Sentences with phrase «closing scene of the film»

Oscar - winner Octavia Spencer («The Help») is a throwaway casting choice as Amity Johanna (who has more of a role in the novels), and Oscar - nominated Naomi Watts has barely ten lines in the whole film (though she is gifted with the closing scene of the film — a scene that was drastically changed from the book).

Not exact matches

At the time of filming Angels Flight was closed but they reopened it for the scene.

The DVD also includes the 30 - minute «The Hidden Side of «Persepolis,»» which delves into how the comic book originally came about and how Satrapi set out to adapt it to film, and the 8.5 - minute «Behind the Scenes of «Persepolis,»» which gets up close and personal with the voice talent and animators.

Another factor is that the trailers and other advertisements leading up to the release of the film already show you the climaxes of the best scenes, from the aforementioned traffic jam, the zombie horde working in unison to scale a great wall, as well as jumping onto helicopters that foolishly get too close.

Anyone who pays even the faintest bit of attention to the behind - the - scenes goings - on in Hollywood must be aware that its original directors Phil Lord and Chris Miller — the guys behind The LEGO Movie and 21 Jump Street — had a creative disagreement with Lucasfilm, leaving the film in the safe - as - cotton - wool - padded - houses hands of Ron Howard (a close chum of one George Lucas).

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

By playing the film's final scene under the closing credits crawl, however, Denis undermines the very idea of an ending.

Special kudos must be given to film editor Michael Kahn, whose facility with these completely unhinged battle sequences should shame anybody who's ever worked on a Michael Bay movie; to cinematographer Janusz Kaminski, who has given these scenes a dull grey cast evocative of nightmares torn from America's sleeping subconscious brain; and to sound designer Gary Rydstrom, who has crafted a World War II soundscape that rattles and unnerves you even when your eyes are closed.

Indeed, it's thanks to Kidman that one of the most astounding movie moments of 2004 occurs in what is otherwise one of the year's worst films: an expertly shifting play of emotions, from doubt to epiphany, that Kidman's Anna beautifully conveys across a lingering close - up, in a scene set in a concert hall.

The film's closing moments are some of the most compelling and gripping scenes you will ever see in a film.

Aside from the obvious fact that no - one looks as if they've aged a day, it serves no real purpose in the film, and does nothing to dilute my general hatred of tacked - on «and then this happened» scenes to close out a movie.

In the company of several of her Actor's Studios colleagues, Barbara made her film debut in East of Eden (1955), playing the nurse in the closing scenes.

About two - thirds of the new scenes were presented in the deleted scenes section of the earlier edition of this film: «Battle Aftermath,» «Looking for Strength,» «Dye Market,» «Meeting at Gracchus» House,» «Father and Son,» «The Execution,» «Spies Close In,» «Another Enemy,» and «Fighting with Fire.»

Slow West continues the Western's visual convention of wide cinematography — it's a landscape film — and extends it with chopped extreme close - ups during the shoot - em - up action scenes.

The film's running time doesn't fly by, exactly, but it rarely seems to stall out, which is impressive when you consider how many of the movie's big scenes consist of people talking, sometimes emoting, in close - up.

Extras include a six - minute behind - the - scenes featurette whose highlight is star Wilson suiting up for a pre-production supersonic flight; seven deleted or extended scenes — among them odd alternate opening and closing title sequences — with optional commentary from director Moore and editor Paul Martin Smith — these trims carry a viewer discretion warning, for they would've threatened the film's PG - 13 rating; a fantastic, largely CGI pre-visualization (with, again, optional Moore / Smith commentary) of the virtuoso ejection set piece that at times gives Final Fantasy a run for its money; the teaser trailer for Spielberg's upcoming Minority Report; and two engrossing full - length commentaries, one by Moore and Smith, the other producer John Davis and executive producer Wyck Godfrey.

It's somehow cyclical, how from the barren earth of winter a new harvest will come forth; over the film's closing credits we see just that, home - movie archive scenes of harvests past.

Winging between deadly serious starts (this is a film that opens with an incinerated baby, for chrissakes), heartbreaking lost loves, kingdom - destroying action scenes and Blunt and Theron yelling at each other to the point of camp, the film never even comes close to striking a balance.

Similarly average is the film's DD 5.1 audio, which, save for the opening and closing scenes of broad Kindergarten Cop sitcom violence, doesn't give the surround channels much to do.

The only other scene worth the film it's printed on is Colin Farrell at the supermarket, accosting the pharmacist (a snippet of which you can see in the closing credits of the movie).

Paul Thomas Anderson's latest film, Phantom Thread, a portrait of a fictional fashion designer in the couture scene of 1955 London, indulges in similar revels, placing the film firmly in the tradition of the melodramatic women's pictures of the 1940s: it's filled with achingly vivid close - ups (Anderson also shot the film) of shining colored threads, needles piercing thick fabric, rough - edged hand - sewn labels, intricate lace patterns, and rich cloth falling in sculptural folds.

The priest is Father Lavelle (Brendan Gleeson), and he appears in almost every scene of the film, beginning with its first one: a single take close - up of Lavelle in his confession booth, listening intently as some unseen person relates the trauma he suffered at the hands of another holy man.

But even though the film is two hours (the closing credits, thanks to a ton of bonus scenes, run close to 15 minutes) and it isn't a classic, «Ghostbusters» is consistently fun and genuinely works for a new generation of fans, while pleasing the old ones who will give it a chance.

At one point called That's What I'm Talkin» About, the film comprises a cast of unknowns and it explores a subject that's very close to the director's heart: the college baseball scene of the 1980s.

