Sentences with phrase «cinematic scenes in»

«Ex Machina» is the directing debut of writer Alex Garland, who burst onto the cinematic scene in 2000 with Danny Boyle's adaptation of his novel «The Beach».

Not exact matches

There's a hint of cinematic fiction to the scenes or, at best, of a stunt that'll never work in the real world.

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 barIn 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 barin 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 barin a barn.

The invader and its progeny eventually emerge from the shell of the prey in a way reminiscent of a cinematic chest - bursting scene.

Carrey and the legendary Angela Lansbury (having a great time playing a grand lady Popper must deal with) also share a couple of wonderful scenes — one in the highly cinematic Guggenheim Museum.

Writer - director Mark Pellington meditates on these questions at length in the somber indie «Nostalgia,» a cinematic mosaic with the thematic heft to get, say, Bruce Dern to drop by for a scene.

Marvel began its cinematic - universe experiment in 2008 by tossing a post-credits scene onto Iron Man (in which Nick Fury, played by Samuel L. Jackson, teased «the Avengers Initiative»).

Works that go behind the scenes of the cinematic process — like Francois Truffaut's Day for Night and Tim Burton's Ed Wood — tend to home in on the absurdity of such efforts, portraying directors at the center of manic three - ring circuses that couldn't possibly result in a meaningful film.

Impressively, there's no reference at all to the Avengers, Guardians, or anyone else in the Marvel Cinematic Universe until the post-credit scene (not to be confused with the mid-credit scene).

The story does get bogged down in a few of its ancillary characters, namely Nick Fury (Samuel L. Jackson) and Natalie (Scarlett Johansson), both members of SHIELD, whose presence here is solely to bring up another entry in the comic canon (along with a post-credit scene featuring the discovery of a prop from another hero in the increasingly incestuous cinematic Marvel Universe).

Lastly the cinematics and cut scenes in between some of the missions were pretty good, although I wish some of those characters were developed in greater depth.

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.

In an era when people go see films mainly for CGI explosions, the ending pulls of a neat little cinematic scene.

With its cleaver - wielding dwarf and a sex scene that raised questions over whether it was real, Nicolas Roeg's atmospheric horror film Don't Look Now earned its place in cinematic history.

Hayley Atwell «s Agent Peggy Carter was such a scene - stealing standout in Captain America: The First Avenger, she went from a supporting character in Captain America's debut film to a One Shot subject to the lead of her own TV show, Agent Carter (not to mention the fact that her cinematic arc was only just wrapped up in Captain America: Civil War).

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.

In a nutshell, the filmmakers weren't bold enough to even edit the songbook (a.k.a. trust / dare their base audience) let alone create an actual script that allowed for quiet, CINEMATIC moments (was it to much to ask for a freakin» mise en scene that allowed for medium 2 - and 3 - shots when lyrics overlapped?!)

The mis - en - scene composition is done in the hip and thematically relevant format of many a Soderbergh movie, essentially giving what are static scenes of conversation a higher artistic cinematic polish.

It may not be the 30 - plus characters Scarlett Johansson recently revealed will share a single scene in the anticipated Avengers epic, but a new photo shared by Robert Downey Jr. from the set of Avengers: Infinity War and it features a team - up fans of the Marvel Cinematic Universe have not yet seen.

Gilbert returns to his dark, claustrophobically overdecorated Victorian house, hangs a kabuki sword on the wall of his study, and, in one of the most perfectly implausible and liberating subjective flash - forwards in cinematic history, has a five - minute vision of a fully staged scene from The Mikado, sung by soloists and chorus on a dazzlingly bright stage decorated in eye - popping pinks and greens.

On the one extreme, you get the kind of cinematic masterpiece that is Apocalypse Now, an indication that the madness behind the scenes was all part of the method to bring about something bold and original in a way we've never seen done before.

The time has come for Thanos, the biggest bad in the Marvel Cinematic Universe, to fully enter the scene.

Meanwhile, there's a counter-focus on perversion of these same roles, particularly through a skin - crawling incest subplot, which sets the stage for one of the most disturbing final scenes in recent cinematic memory.

