Destined to be a slumber - party staple for years to come, the combination of an engaging young cast, moving and understated melodrama and sensationally staged
dance sequences make for a commercially potent package.
Not exact matches
One team of children to design and program a
sequence of events to
make their Constructa - Bot
dance using at least 10 steps.
There are a few beguiling moments in Holy Motors, particularly a martial - arts
sequence and an erotic
dance while Mr. Oscar is dressed in a motion - capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that
makes sense.
There were great
dance off
sequences, self erection shenanigans, and Robert Deniro cosplay that
made you wish you were at the party.
A phenomenal soundtrack from M83, and some inspired frames by DP Simon Beaufils (particularly in an early
sequence at the
dance club Le Future, which is juxtaposed by another grisly murder) assists in
making the production of Knife + Heart the real winner.
Appropriately, the long takes in the musical
sequences aren't there so the audience can «see the
dancing,» as the old cliché goes, but to cast a spell: The unbroken camera movements, self - conscious as they may be,
make the movie more dreamlike.
Now on board as cinematographer; Steven Soderbergh
makes each shot look exquisite and the choreography of the
dance sequences is exceptional.
Most importantly, without Cuarón, it's hard to imagine Yates would have the freedom to
make the Potter movies his own: to
make the Ministry of Magic an automated nightmare straight out of Brazil; to shoot action
sequences as loud and surprising as gunfights; to let Harry and Hermione
dance to Nick Cave, even though it's not in the books, because it turns out that's just what the audience needs to see.
Personal crises may be wreaking havoc on poor Gilcrest, but all you have to do is put on a Hall & Oates song and you can watch Emma Stone and Bill Murray deliver a deliriously entertaining
dance sequence to
make you forget all of your troubles.
The
dance sequences, beyond being stifled by 3 - D,
make no sense as a contest.
But lest this
make BPM sound like a dry procedural manual for would - be change - makers, let me note that the movie also throbs with ecstatically filmed nightclub
dance sequences and one of the hottest sex scenes of the year, between Pérez Biscayart's Sean and Arnaud Valois as a newcomer to the group who becomes his lover and, as he grows sicker, his caregiver.
And yet here you are
making a movie with lengthy
dance sequences, filmed in uninterrupted shots.
Extravagant special effects are taken for granted in superhero movies, but Ant - Man has enough imagination to
make them seem both fun and necessary, whether it's during a scene where the shrunken Lang finds himself dodging Lucite heels on a
dance floor or in a psychedelic, space - folding
sequence set in the Microverse, the dimension of the sub-atomically small.
• I'm starting to think that the key to
making a successful film is to have an animated character perform a completely unnecessary
dance sequence in it.
Together, they have genuine chemistry, even
making charming
dance partners in a splashy dream
sequence.
Moore's work is evident in both of these behind - the - scenes looks at the
making of La La Land, including the glorious waltz
sequence that is part of the film's seven - minute epilogue and the jazz whip
sequence featured in a split screen with Emma Stone's
dancing and Ryan Gosling's piano riffs.
Jones
makes us believe his creature could exist (despite what looks like a confining costume) and partners her so well in a
dance sequence you'll wonder how he was able to pull everything off.
The unwarranted romantic subplot and the cross-cutting of the
dance sequence during the adrenalin raising scenes add to the breaking of the momentum of the scenes,
making the entire screenplay a clumsy and lethargic display.
Garland's work reaches new heights with «Annihilation,» a bold and innovative sci - fi horror thriller that contains at least three
sequences — no wait,
make that four or five
sequences — at least as daring and loony as that weirdo
dance routine in «Ex Machina.»
Despite being comprised of reproductions, the work feels completely in line with Cunningham's Events, which he described as being «comprised of
dances from the repertory, or parts of them, as well as movement
sequences made particularly for them, are mostly given in non-proscenium spaces.»
The work that
made Leckey's name in 1999 was Fiorucci
made me Hardcore — a personal journey through British
dance culture starting with 70s Northern Soul and
sequencing through to 90s techno and the free party scene.