Sentences with phrase «closing scene of the movie»

Every morning is a new start and every evening is a closing scene of a movie.

Not exact matches

Mr. Carter reports, «Much of the attention that has surrounded «Serving in Silence» has focused on a scene late in the movie in which Ms. Close tenderly kisses Ms. Davis.

What we find is a series of separate scenes — snapshots rather than a movie — and the four writers, who in the closing scenes were constrained to follow a fixed order of events, use a large liberty in arranging the separate stories they tell, and the arrangement comes out differently in each of them.

«On our first post-baby date, we went to see Zodiac, a creepy, close - to - three - hour - long movie that included a scene of a young child in danger.

There's a scene close to the end of the movie where he arrives on one side of a giant chasm and on the other side is the cave with the knight who guards the Grail.

Without fail, the dullest installment in any superhero movie franchise is the origin story, during which audiences anxiously awaiting The Big Bad Guy have to suffer through, yaaaawn, scenes of childhood trauma, romantic tragedy, and other expository effluvia, by which point the closing credits are fast approaching.

Some of the acting is pretty bad, mainly with the brother / preacher and the first wife (but her problem is the corny «gangster» dialogue she spouts off), but Paul Muni is quite good, especially in the scene that closes the movie.

Aside from the opening and closing scenes which bookend things, the movie takes place in a single day in each of the time periods, alternating back and forth between them.

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).

I did notice that Langella's teeth were brownish and rotting in his close - ups, but dazzling examples of expensive dentistry in all other scenes of the movie.

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.

The emotional beats are right on cue - although this can be called into question slightly in the closing minutes of the movie - and the action scenes are visceral, real and are actually incredibly scary for a PG - 13 movie.

Once the characters are presented in close - up and their names blazed across the screen in captions (a trick copied to great effect, and made into a signature by Nicolas Winding Refn in the similarly hard - hitting Danish actioner Pusher [1996]-RRB-, the scene is set for one of the greatest chase - movies of the decade.

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.

Meanwhile, MTV was busy chatting with Kosinski, the director revealing, «We've got an idea for the next movie that's really exciting to me,» and, «You look at what happened in the closing scenes of «Legacy»; I think it sets a clear direction for what could happen in the next chapter.»

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.

Maybe Tomorrowland dawdles its way to its climax because that particular set piece is such a bust: an underpopulated and anticlimactic action scene that doesn't come close to fulfilling the promise of the movie's best moment, a mid-movie single - take tour of the Tomorrowland that once was.

It's the kind of movie you want to rewatch just to see what you can find hidden in each scene, to examine closer all the nuances and details about their quiet life.

And when Geoffrey Rush, in shaky possession of a Russian accent, strides onto the scene as Trotsky, the movie comes dangerously close to resembling a «Saturday Night Live» skit.

Stylistically close to Anderson's movies — protracted takes, non-diegetic music abruptly cutting out with new scenes, limited character arcs — The Squid and the Whale remains a highly enjoyable examination of the inability of educated people to understand the world around them.

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.

And while there's a nicely tentative quality to the scenes between Bob and Erik (whose wounded ambition is perfect for the handsomely bland Hartnett), the movie hits another level when it's behind the closed boardrooms of editors and publishers, and where characters like Alan Alda's managing editor can be observed manipulating people like a man calmly poking snakes in a box.

We've had a few glimpses of Wonder Woman's warrior women in the past — officially and unofficially — but this latest look behind the scenes from the movie gets pretty up close with the movie's Amazon look, and they don't look half bad.

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.

Given real struggles to convey, Quaid delivers some of his finest acting in the movie's closing scenes, his furrowed brow pointing to a pair of focused eyes that say a lot more than the script's rampant issue - based dialogue.

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).

Not that it really matters, though, as the movie is otherwise pure nightmare fuel, building in intensity from its artfully uneasy opening scenes to its closing gauntlet of horror.

Tie: Deadpool / Popstar: Never Stop Never Stopping — Both of these movies made me laugh (hard) right from their hilarious opening - credit scenes and on through until their equally funny closings.

It felt like the entire point of every previous Marvel movie was to build to the deeply satisfying Avengers sequence where the Hulk swats swarms of aliens and pummels the duplicitous deity Loki, in scenes that were the closest onscreen equivalent to the kinetic, physics - defying visual poetry of late Hulk co-creator Jack Kirby.

It is simply a cool action movie and while the movie is not without its faults (I particularly missed the architectural fetishism of the Tim Burton movies and some fight scenes are shot up real close so that you can't always see just what the heck is happening) it is like seeing your favourite comic book title being written and drawn by some guys with an understanding of the character involved for a change after seeing it being ruined by some talentless hacks.

Haley does abandon the tone of the movie a bit too often in these scenes, flirting a little too close to melodrama in a few instances, but in general the Stockholm Syndrome-esque relationship is utilized well.

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

The filmmaker has revealed that the movie was going to close with T'Challa at the United Nations, but the decision was made to shift it to the credits in order to focus on scene of the kids playing basketball in Oakland.

You're never bored, but there's so much material covered here that The Last Jedi easily could have been two movies, and there's so many final standoffs and climactic scenes by its close that it feels like at least four or five movies» worth of conclusions.

And Charlotte Rampling in 45 Years felt brave, not in a «Boy, she really lets the years show» way but because the final scene of Andrew Haigh's devastating movie depends, 100 percent, on what she can do with a close - up.

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.

Also, we get a closer look at characters like Natasha (Scarlett Johansson) and Bruce Banner (Mark Ruffalo), two characters that are allowed a chance to really grow here as they developer a romance with one another (scenes showing the two of them together show that these characters really deserve their own new movies).

Bonus: • Audio Commentary with Chaplin Biographer David Robinson • «Modern Times: A Closer Look» Featurette • «A Bucket of Water and a Glass Matte» Featurette • «Silent Traces: Modern Times» Featurette • «David Raksin and the Score» Interview and Orchestral Track • «Two Bits» Deleted Scenes • «All At Sea» Home Movie and Interview • The Rink 1916 Short Film • «For the First Time» Featurette • «Chaplin Today: Modern Times» Documentary • Theatrical Trailers

The handling of the BDSM sex play is dreadfully cliched in terms of structure (3 heated romps and a final dramatic one); however, the actual presentation of the «love scenes» recalls the style of director Adrian Lyne (Unfaithful, Nine 1/2 Weeks), favoring artsy close - ups of human form, curve and the intimate sensations of touch, feel and response, rather than the raw carnality seen in something like Basic Instinct (my generation's landmark erotic thriller movie).

Thankfully, there are more than enough examples of this kind of gory comedy to keep Deadpool 2 comfortably in the successful column, right down to the closing credits scenes that sit amongst the movie's funniest moments.

Don't miss the extra scene in the closing credits... it's the lead in to Avengers: Age of Ultron movie coming in 2015.

An extra scene tacked onto the end of the credit sequence neatly sets up the upcoming Marvel movie The Avengers (just as this movie was teased last summer in the closing credits of Iron Man 2).

One of the most excruciating scenes of the movie year comes when Roberts goes off to investigate a routine homicide and finds that the victim is someone close to her.

McQueen drove this Mustang for many of the close - up scenes in the movie.

Scenes of the movie were filmed all around Kauai, including Jack Sparrow discovering the unique Honopu arch on the Napali Coast, which is only accessible by boat, or being held captive on the coconut groves of the closed Coco Palms Hotel in Kapaa.