Sentences with phrase «clear dialogue in the film»

Indeed, the most substantial and clear dialogue in the film comes from a drunken party guest (Will Oldham) whose philosophy could be embraced as the crux of the film or dismissed as philosophical rambling — the film works with either take.

Not exact matches

The actual sound design of the film is a little less impressive; while wholly clean and clear in presentation, dialogue is a bit flat and the use of the surrounds is a little erratic.

The movie's theatrical Dolby Digital 5.1 sound mix is reproduced here accurately, with crystal - clear dialogue in the centre channel that's been perfectly recorded, ensuring you don't miss a word of this decidedly dialogue - based film.

All voice and dialogue sounds clear and there are no overbearing drops in quality during the films run time.

This is Tarantino, so the film is all about dialogue and character and not really breathtaking cinematography, so other than Tarantino's firm belief in preserving 70 mm, I'm not clear why he's pushing it for this particular film.

A 5.1 Dolby Digital track is somewhat underutilized and a little quiet, but there is also a lack of any real need for bombastic five - channel audio pyrotechnics in the film; all that you need know is the dialogue sounds clear and the indie soundtrack is appropriately evocative of the Chelsea underground nightlife.

In fact Peeta, who is still something of a liability during the actual games (he does temporarily die, after all), thanks to some sensitive writing, gets to deliver some decent dialogue that suggests his independent thought processes, and makes it clear that Katniss, to her credit and that of the film, has a choice to make not between Hottie 1 and Hottie 2, but between two different young men who are defined by different things in the wider world, and not just their relationship to heIn fact Peeta, who is still something of a liability during the actual games (he does temporarily die, after all), thanks to some sensitive writing, gets to deliver some decent dialogue that suggests his independent thought processes, and makes it clear that Katniss, to her credit and that of the film, has a choice to make not between Hottie 1 and Hottie 2, but between two different young men who are defined by different things in the wider world, and not just their relationship to hein the wider world, and not just their relationship to her.

Although he mostly shows it with snippy dialogue and rigidly controlled schedules, Daniel Day - Lewis» Reynolds Woodcock is a fussy little dude, something made especially clear in a deleted scene that Anderson recently released to promote the film's upcoming home release, showing the Woodcock siblings descend from prodding at each other into a full - on food fight.

It is clear, however, that the people who made Your Highness looked at all that wooden dialogue, all those terrible special effects, and all of those bare - breasted women and said, «Y ’ know, it's been too long since someone made a film in this genre.»

Mostly, the track benefits from the clear placement of dialogue in the centre channel, but Michael J. Lewis's score gets a nice boost from Rowe's liberal use of the surrounds (this may be a good or bad thing, depending on how you feel about Lewis's adventure - film approach).

As the film begins, Joe is being released from prison after a six - year stretch, though the details of his crimes are slow to emerge; conversations with the ironically named Lieutenant Pleasant (Gary Cole) makes it clear that Joe was previously on the force, where both were involved in graft and murder, but the dialogue throughout is naturalistic rather than expository.

This track provides clear dialogue and the incidental music in the film sounds very good.

The DVDs Dolby Digital 5.1 audio track works very well as it offers clear dialogue and, more importantly, does a great job with the music in the film.

It's clear that the screenwriters (Ross, series creator Suzanne Collins and State of Play screenwriter Billy Ray) are using the expanded viewpoint to begin sowing seeds for the sequel — specifically Snow's words about «a spark» needing be contained — dialogue that not - so - subtly refers to the title of already - in - progress sequel film, Catching Fire.

As with the first two films, it's clear that expository dialogue works better in book form.

This disc's Dolby Digital 2.0 Stereo track does a capable job with the film's workmanlike audio design - dialogue is clear and natural, «Death and the Maiden» sounds nice as a result of accurate fidelity, and although there's very little in the way of exciting audio moments, the few gun shots and loud crashes come through smashingly.