Sentences with phrase «dance sequences with»

Cole left behind a celluloid track record of outstanding dance sequences with highly diverse themes (including some with a noir - tinged, nightclubby vibe), all with a recognizable Cole brand that is uncannily contemporary.

Director Steven Soderbergh shoots those dance sequences with dynamic flourish (The camera is almost always moving in ways that punctuate the actors» motions) and plenty of polish (The stark contrast of the darkened house of the club with the perfectly lit stage is itself a contrast to Soderbergh's washed - out cinematography for the scenes outside of the club).

The flashier aspects to Tarantino's movie get most of the press — the obscene but smart and wickedly funny dialogue, the non-linear timeline, the obscure and wildly varied soundtrack, the dance sequence with Vincent and Mia, soullessly revisited by both parties in «Be Cool» — but the most underrated aspect of «Pulp Fiction» is its tone.

Not exact matches

With the contest deadline just three weeks away, Metz worked busily to choreograph the dance, film the scenes, and select the best sequences.

You will move with music and learn a dance / yoga sequence which will be paired with a song towards the end of class.

Imagine 10 - minute stretches with nothing but Wookie dialogue consisting of grunts and howls, psychedelic dance sequences, and Princess Leia singing.

A line dance is a choreographed dance with a repeated sequence of steps in which a group of people dance in one or more lines or rows, all facing either

A line dance is a choreographed dance with a repeated sequence of steps in which a group of people dance in one or more lines or rows, all facing either Followers, 694 Following, 5,284 Posts - See Instagram photos and videos from @aufeminin

Bill Hanna and Joe Barbera were old friends from the MGM days, who had contributed the «dancing mouse» sequence for Sidney's Anchors Aweigh; Sidney repaid the favor by helping to finance their new studio, and also smoothing the path for Hanna - Barbera's valuable distribution deal with Screen Gems, Columbia's TV division.

And the sequence is cut in a rapid - fire spiral so we see John and Jeremy swinging their dates blissfully around the dance floor one second, and bouncing, with disreputable relish, into bed with them the next.

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.

Who would have guessed that, in The World (04), Jia would start toying with cartoon interludes and rainbow - colored dance sequences?

Another notable strength of the film is the slick imagery, courtesy of DP Gianfilippo Corticelli, who uses slow - motion shots stylishly and appropriately (a sequence with Cruz dancing in a puddle as Hirsch photographs her is stunning.)

He could also be seen in numerous dance sequences, one in full harem drag dancing with scores of women in town square.

However, with a film like this where even though each of these set pieces start out with these songs they always expand into these elongated tap dance sequences which I'm sure are fantastic for dance films, but something about them just feel repetitive.

Girls wear dance costumes, show legs and swing hips in dance sequence accompanying song with some sexual references.

dance sequences, though spirited, clumsily mix motion - capture choreography with the kinds of physics - defying feats we expect from animation.

There is an ethereal beauty (and yes, sensuality) to the scenes with Elisa and the amphibian man, and it even leads to a terrific song («You'll Never Know» by Renee Fleming) and dance dream sequence.

It resembles Jurassic Park III in its general disdain for its audience and fatigue with its own shake - and - bake premise, but it does have a couple of laughs — the best bits involving a surreal dance - off and a ridiculously convoluted sequence with a pair of role - playing strippers.

Filled with such brilliant reinventions as a sequence that disinters Ub Iwerks's The Skeleton Dance and gives it a bright new anxiety, the picture is primed for what looks to be a fall season good enough to balance the nondescript pudding of the rest.

Newsies is a revisiting of the Old Hollywood backlot musical, complete with rousing and utterly interchangeable songs and several athletically choreographed dance sequences.

(7:39) takes us behind - the - scenes of the dance battle sequence, with choreographer reflections, studio rehearsal, storyboards, and stuffed animal passes.

What is startling here is the eye - popping colour, the self - reflexive photography and visual effects, the dance sequences (Fred Astaire with his umbrella), and the witty and ingenious use of the Paris locations.

And the less said about Resurrection, with Busta Rhymes kung fu and Tyra Banks dance sequences, the better.

Here his blankness is perfectly suited to Chili's unflappable cool — and in one of the most welcomely gratuitous dance sequences in cinematic history, he reprises both his defining rôle from «Saturday Night Fever», and his seminal floor moves with Uma Thurman from Pulp Fiction.

More than anything, this one sequence in Out of Time stands as monument to the kind of pure, adrenalized cinema — a tap dance with weight — of which Franklin is capable.

The dance sequences focus almost solely on Lara with few cutaways to other dancers.