The Falcon scene, in which Ant - Man battles the Avenger, is a key scene not only in the film, but in the Marvel Cinematic Universe.

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.

Adam Warlock's debut in the Marvel Cinematic Universe was teased in a mid-credits scene for Guardians of the Galaxy, Vol.

The trailer that you saw today was scenes from the in - game cinematic story mode, but one thing that's kinda cool that we're doing with the story mode is... Even though it's one over-arching story, there are unique experiences that you'll only get to play in the story mode.

It has an involving and cathartic journey for its protagonist, just the right balance of humor, drama and action, and is littered from its in medias res opening to its post-credit scene with great cinematic moments.

Entertainment Tonight revealed the behind - the - scenes footage from the set of Avengers: Infinity War, whetting the appetites of fans eager to see how Thanos devastates the Marvel Cinematic Universe in his quest for the Infinity Stones.

In fact, one scene in the opening cinematic was so disturbing that it earned Twisted Metal an»M» ratinIn fact, one scene in the opening cinematic was so disturbing that it earned Twisted Metal an»M» ratinin the opening cinematic was so disturbing that it earned Twisted Metal an»M» rating.

Check out the befriending of ants, the impressive effects of miniaturization and the riveting scene in which Thomas the Tank Engine — in a cinematic first — wreaks havoc.

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.

Scene - Stealers Editor - in - Chief Eric Melin and a gaggle of guest reviewers take on Zack Snyder «s (300, Watchmen) latest cinematic assault, the girl - powered action fantasy «Sucker Punch.»

While the indoor scenes in «Unsane» will constantly remind the viewer of iPhone camera limitations, the outdoor scenes in natural light were more cinematic.

If you take the double helping, you will also receive: Chronicles Of A Director, The Children's Magical Journey, Evolution Of An Epic, From One Man's Mind, Cinematic Storytellers, Creating Creatures, Anatomy Of A Scene: The Melting River, Creatures Of The World, Explore Narnia, and Legends In Time.

It's one of the most iconic scenes in cinematic history.

And it can flow in and out of the scenes and become a cinematic element, not just, «Okay, we need to understand exactly what they're saying.»

The stakes are raised, lives are on the line, and there's one revelatory moment that leads to the best fight scene so far in the entire Marvel cinematic universe.

That scene served no real purpose, but it was a key scene in Lynch's twisted cinematic universe.

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 Mosin 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 Mosin 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 Mosin 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 MosIN 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 Mosin 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 Mosin «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 Mosin 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 Mosin 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 Mosin 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.

They split up for a few days: she tours museums and ruins (in the film's most documentary, and also most moving, scenes, perhaps prefiguring the cinematic direction Rossellini would take with his history films fifteen years later) while he tries to hook up with younger women.

The pair finds emotional and physical comfort in each other's arms, culminating in one the rawest, graphic sex scenes in cinematic history.

Also, she never even commented on the long, sweeping and emotional one - shot beach scene which is going to stand out in Cinematic History for it's intense and all - together difficulty in shooting and brilliance in realization.

An early scene in which the Tramp imitates a fairground automaton showcases Chaplin's supreme understanding of cinematic rhythm, and another where the Tramp finds himself inside a lion's cage reveals a rare level of commitment and meticulousness.

Imagine some of the more sweeping scenes in cinematic history without music.

CBR has posted an exclusive clip from the Marvel Cinematic Universe: Phase 2 Collection, centered on the «Ant - Man» post-credits scene — which just so happens to be a scene from «Civil War» that directors Joe and Anthony Russo shot in a similar fashion to «Ant - Man» director Peyton Reed.

One of the key scenes of the film, John Travolta and Uma Thurman winning a dance competition in Jack Rabbit Slim's, has gone down in cinematic history, thanks to superb choreography and a Chuck Berry song that no other director of a 90s movie would go near.

The most notorious scenes speak for themselves and have become so ingrained in cinematic pop culture that you've likely already heard them quoted.