Sentences with phrase «cinematic sequences of»

The solemn yet playful mood feels inexplicably up - to - date, with the almost cinematic sequence of paintings constituting an allegory of contemporary society.

Inspired by the work of Chris Marker, who directed the radical 1962 film «La Jetée,» which consisted of a cinematic sequence of still images, Opie's 22 - minute film is composed of more than 800 black - and - white images and stars Stosh, a friend who has appeared in many of her photographs.

Not exact matches

We did not intend to take too many sequences not really oriented towards science or engineering, but if we had flown the zoom - lens cameras, I believe we would have taken some more dramatic, cinematic scenes to illustrate the excitement of Mars exploration.

The promising atmosphere is perpetuated by an engrossing early sequence in which the central foursome debate the fates of three seemingly innocent bystanders, and yet it's equally clear that the movie begins to peter out almost immediately following that electrifying interlude - as writer / director Berg's less - than - cinematic visual choices result in a lack of thrills that grows more and more problematic as time progresses.

«Triumph of Love» opens with a sequence that's so lively and cinematic, so promising in what it might portend, that it's almost sad to look back on it.

The impending sequence transitions The Darjeeling Limited from its quirky, fleeting roots to a place of cinematic poetry.

Bonus: • Audio Commentary with Director Tim Burton • «On the Set with Bob Kane» Featurette • «Legends of the Dark Knight: The History of Batman» Documentary • «Shadows of the Bat: The Cinematic Saga of the Dark Knight» Parts 1 - 3 • «Beyond Batman» Documentary Gallery • Prince Music Videos • Profile Galleries • Storyboard Sequence • Trailer • Digital Copy • Hardcover Book

Gaspar Noé's remarkable psychedelic ride is his most focused achievement, a concise package of sizzling dance sequences and jolting developments that play like a slick mashup of the «Step Up» franchise and «Salo, or the 120 Days of Sodom,» not to mention the disorienting cinematic trickery of Noé's own provocative credits.

It may have a ton of Native American cinematic clichés - dream sequences with staccato wooden flutes, soaring eagles, and so on - but it works.

For all its shortcomings, Idlewild also has something that few films can pull off: Moments of such pure cinematic fabulousness, breathtaking dance sequences and idiosyncratic 3 - D animation flourishes that we are more than willing to forgive it for all its sins.

Everything is competently implemented without excelling in any individual direction, but the combination and sheer variety of content and fan service has to be commended, and for once it's nice to play through a kids game that doesn't just shoehorn the cinematic action sequences into an average procession of linear levels.

Marvel's struggle to make fight scenes more than the cinematic equivalent of a child bashing their action figures together does tend to prevail, though a few sequences are well - choreographed enough to ensure boredom isn't ever a real threat.

Director Jonathan Teplitzky sometimes captures exclusively cinematic moments, such as a sequence in which Churchill chases his iconic hat across the beach on a windy day, or when a group of children recognise Churchill in a car.

Shore also displays some directorial style of his own signature, creating shots that are the epitome of the word «cinematic,» or attempting to use Matthew Vaughn - style techniques (like 1st person POV) to create distinct and different styles of action sequences (to varying degrees of success).

Landing one triggers a cinematic action sequence where Samus gets up close and personal with the metroids, grappling with them and firing a barrage of rockets or laser beams into their weak points.

Combining Hitchcockian camerawork, lush, over-saturated colors, rollercoaster - like thrills, and at times surreal situations, Argento could overcome the sadism and misogyny in his gallery of sliced and diced beauties with the sheer cinematic bravura and beauty of the sequences.

Where Tarantino relies on cinematic devices to do a lot of the heavy lifting, with choreographed action sequences and well - timed gore, McDonagh lets his pen do all the work.

It leads to threats at gunpoint; the slowest outboard motorboat in cinematic history; breaking and entering; the most peculiar chase sequence I've seen in a very long time, and a couple of key sequences in and above a strip club.

With Mr. Salinas and Greenberg's consent, I offer to kickoff our visit with an immediate impression during the start of the film that distinguishes it's score from Cartel Land's... it deftly emerges with warm, melodic cello and higher - notes vibraphone progessions from a dreamlike silence, and only registers as a lilting, tender counterpoint to the viscerally intense imagery of ISIS - occupied contemporary Raqqa, Syria in the picture's opening sequence well after we're already emotionally all - in invested via what will certainly be a harrowing, yet inspiring cinematic experience.

From its opening stage, Sonic Forces displays a number of issues that are emblematic of the journey ahead: Its insistent tutorial messages interrupt your initial sprint down a winding road, the cinematic transition sequences that take you from one path the next that renders you an observer, not an active participant, and right as you're about to settle into the glee of your mad dash forward, the stage ends.

To be fair, the climactic sequence, with Polynesian footbridge systematically disintegrating as the survivors seek to cross over a river of molten lava, is such primally cinematic stuff that the palms can't help sweating as intended.

An exclamation point sprouts from the heads of alerted enemies; lengthy codec conversations and cinematic sequences punctuate the action; bosses yammer on and on about political ideologies before dueling you to the death; and you can even hide in boxes to stay hidden from foes.

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 beginning).

Gary Ross did a solid job crafting the cinematic world of Collins» novels, but «The Hunger Games» was lacking in certain areas, particularly the action sequences and visual effects.

Here his blankness is perfectly suited to Chili's unflappable cool — and in one of the most welcomely gratuitous dance sequences in cinematic history, he reprises both his defining rôle from «Saturday Night Fever», and his seminal floor moves with Uma Thurman from Pulp Fiction.