The fallout, obviously, of the cult of Twilight, Red Riding Hood is so poorly filmed that everything in it — everything — is funny, from a grieving mother pausing (and grimacing, in boss «Invader Zim» style) in the doorway of a pub to an obviously pagan celebratory dance sequence that doesn't quite jibe with the film's late - Christian histrionics.

The dance sequence is key to understanding what probably happened in the film, as it's so deeply stupid and self - contradicting that you can only think the screenwriter (David Leslie Johnson (Orphan)-RRB- had it one way and Hardwicke thought it would be cooler - looking all, y» know, heathen - y and shit with masks and a laurel crown on a wolf's head and stuff.

She is a true force here as she sweeps into the captivating first sequence (a wonderful long take) and has her first interaction with wide - eyed shopgirl Therese as the two dance together through words and innuendo.

One of the most memorable examples occurs early on, as the mute heroine (played by Sally Hawkins) watches Shirley Temple dance up the stairs with Bill «Bojangles» Robinson in 1935's «The Little Colonel,» a sequence that broke through the racial barriers of the period.

There are some beautiful dance sequences but the film is loose with its facts and succumbs too often to formulas and cliches.

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.

The first dream sequence, occurring shortly after he has joined up with the Wehrmacht as a Russian - German translator, takes place inside a church where Hitler and Stalin are shown gleefully dancing together to a light piano arrangement of «Deutschland über Alles» — an ironic, absurdist image which attracted considerable controversy in both Germany and Poland despite being taken from dreams remembered by the real Solly.

He talked about the timeless Old Hollywood persona that Gosling and Stone brought to their roles, his creative partnership with composer Justin Hurwitz and Broadway lyricists Benj Pasek & Justin Paul, the brilliant dance sequences choreographed by Mandy Moore, his collaboration with Swedish cinematographer Linus Sandgren who captured an iconic L.A. in a fresh new light, and what it means to pursue your grandest artistic dreams.

And yet here you are making a movie with lengthy dance sequences, filmed in uninterrupted shots.

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.

Some violent set - action pieces and dance sequences are truly spectacular — Bhardwaj doubles as the music director with an effective background score.

The dance sequences are beyond compare, Preljocaj's staging of them, coupled with cinematographer Georges Lechaptois's (Disorder) stunning camerawork, just astonishing.

She must have confused him with someone else, for the final extra pretty well sums up the worth of the female roles in this film: «Action Overload,» which edits together all the bartenders» dance sequences — «the hottest moments from the movie,» according to the disc box — into one MTV - ready reel.

One of my favorite movie scenes of the 2010s is the «I'm gonna tear up the f — in» dance floor» sequence in «Ex Machina,» with Oscar Isaac and Sonoya Mizuno doing a bizarre, «Saturday Night Fever» - tinged routine while bathed in blood - red light.

Filmed at the Seville Expo ’92 pavilion and adorned with numerous classical artworks ranging from Goya to Picasso, the film finds Carlos Saura rendering 21 different flamenco routines across a span of 97 minutes, though few of the sequences bear visual resemblance to one another beyond their shared form of dance.

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.»

The strangest: Padilha introduces the picture with a sequence featuring a modern - dance performance by Israel's Batsheva Dance Comdance performance by Israel's Batsheva Dance ComDance Company.

The story involves three levels (with three blunt color schemes: muted, bold, and bolder)-- reality, a burlesque version of reality, and the representation of the lead's seductive dances as action sequences.

As expected, the dance sequences are once again the highlight, with a handful of show - stopping numbers that are so theatrical it could easily be turned into a traveling stage show.

Brice milks this (so to speak) for big laughs in a nude dance sequence — wearing convincing prosthetic dicks, Schwartzman and Scott are truly the genital equivalent of Arnold Schwarzenegger starring opposite Danny DeVito — but he also treats Alex's embarrassment with genuine empathy, briefly turning the film into a serious, affecting drama about deep - seated feelings of inadequacy.

«Tomorrow»» s cleanup sequence feels claustrophobic, even when they head out to the fire escape to dance with brooms, and the helicopter - adjacent tap dance of «I Don't Need Anything But You» is half - hearted.

An opening dance sequence set in a Cleaver American Fifties features more stunt people, professional dancers, and trampolines than Cirque du Soleil, its artificiality setting the tone for the rest of the film, while the scene's conclusion (with the picture's hero trapping the celebrants in a giant dance hall, dooming them to death should a fire break out) serves as a pretty succinct summary of the film's feckless themes and carelessness.

Though not packed with wall - to - wall dance sequences, there are more than enough scenes involving pointe shoes and pirouettes to keep them happy.