Sentences with phrase «cinematic scene as»

The new update provides new story content featuring General Zod, players will experience a new cinematic scene as they try and stop Zod and the World Engine.

Not exact matches

In short, says Brooks, they wanted to make sure they didn't get another Days of Thunder, the much - reviled (at least in racing circles) 1990 Tom Cruise film, which featured, among other cinematic inventions, scenes of Robert Duvall as a good - ol» - boy team owner who assembles stock cars in a barn.

(Or maybe it wasn't so skewed — as we see from some of their vintage home movies, their apartment gave a good view of the World Trade Center circa 2000, scene of the century's most cinematic catastrophe.)

The scene is as mammoth as it is legendary, and in terms of sheer emotional potency and cinematic prowess nothing else in Saving Private Ryan can touch it.

A feature - length commentary by writer John Rogers, director Les Mayfield, and editor Michael Tronick displays a good deal of self - knowledge and humour (a notably stupid scene is attacked by Tronick as being a «homoerotic bit of nonsense»)-- as well as a serious examination of cinematic technique, philosophy, and execution.

Owen has a great sense of the cinematic pleasures of mise - en - scene and montage, you see this in the Todd Haynes film as well.

Despite the palpable sense of cinematic tremor that's worked into scene after scene, the focus of the film remains on faces — on Mackie's subtly desperate clutching to military rules as an illusion of order, Geraghty's soft - featured guilt and fear, and Renner's «rowdy boy» coolness threatening to crumble into despair.

Melanie Lynskey and Christine Lahti are also already on board the film, which has just hired the talents of cinematic sports co-ordinator Mark Ellis, the man who gave movies such as We Are Marshall and Invincible convincing footie scenes.

Seeing as how Black Panther is the 18th film in the Marvel Cinematic Universe, the fact it ends with two credits scenes is hardly a surprise.

At times, Taylor seems to be attempting a cinematic equivalent of Brown's music, letting the beat of one scene shift into to the next as the spirit moves it.

Marvel Studios takes us behind the scenes of Avengers: Infinity War with a «Family» featurette that includes snippets of new footage from the highly anticipated film, as well comments from the stars about their Marvel Cinematic Universe experiences.

The way the third person shooter plays with a cover system similar to Gears; it has cinematic cut scenes and very good voice acting too, with Nolan North as the voice of your character.

The «Select Scenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginScenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginscenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginning).

The politics of race and civil rights during the Reagan era are certainly very important to Kansas» cinematic language as their themes provide instructive commentary in several noteworthy scenes.

On the surface, this 1965 mystery is no more than a smartly done, intelligently written thriller but Preminger's fierce cinematic intelligence guides a fluid camera that effortlessly tracks, glides, and reframes characters as they shift through scenes, shifting our perspective along the way.

Even though they shared no actual scenes together, Banderas and Hayek's cinematic history and natural chemistry bring real spark to the screen, and Galifiankis has a blast as the is - he - isn't - he - the - villain role.

Extras: «Road to Justice» journeys alongside DC comic creators as they explore over 50 years of the Justice League, from comic books to animated adventures to their cinematic debut; «Heart of Justice» in which the cast and filmmakers share their admiration for DC's iconic Trinity: Superman, Wonder Woman and Batman; «Technology of the Justice League»: From Batman's arsenal to Cyborg's alien tech, interface with the Justice League database to learn their most advanced secrets; «Justice League: The New Heroes»; «Steppenwolf the Conqueror»; «Scene Studies: Revisiting the Amazons»; «Scene Studies: Wonder Woman's Rescue»; «Scene Studies: Heroes Park»; «Scene Studies: The Tunnel Battle»; «Suit Up: The Look of the League.»

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

The scene embodies two principles that would become standard in horror movies: it's vaguely postmodern, calling attention to the movie itself as part of a cinematic tradition, and it shows how quickly laughter can be overtaken by terror.

Ford's cinematic influences are overtly placed — everything from the iconography and satire of DR. STRANGELOVE (as shown in the war room scene), to the narrative drive of STRAW DOGS (as shown in the grippingly tense scenes with fictional Tony's harassers, led by a perfectly - cast Aaron Taylor - Johnson), to the tangible feel of David Lynch's oeuvre, to the cunning bite of Michael Haneke's FUNNY GAMES.

The new preview for writer - director Darren Aronofsky's cinematic retelling of the biblical flood features more battle scenes than you might have expected, as an army led by Methuselah (Anthony Hopkins) tries to storm Noah's vessel, as Hopkins yells, «Take the ark!»

That scene alone, with a tiny animated starfish and sponge surfing on Hasselhoff's hairy legs, could easily be ranked as one of the strangest moments in cinematic history.

We'll soon be seeing a lot more of Thanos in the Marvel Cinematic Universe when the Mad Titan takes centre stage for Avengers: Infinity War, but in the meantime we've had to make do with his post-credits scenes in The Avengers and Avengers: Age of Ultron, as well as a brief appearance in Guardians of the Galaxy.

The tragic LGBT best friend is another cinematic cliché, of course, but at least the scenes between Gillan and Matthew Beard's Alistair demonstrate her strength as both director and actor, capturing the easygoing camaraderie and tender intimacies true friendship can elicit with a looseness and naturalness absent from the rest of the film.

One important moment late (sorry, major spoiler if I were to reveal it) in the film is handled very well by Yates from a cinematic point of view, but it curiously is not as emotional in punch as the scene would merit.

The film's final scene and final shot are stunningly coterminous: one bravura camera setup that reveals Garrel as an undisputed master at organizing cinematic space.

