Sentences with phrase «cut of the movie does»

The single - disc director's cut of the movie doesn't have the packaging glitz or the massive amount of bonus material as the original DVD release, but it does feature the intended, R - rated cut of the film with 30 additional minutes of footage.

But that doesn't mean a cut of the movie doesn't exist, and Vandermeer himself as seen it.

Not exact matches

... A movie that doesn't make the cut automatically loses out on the billions of renminbi China's audiences have to offer.

Saving money does not mean you have to cut the experience of watching a new movie in the theatre.

I am a young - at - heart, down - to - Earth woman Who is looking for that special someone to share My life with.I enjoy doing almost anything with someone I care about.I especially enjoy dining out, day trips, movies, flea markets and zoos.I am a very clean - cut woman - no smoking, drinking or gambling.I also like spending time with My man.I would enjoy spending time with the children of anyone I might meet.I consider Myself a gentle woman, and hope there's someone out there Who Values That... I'm looking for my soul mate, best friend, my confidant, my lover, the man I can tell anything to good and bad, my companion for the rest of my life, someone that will be there in the good times and the not so good ones.

There's something like an hour and 45 minutes worth of movie that didn't make the final cut.

Even though it does rise above the usual movie - licensed tripe, with its fun core gameplay (which is basically a «cut and paste» copy of Batman Arkham Asylum.

I can't believe that Liam Neeson didn't make enough money with his Phantom Menace merchandising cuts to do this piece of shit, and poor Lilly having to utter some of the worst dialogue in movie history.

There's little doubt that Stone does an impressive job of authentically establishing the movie's cut - throat world of high finance right from the outset, as the filmmaker, along with coscreenwriter Stanley Weiser, offers up a blisteringly - paced narrative that rarely pauses to explain exactly what the central character does or how all of this works.

Even though it does rise above the usual movie - licensed tripe, with its fun core gameplay (which is basically a «cut and paste» copy of Batman

I don't believe I've ever encountered an unrated cut of a movie that was substantially different or better than its theatrical cut (well, Walk Hard adds 25 % new content, some of it quite entertaining, but I'm okay having only the theatrical cut of that underappreciated biopic spoof).

Make your sappy true - life tabloid story, but at the very least take a small amount of time flipping back over the entire history of music in search of a cut that's more interesting, more vital than the god - damn Passenger — something which doesn't instantly remind you of many other, better movies.

Noah Wyle did a hell of a job portraying Jobs and tackling his fascination with LSD in the TV movie Pirates of Silicon Valley, so Kutcher has his work cut out for him.

Though the movie has more than its share of memorable scenes (from the brainwashing flashbacks, to Frank Sinatra doing karate, to Angela Lansbury's third - act soliloquy), there's too much dead space in between, including a superfluous subplot with Janet Leigh (who curiously gets third billing) that could have been cut entirely.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutof a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutof those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutof character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutOf The Sea, the cornball sea adventure of which I enjoyed every minutof which I enjoyed every minute.

Sure, you don't want the studios to cut corners to the point where movies start looking cheap and silly — a big reason why superheroes and aliens have been making such a huge impact on movie screens in recent years is that we can finally make them look cool instead of tacky.

But like Abrams did on «Star Trek,» Whedon has stepped up his game in a major way: the action is clear and coherent, the pacing is tight (it's 140 minutes long, but flies by) and the technical contributions are top - notch across the board, from the Bond - movie production design of James Chinlund («The Fountain «-RRB- and the razor - sharp cutting of Jeffrey Ford («Public Enemies «-RRB- and Lisa Lassek («Cabin In The Woods») to Seamus McGarvey «s bright cinematography and Alan Silvestri's firmly listenable score (although the latter could, it should be said, use a more distinctive theme).

Harris gives the full story and final word on why she did not return to play Jamie Lloyd for a third time, and Akkad is candid about his father's battles with the studio and the Weinstein brothers, which ultimately lead to the Akkad's (and most of the original crew) being completely excluded from any participation in the reshoots that drastically altered what would have been a game changing ending of the movie and resulted in two very different cuts.

