, later marrying, and in fact new scenes in The Big Sleep were shot with extra dialogue between them to play up on public awareness of their real - life romance.

That said, given that Gravity is defined as a British film and therefore gets a shot at the additional category of Best British film, it's essentially a three - way tie between the films for head of the pack.

Collider covered the Resident Evil: Retribution event and reported that a clip was shown featuring Milla Jovovich's Alice taking out a horde of zombies after which both she and Paul W.S. Anderson discussed the film's cast, shooting in 3D, the relationship between the films and the videogames, and more.

For much of the picture, three survivors of a shooting seem doomed to «wander forever between the winds,» to quote a line from John Ford's The Searchers, a film Aoyama cites as an inspiration.

At present, the cinematographer is finding a balance between life and work — shooting Canadian films half the year so he can be home with his family, and shooting with Jean - Marc in the U.S. the rest of each year.

Despite her seeming reticence, the film becomes a kind of double act between her and Salim, filmmaker to filmmaker, as they and his band of Merry Men take a small UN jet to a mountainous region to shoot what appears to be his own fictionalised bio-pic.

This «operativo» turned into one of the most hair - raising and intense parts of the film and also an important turning point: while scoping out an area of town, they got shot at; frantically jumped out of the car to take cover; got info about who was shooting at them and went on a witch - hunt through town looking for a «white Jetta,» Instead, they found a seemingly innocent man in a white Cherokee; pulled him out of the car and then away from his family and distraught young daughter; interrogated him at gun point in the back seat of the car speeding through town as I was jammed in between the two middle seats; and then brought him back to a torture chamber where they were similarly interrogating others with tazers.

The erotic fascination underlying all this is constantly visible in the way that Piñeiro and DP Fernando Lockett film faces, often in long gliding takes that move seamlessly from wide shot to close - up — see the radio studio scenes in The Princess of France and the extended scene in Viola in which the camera hunkers down between three characters talking in a car at very close quarters.

Director Peter Weir chose to shoot the film in chronological order to better capture the development of the relationships between the boys and their growing respect for Mr. Keating.

Though, the fact that the film isn't entirely without obvious merit confuses things even further: Krauss is wryly brilliant as Krauss and delivers the film's biggest laugh with his Herzog - ian reasons for using a wheelchair; Gael Garcia Bernal has a great time as a lecherous member of Laura's delegation, spinning his suitcase with the sneering verve of a cartoon villain who twirls his mustache and gleefully acts smarmy before being felled by his own beleaguered bowels; Herzog's shots of Diablo Blanco, portrayed by Bolivia's real - life Uyuni salt flats, are among the most stunning in any film released this year; Shannon has fun in the impromptu photo shoot that takes place toward the end of the film; and as expected, there's a fascinating push and pull in the battle between human and nature at the heart of the film's central premise.

by Walter Chaw The title refers to a New York Museum of Natural History diorama called «Clash of the Titans» that proposes what a tussle between a sperm whale and a giant squid would look like — and it functions as the final, stirring tableaux of a 16 mm film self - consciously shot in the manner of early Jim Jarmusch or Spike Lee joints.

But while this might be Bird's first live - action movie, between his ensemble cast, the guiding hand of Abrams as producer, and the decision to shoot some of the film on IMAX, you would be crazy to expect anything less than non-stop entertainment.

In the climatic fight between cowboys and Apaches, Yakima Canutt, stunt coordinator and perhaps the uncredited hero of this film, undertook a dangerous stunt that saw his character shot from a horse.

The over-the-top action is pretty good, if oddly directed; car chases and gunfights will vacillate between conventionally filmed excitement and kooky close - ups and slow - motion shots of Helen Mirren firing two guns out of the windows of a spinning car.

The gulf in sophistication between the majesty of how this movie is shot and what the characters are saying and doing in this film is uncrossable.

Outside of the fights however, the film doesn't feel particularly well put - together: the direction is weaker than the previous outing — jerking between various scenes, locations, filler Thailand Tourist Board type shots... and there's no attempt at updating anything about the generic 80s action plot.

The performance ineffectively bounces back and forth between Emperor's New Groove film clips and poorly - shot footage of Sting literally behind a microphone.

Set in Dallas in the days following 9/11, it focuses on the relationship between Mark Stroman, who went on a killing spree targeting men he wrongly thought were Arab, and Raisuddin Bhuiyan, a Bangladeshi - born convenience - store clerk who was shot by Stroman but survived... Michael Winterbottom's new film The Vatican Connection, is based on the true story of NYPD Detective Joe Coffey who uncovered a global trail of intrigue involving billions of dollars, Vatican bankers, and a shadowy worldwide conspiracy.

Written by Wheatley and Amy Jump, the film stars Brie Larson as Justine, a woman who brokers a meeting in a deserted warehouse between two Irishmen (Cillian Murphy, Michael Smiley) and a gang led by Ord (Armie Hammer) and Vernon (Sharlto Copley) but when the deal goes south and shots are fired, a game of survival begins...

Shot in that distinctive mix of location naturalism and matter - of - fact criminal activity that defined so many such films of the early seventies, Eddie Coyle lays bare the food chain of the criminal underworld, from the robbers to the gun suppliers and all the middlemen in between, including the stool pigeons.

Beautifully shot Bahrani's homeground of North Carolina, the film charts the tentative friendship between two very different social outsiders: Solo (Souleymane Sy Savane), a Senegalese immigrant taxi driver struggling to make something of his life, and William (Red West), an elderly curmudgeon who appears to have given up on life altogether.

The long takes — seamlessly stitched together by editors Douglas Crise and Stephen Mirrione — also inform the film's dialogue between stage and screen acting: while the actors are clearly acting for a camera, the duration of shot gives the performances the sustained intensity of theatre, the best of both worlds.