Beyond the cinematic no - no that is trying to make coding cool, Bill Condon goes so far as to craft a series of scenes that take place in «the coding world.»

Hanks is equally superb, as is the entire supporting cast, especially an outstanding Odenkirk, the scenes at Bradlee's house involving the trusted members of his editorial board pouring through the papers in an attempt to piece them together as best they can some of the best cinematic moments I've seen in all of 2017.

As the final Marvel movie before the arrival of Avengers: Infinity War in May, Black Panther brings some big expectations for its end - credits scenes, with fans searching for a tease of what's next for the Marvel Cinematic Universe.

The result, in the case of The Dark Knight Rises, is a movie so rich in lushly cinematic images — with lustrous colors and richly textured night scenes — that it should be displayed side by side with the likes of The Avengers and The Amazing Spider - Man in public forums devoted to educating the audience about what is being lost as the making and exhibiting of films on actual film becomes a museum art — the latest, but surely not the last, casualty of Hollywood's relentless focus on the bottom line.

While the movie succeeds as a love letter to everyone involved in the hunt for the world's most wanted man, the film itself, from a cinematic standpoint, is a disjointed mishmash of gripping behind - the - scenes details paired with lousy combat sequences, awkward performances and a boring finale.

With only one actual bonus feature to speak of — the six - part behind - the - scenes featurette «The Director's Notebook: The Cinematic Sleight of Hand — and a glorified photo gallery («The Art of The Prestige») acting purely as supplemental fodder, I feel genuinely cheated by the lack of behind - the - scenes material included in this single - disc effort.

Hailed by The Huffington Post as «possibly the most important piece of literature ever printed,» The Disaster Artist is the hilarious, behind - the - scenes story of a deliciously awful cinematic phenomenon as well as the story of an odd and inspiring Hollywood friendship.

In this cinematic era when no less than half a dozen tentpole superhero movies will hit theaters with the force of Thor's hammer in a single year, it takes more than cool fight scenes and colorful costumes for a comic book - based film to emerge as something special.

Comics may be an entirely different medium but the projects original inception as a film can be felt throughout the pages as Pablo Peppino brings a strong cinematic style to the art, framing scenes beatifully to give the reader as much information as possible while building the world as a real place.

- the scene at the beginning of a ceremony caused Shimamura a bit of trouble - the lines of the ritual did not properly reflect Zelda's personality, her motivations, her powerlessness, and awkwardness - Shimamura talked about it with Naoki Mori (who was in charge of Cinematic Design, including screenplay, and cutscenes)- the whole thing was rewritten several times, until they arrived at the final result - there's quite a lot of scenes she really likes in the game - her favorite line is the «Yes» Princess Zelda gives as an answer to the Deku Tree in a particular scene - in that scene, Zelda thinks about what she should do, but she can not see it at all - she refuses to give up, and wants to give hope to Link - Shimamura tried to convey all of those feelings through the single «Yes» she spoke - recording felt completely different than for animation, the dubbing of (foreign) movies, or other games - there was no fixed routine of how to approach it, as all different things were being tried out - lines were redone even after other lines were implemented in the game, as the team found better ways to say things - Shimamura finally managed to beat the game the other day, but she wants to keep practicing her shield surfing - Shimamura explains that she really gave it her whole when voicing Princess Zelda, to give her emotions - she hopes that players will remember their memories of Princess Zelda

In this one scene, which should be a dramatic and hear - rending moment, the shoddy animation, lack of detail and background music as well as the crap sound effects leaves the whole thing feeling like a badly done pantomime rather than stunning cinematic moment.

The feature bit is all about the cinematics whipped up for the big stream reveal just before Christmas — you'll recall it as the scene where Mark Hamill is kind of a jerk to your noob self.

An unexpected design feature showcased in the cinematic was the ability to choose dialogue options during the cut - scene, as Nathan chooses which of his exciting adventures to relay to his brother, offering a choice from the three previous Uncharted titles.

Street Fighter V currently features a simplistic story mode, as Capcom plans on rolling out a fully featured plot, complete with cinematic cut scenes and other such things this summer.

The cut scenes may upset some people though as Rockstar have changed the style and tone of the game; so long gone is the graphic - novel style and now there is a much more cinematic experience.

The opening cinematic immediately establishes this as he waxes poetic over the grace and power of the militia's undeniably badass titan pilots even as we are treated to a series of horrifying scenes of staggering violence emblematic of man's inhumanity to his fellow man in wartime.

You'll get to enjoy plenty of thrilling fight scenes in MKX's story mode, which is just as excellent (and charmingly campy) as MK9's cinematic - heavy single - player campaign.

That's not to say things are perfect, as character pop - in proves to be a persistent issue as you hit the town, and can create some pretty awkward situations when characters flash in and out of the ether during the game's in - game cinematic scenes.

The cinematic cut scenes come as a welcome break; they swivel and toss you around towering landscapes, weave you through structures, all while you are told the unfolding and sometimes complex story.

With regards to graphics and the scope of the cinematic cut - scenes, while Fire Emblem may not have always been as highly polished as it has been with later games, Fire Emblem Warriors takes everything we've seen before to a whole new level.

The game concludes in a dramatic cinematic cut scene as you piece the whole mystery together.

Cinematic cut - scenes highlight certain actions for dramatic effect as well as further the story as the operative gets closer to her goal.

For example, quest boxes are replaced by fully voiced, cinematic cut scenes which come with various moral choices that is typical in BioWare's wide selection of titles such as «BioShock» for example.

A new set of screenshots featuring both cinematic scenes and gameplay, as well as the U.S. box art (which is the same as the European box), have been released.