These changes are not huge in themselves, but as the coda that plays over the closing credits reminds us, even the smallest things can have the most unpredictable of consequences — and although the scenes involving mysterious sneeze guru and failed Presidential contender Humma Kavula (John Malkovich), an entirely new character, seem to have little point here, there is no doubt that his rôle is destined to become more pronounced in the inevitable sequels (note the many verbal references to a certain «Restaurant at the End of the Universe» towards the film's close).

Once Upon A Scene — A closer look at the evolution of the storylines throughout the production of the film, including alternative openings to the film and many deleted scenes.

Many of Brown's comments regarding the film's cinematography are repeated within the bonus material on Disc 2, but it's enlightening to discover just how much was shot with the SteadiCam, and I appreciated his dry musings on how he wasn't wearing safety goggles when filming the close - ups of the axe chipping away at the bathroom door and how shooting a nude scene is anything but an erotic experience.

Mark Duplass, star of the film, was in attendance for SIFF's closing night, and answered a few questions for Scene - Stealers.

Indeed, the fact that new Peter Parker is played by a 19 - year - old actor, thus putting him a little bit closer to Parker's age in the original 1962 comic, added to the dynamics of both the scenes and, per the screenwriters, the film overall.

Their scenes together hit the mark and even touch the heart, but it is still the back and forth with mom that lifts this film to a whole other level as further friction is caused when Lady Bird secretly applies to a New York University against the wishes of her mother who wants her to stay close to home.

«It's very Richard Linklater,» said producer Robert Teitel of the film's many scenes of winding conversations, which unfold as the couple wanders through the city, much in the same way Ethan Hawke and Julie Delpy tease and bicker and draw closer to one another in Linklater's trilogy of films beginning with «Before Sunrise.»

The film definitely feels like a Bay movie though when it comes to all of the up close and personal action scenes.

BE: How close is the film to the original concept of the film, and was it difficult shooting the nude scenes?

In case you didn't see the middle film, «The Desolation of Smaug,» the final film opens with the same scenes that closed part two.

But those enamored by the notion of these toys experiencing the holiday season ought to revisit the closing scene of the original film.

SPLIT offers viewers a closer look at the movie fans are raving about with a never - before - seen alternate ending, deleted scenes, character spotlight, and a behind - the - scenes look at the making of the film.

• The Go - Mobile Revs Up the Action (SD, 7 minutes): A really inventive machine used to capture many of the film's close - car chase scenes is presented.

The film's most famous scene remains Grant being pursued acrosss parched fields by a murderous crop - duster, and the closing set - piece on the face of Mount Rushmore still packs a similar punch.

The formalist challenges she took on in the fashionista thriller Rage — comprised almost entirely of confessional close - ups — seem to have resulted in the huge emotional payoffs in the intimate scenes in the current film.

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.

Coming in at a close tie for second are the amusing round of golf filmed between Tom Felton, Grint, and the Weasley twins (James Phelps and Oliver Phelps) as they discuss having spent the last decade together and the friendship that's formed out of it and the look at Radcliffe's septuplet special effects scene (from the opening of the film).

With filming on Avengers 4 starting to draw to a close, actress Elizabeth Olsen has taken to Instagram to announce that she has wrapped filming on the as - yet - untitled follow - up to Avengers: Infinity War — and to mark the occasion she has shared a behind - the - scenes video of her shooting a stunt sequence as the Scarlet Witch; -LSB-...]

After Prick's jolting opening scene — an extreme close - up of the gore - flecked face of Kenneth Halliwell (Alfred Molina), who calls out for the man he's just bludgeoned with a hammer — the film settles into a more conventional arc.

Close to 40 minutes of deleted and extended scenes illustrate more of the restraint Scorsese showed with this film, while you can hear him talk on a half - hour Tribeca Q&A panel with his two stars as they think back to the project.

Another involves the marital happiness of one of its characters, Simple Simon (O'Dowd, «the IT Crowd») whose relationship and nuptials are barely set up before we have feel - good scenes of partying and marriage, only to follow it up with seeing the young man's heart crushed in a wholly manufactured and not terribly funny gag that his bride (January Jones, We Are Marshall) only is using him to get closer to the object of her obsession, the flamboyantly popular DJ Gavin Cavanagh (Ifans, Garfield 2), is, like many scenes in what is a lengthy film for its type, not only a needless and long side distraction, but there's no payoff in either laughs or carrying forth the themes.

For a film that, as its plot demands, often features bodies in extreme physical proximity — embracing, fucking, fighting — The Lovers also pays close attention to the spatial (and emotional) chasms separating its constellation of couples, evidenced in the softly shattering opening scene.

Directed with an awfully heavy hand by Alexandros Avranas, the film has its own obsession with extreme close - ups, characters constantly entering rooms and closing doors, and, more problematically, scenes of naked women in bondage being debased by fully clothed males.

But despite the source material and Winterbottom's attempts to ape the look of classic film noir, the final results are closer to a Rob Zombie - style horror film that seeks to shove the audience's face in scenes of abhorrent violence.

Firstly, three decades after its release, the original film still works, thanks to its (at the time) top - of - line special effects, a series of legitimately gruesome scenes (It is strange that the remake, which has the PG - 13 rating its predecessor helped to usher in, never comes close in that respect), and a much - appreciated sense of humor.

On the other, Kinski's scenes are at least amusing and occasionally hypnotizing — a pair of shots in which he's seen applying eyeliner and lipstick must be among the most riveting close - ups ever to grace a slasher film.