Director Larry Charles may have had to cut some precious time from folks like Kevin Corrigan, Chris Parnell and J.B. Smoove (who does show up during the credits in the blooper reel / extra scenes bit) but it's to the benefit of the movie, which gets in and out in the perfect amount of time (it should be noted B.J. Novak who was cast is nowhere to be seen; also, don't let anyone spoil the cameos for you).

In his first movie as writer and director, Jordan Peele didn't abandon his comedy roots — he sharpened his wit into a sword, all the better to cut down the hypocrisy of so - called «postracial» liberalism.

I don't think I'm cut out to be the type of film critic — and, really, I don't know how you'd be any other type of film critic — who sees every movie and has an opinion about them.

NEW YORK — When the filmmaking Duplass brothers sat down to list their top 10 movies of all time, one cinematic masterpiece didn't make the cut.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

Although these new scenes kept the gritty tone and sass of Helgeland's original, they weren't Helgeland's scenes, and though still considered by many as a good film, given that most of the filming had been completed by Helgeland before his departure, the chance was there for Helgeland to make the movie that he wanted, in a similar way that Richard Donner had done with his Director's Cut of Superman II.

Though it didn't make the final cut for Best Foreign Language Film at this year's Oscars (probably because the source material was a little too lighthearted for those misery - loving Academy voters), «The Intouchables» is one of the most crowd - pleasing movies that I've seen all year, boasting an infectious charm that had me grinning from ear to ear.

Sometimes you can cut one scene and the scene plays out great, when you see that scene on its own, but when you see the scene strung together with the whole movie suddenly the scene feels ultra long or feels incomplete or you feel like you don't want that emotional payoff at that point of the film.

Sinister's «home movies» don't just get the look of super 8 films right — they get the feel of them too, the jagged edges of the cuts, the scrambling to make the most of those precious few minutes of film.

I don't want to get into the plot or characters at all here (I want to wait until I see Lonergan's «extended cut»), but let me say that this movie features four of the most mesmerizing and complex characterizations I've ever seen in any movie: Paquin's Lisa, Jeannie Berlin's Emily, J. Smith - Cameron's Joan and Allison Janney's Monica (the latter a one - scene cameo).

The trailer is a peculiar hybrid of slick and low - rent: Its cutting to the movie's namesake song builds nicely, but the actual footage being cut doesn't show much actual badassery, focusing instead on the sounds that guns make before they're shot.

«Even when I saw the first cut of the movie, I thought, «How did we do that?»

After some deliberation (which no doubt has still allowed me to overlook something for which I'll facepalm later) here is a list of ten films that I'm very excited to see in 2012, followed by a full page of discussion about a whole bunch of other movies that didn't make my personal cut but are still bright spots on the 2012 calendar for various reasons.

But I don't think that's a real reason if this movie is simply a cut and paste theatrical release of «The Bible» miniseries that was aired on the History Channel.

I wouldn't call it a great movie, far from it actually, but it did manage to keep me entertained, and because of that, I have to cut it some slack.

As the release of the 24th James Bond movie Spectre approached, Daniel Craig was quoted as saying he'd happily do several more 007 films, then saying he'd rather cut himself with broken glass, then finally...

Cut to Ronnie ordering his subordinates around with over-the-top lingo out of movies like Commando and Delta Force; cut to slow - motion shots of the mall cop crew, squinting and posing in badass formations that emphasize their dorky self - importance; cut to Ronnie's bombastic antics constantly getting in the way of police detective Harrison (Ray Liotta), who highlights the hero's dumbassery by actually knowing what he's doiCut to Ronnie ordering his subordinates around with over-the-top lingo out of movies like Commando and Delta Force; cut to slow - motion shots of the mall cop crew, squinting and posing in badass formations that emphasize their dorky self - importance; cut to Ronnie's bombastic antics constantly getting in the way of police detective Harrison (Ray Liotta), who highlights the hero's dumbassery by actually knowing what he's doicut to slow - motion shots of the mall cop crew, squinting and posing in badass formations that emphasize their dorky self - importance; cut to Ronnie's bombastic antics constantly getting in the way of police detective Harrison (Ray Liotta), who highlights the hero's dumbassery by actually knowing what he's doicut to Ronnie's bombastic antics constantly getting in the way of police detective Harrison (Ray Liotta), who highlights the hero's dumbassery by actually knowing what he's doing.