By 1985, Madonna was not only a chart - topping global force, she was a show - stopping performer, revealing her cinematic potential in the video for «Material Girl,» with its nod to Marilyn Monroe's «Diamonds Are a Girl's Best Friend» sequence from Gentlemen Prefer Blondes, as well as her controversial performance of «Like A Virgin» at the 1984 VMAs, in which a white wedding dress - clad, «BOY TOY» belt - bearing Madge writhed around the stage floor like the future Queen of All Media everyone (primarily she) thought she might become.

Napoleon: Total War defines a new standard within the genre with exciting characters and a cinematic narrative, mind - blowing battle sequences and an unrivaled mix of turn - based and real - time strategy.

There's one incredible sequence around the middle of the movie, in which Billy describes his ideal ending to their plight, which skewers cinematic cliches with gusto.

In these opening sequences, Wright's cinematic style is particularly noteworthy: the zooms, the rapid - fire editing, close - ups of beverages being refilled and chores being completed.

Cohen stages the entire affair with slick style and urgency, particularly in the spectacular set pieces, which include a showstopping avalanche / snowboarding sequence that easily ranks among the most awesome cinematic sights of the year.

How fitting, then, that the subtitle of this sequel is Island of Lost Dreams, for Rodriguez has let his vivid imagination run even more amok in waking, cinematic life for this second adventure of «tween secret agent siblings Carmen (Alexa Vega, who displays her star quality in a startling closing credits sequence) and Juni (Daryl Sabara) Cortez.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

Of course, Coogler does abide by some Marvel traditions, including having two end - credit sequences that are worth sitting through the lengthy credits for, especially if you're already a fan of the MCU (Marvel Cinematic UniverseOf course, Coogler does abide by some Marvel traditions, including having two end - credit sequences that are worth sitting through the lengthy credits for, especially if you're already a fan of the MCU (Marvel Cinematic Universeof the MCU (Marvel Cinematic Universe).

Directed by Rob Cohen, the director of high - adrenaline action blockbusters The Fast and the Furious, xXx, and The Mummy: Tomb of the Dragon Emperor, this edge - of - your - seat action - thriller showcases some of the craziest action sequences in recent cinematic history.

The film features a stunning opening scene that contains all the cinematic beauty of the title sequence from Watchmen, but without the intellectual spin the alternate history vibe afforded that superhero opus.

«Free Fire,» the latest cinematic gut - punch from Ben Wheatley («High - Rise»), gets off to a retrotastic start, with a high - energy credits sequence composed of a fat»70s - era font and a punchy track from the Boston punk band the Real Kids.

What Harlin contributes is the cinematic glue that holds togther what might have been a series of spectacular but meaningless special effects sequences.

And although there's one sequence that's admittedly laugh - out - loud funny, Miss March is, by and large, an utterly worthless piece of work that presumably marks the beginning and end of Cregger and Moore's cinematic career.

Director Rob Bowman certainly does an effective job of ensuring that The X Files never feels like just another episode of the show, as the filmmaker - armed with Carter's almost epic script - has infused the proceedings with a decidedly cinematic sensibility that's inherent in even the most innocuous of sequences.

Captain America: Civil War (PG - 13 for extended sequences of violence, action and mayhem) 13th episode in the Marvel Cinematic Universe series finds the Avengers split into a pair of adversarial factions, freedom lovers led by Captain America (Chris Evans), and a pro-government camp led by Iron Man (Robert Downey, Jr.).

Calling Lincoln an heir to these films perhaps does it a disservice however, for, in the film's often misunderstood prologue and following dream sequence, Kushner and Spielberg openly acknowledge their movie's genial relation to the actuality of the 13th Amendment's passage, theater, and cinematic history itself — and by announcing upfront that they're employing the tools afforded by the arts to re-create past events, they let us know that their aims are somewhat closer to folklore than strict reportage.

In Blue Ruin, Jeremy Saulnier's second feature, a handful of sequences give off the intoxicating effect of watching a historic cinematic landmark, but in real time.

The competent action sequences borrow the cinematic language of the western as well as the war movie — these are heavily armed cowboys, whooping their way into the fray, dodging missiles rather than arrows.

I do know that they were popular, not only because of the game play, but because they have a cinematic feel to them, with unfolding storylines and, in later editions, well - produced live - action cut - scene sequences featuring well - known actors like Mark Hamill, Malcolm McDowell, John Rhys - Davies, and even former porn queen Ginger Lynn Allen.

Even as yet another superhero origin story, there are some truly next - level visual effects and action sequences in director Scott Derrickson's film, and opening the Marvel cinematic universe up to all the possibilities that come from the realms of the mystical is an exciting prospect.

Since then, such sequences have become a defining element of the Marvel Cinematic Universe.

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.

Everybody loves quick time events, those timed button presses utilized in today's high - tech interactive entertainment programs to help the user feel a modicum of control over grand cinematic sequences.

Basically, this means that the game's story has been added, in the form of a new cinematic sequence and two remixed story maps, the Happy Throne Room and Ramparts - these set up events to follow in the game's next adventure pack.

From David Fincher's hyper sci - fi juiced credit sequence — underscored by searing punk music — to its «Blade Runner» / «Mean Streets» ending, the visionary filmmaker pulls out every stop in his arsenal of cinematic tricks to deliver walloping visual blows.