Since both films well pre-date the preservationist era of film - as - art - and - heritage — Greed was released in 1925, The Magnificent Ambersons in 1942 — they have suffered the further indignity of being unreconstructible; studios back in those days didn't hang on to excised footage for the sake of future director's cuts on DVD, so the reels upon reels of nitrate film trimmed from the original versions were — depending on which movie you're talking about and which story you believe — burned, thrown in the garbage, dumped into the Pacific, or simply left to decompose in the vaults.»

What Beta House does do very well is cut out the middle - man of its B Movie comedy.

A few other Westerns featuring female protagonists that almost made the cut are: the Coens» «True Grit» although we just didn't really feel like Hailee Steinfeld, good as she is, actually leads the movie; Samuel Fuller «s «Forty Guns» which also stars Western superheroine Barbara Stanwyck; 1995 TV movie «Buffalo Girls» in which Anjelica Huston plays Calamity Jane; William Wellman's «Westward the Women» in which a wagon train of «marriageable» females is brought out to supply a woman - starved town in the West; and straight to video title «The Desperate Trail,» just because this is a list about strong women leads and they don't get much stronger than Linda Fiorentino (alongside Sam Elliott).

The arrival of a new Wes Anderson film is an event — one that often cuts through the noise of anonymous studio films geared for commerce — so we thought, much like we did last year for «Moonrise Kingdom» (a piece you guys seemed to enjoy), that we'd do a similar trailer deconstruction piece and look at some of the themes, motifs and similarities in «The Grand Budapest Hotel» and Anderson's previous movies.

While the majority of movies, especially those predating the home video age, exist in one definitive cut, Bedknobs does not.

-- seems tacked - on, and the movie's insistence on jingoist drama and moments of anti-German and anti-Russian patriotism just don't quite cut it.

What I like in Frederick Wiseman movies is that he's filming a whole layer of content, but he's adding a layer of decisions about how to structure the film, where to cut, that doesn't relate to relaying dramatic information.

Also missing is «Production Progression», which built off of the «Production Tour» (which did make the cut) by presenting the movie's opening scene in four different stages of production.

I have been a big fan of Bigelow's previous movies but her recent venture into political events doesn't cut it for me.

They are good scenes in and of themselves, but they don't add much to the movie and I agree with Madden that it was a good move to cut them.

Maybe there will be a director's cut of this movie coming out with an extra hour of footage because the version I saw didn't make any sense.

, from the colorfully shabby bungalows that line the beachfront where surfers and bikinied hippie girls meet, to the pancake house where Josh Brolin, playing a cop with a blocky crew cut and an oral fixation, barks orders in Japanese (Brolin's performance is a hoot), to the glitzy headquarters of Golden Fang Enterprises, a hub of illicit commerce that looks to have been furnished by the same design team that did those Dean Martin as Matt Helm movies.

Everything comes together in this movie — a phenomenal story; great performances (particularly from Perkins, whose take on Norman evokes precisely the right mix of sympathy and horror); the black - and - white cinematography (done, by most accounts, as both a cost - cutting measure and to lessen the impact of the bloody scenes), which contributes to an edgy, noir - ish feel that serves to increase the tension; and a killer soundtrack (horrible pun intended).

«When you shoot a movie, especially when it's with this movie and Josh Trank — he has a very specific tone whether it is Chronicle or [Fantastic Four], but as an actor you don't really know what kind of movie it is until you see them cut it together.

When, in the movie's final siege, Roadblock tabs himself to handle «the perimeter,» it sets up a discrete, rampaging tank sequence that doesn't cut together well at all with the rest of the Joes» attack.