Sentences with phrase «darker scenes in the film»

Not exact matches

In «The Dark Knight Rises» he actually had a plane dropped from the sky to film the movie's opening scene.

Some funky «day for night» late in the film looked a bit awkward, but most of the dark scenes worked fine.

The rumored $ 250 million production features even more scenes filmed in the IMAX format than 2008's The Dark Knight 82 and will once again see the return of Alfred (Michael Caine), Lucius Fox (Morgan Freeman), and Jim Gordon (Gary Oldman).

In just a handful of scenes Django Unchained reminds us that it is a film set in one of the darkest and most shameful periods of American historIn just a handful of scenes Django Unchained reminds us that it is a film set in one of the darkest and most shameful periods of American historin one of the darkest and most shameful periods of American history.

The film is definitely one of the best looking of 2015 with vibrant and colorful backdrops, juxtaposing heavily with the dark scenes transpiring in the foreground.

More, this is an unusually «dark» film in the literal sense, with many a lowly / dimly - lit or nearly - black interior scene, but even in those dark moments detail and solidity of colors, shapes, and figures is impeccable.

«Batman Begins,» «The Dark Knight,» and «The Dark Knight Rises» will also be available as «The Dark Knight Trilogy» on 4K Ultra HD Combo Pack for $ 70.99 SRP **, and features the three films on 4K Ultra HD with the feature films in 4K with HDR, Blu - ray discs of the three films in hi - definition, bonus Blu - ray Discs with behind - the - scenes content and special features, and a Digital copy of the films.

Liam Neeson, who played Batman villain Ra's al Ghul in Christopher Nolan's Dark Knight trilogy, was mentioned by Deadpool himself in the first Deadpool flick's post-credits scene, though it was actually another actor from Zack Snyder's films who may have come closer.

Krasinski is so naturally likable that when Peter explodes in a pivotal scene late in the film, it's discomforting to see his good natured persona turned dark.

In one scene, Ant - Man hovers in a dark space with haphazard, mirror - like panes — a scene that looks strikingly similar to «Doctor Strange's» own mirror world, the place he and his fellow sorcerers popped in and out of throughout the filIn one scene, Ant - Man hovers in a dark space with haphazard, mirror - like panes — a scene that looks strikingly similar to «Doctor Strange's» own mirror world, the place he and his fellow sorcerers popped in and out of throughout the filin a dark space with haphazard, mirror - like panes — a scene that looks strikingly similar to «Doctor Strange's» own mirror world, the place he and his fellow sorcerers popped in and out of throughout the filin and out of throughout the film.

This is less dark looking than his films usually are and it has this lovely way of mixing horror thriller and comic moments, sometimes in the same scene.

As often happens with Real D technology, the film is way too dark, particularly in the underwater scenes.

Even the darker second film had plenty of humor throughout, but Skull's attempts are in the realm of mild comic relief rather than contriving scenes of out - and - out gags.

Also featured is the extra «Analyzing Dark Water Sequences,» which takes an in - depth look at the creation of three specific scenes in the film, but the lack of any audio commentary by the director or the all - star cast is extremely upsetting.

Miss Peregrine's Home for Peculiar Children also reunites Burton behind the camera with his Dark Shadows and Big Eyes cinematographer Bruno Delbonnel, whose knack for creating glossy visuals through his film work (by utilizing soft shadows / focus shooting techniques) looks to serve Burton's upcoming film well - in particular, during those scenes that take place in the fantastical setting where Miss Peregrine and the «Peculiars» live.

Alexandra Shipp shared with fans a behind the scenes photo of X-MEN: DARK PHOENIX fight coordinator Richard Norton, taken from the film's set in Montreal last year.

It's a dark echo in there, side - by - side with Jimmy's grim dedication to buying up lakefront property and turning this prelapsarian wonderland into an exclusive, members - only club, but the film explores neither beyond their mention and contents itself to wrap up with a few scenes of mayhem, three insipid montages set to horrible music, and the same finale involving the birth of a child it seems like Martin has done now in a good half of his films.

While one may admire the attempts by Kassovitz (who played coincidentally played the love interest in Amelie) to deliver a sense of style to the film, and is effective at achieving a dark atmosphere, this style also gets in the way of many scenes, making the tone seem unfit to the rest of the film.

There are hints of a darker, more interesting film in there (Ultorn's stunning entrance during the party scene which filled with atmosphere, dread and foreboding), but is quickly abandoned in favour for the usual superhero fanfare were any sense of drama or peril quickly evaporates.

Dark Shadows is treated to Maximum Movie Mode, which enhances playback of the film with picture - in - picture interviews and behind - the - scenes footage.

In «Analyzing Dark Water Sequences» (5:35), the filmmakers give their thoughts on three select scenes from the latter parts of the film.

Even in his newest film, Darkest Hour, the camera has a sense of freedom in a movie that consists mostly of dialogue - heavy interior scenes.

As likeable as the film is for long periods of time, the darker elements are explored too long during the scenes in East Germany, which does tend to undermine the light and cheeky nature of the set - up.

Behind - the - scenes featuretts include: The Journey Begins (creative concepts, story development and casting), Shaping Mind and Body (Christian Bale's transformation into Batman), The Tumbler (reinvention of the Batmobile), Gotham City Rises (production design of Gotham City, the Batcave, Wayne Manor, and more), Saving Gotham City (the development of miniatures, CGI, and effects for the monorail chase scene), Genesis of the Bat (a look at the Dark Knight's incarnation and influences on the film), Path to Discovery (filming in Iceland), and Confidential Files (go beyond the movie and discover facts and story points not in the film).

My biggest complaint would be regarding an absurdly aggressive film grain filter, which is fine most of the time, but in particularly dark scenes it's a vulgar haze across the screen, making the game look honestly worse than it actually does.

The majority of the film is quite clear and looks very good, but there are inconsistencies, especially in some of the darker scenes in which the print looks to be in pretty bad shape.

Beautifully mastered on DVD and Blu - ray, which preserve the intricate textures and vivid, defining colors of the film, with commentary by filmmaker Guillermo Del Toro (whose pride in his work shows through), the featurettes «Beware of Crimson Peak» (a seven - minute guided tour through the manor) and «The Light and Dark of Crimson Peak» (about the set designs and color schemes), and five deleted scenes.

Joffe, channeling Kubrick's The Shining with long nightmarish shots of hotel corridors and dark shadows behind doors, brings the film to life in these scenes, awakening Before I Go To Sleep (if you will forgive the pun) from its slumber.

In the better comic book films, you'll have that dynamic performance from either the hero or villain (i.e. Robert Downey Jr.'s Iron Man, Heath Ledger's Joker in The Dark Knight, Hugh Jackman in X-Men) that raises the film to another level and drags the audience along with them through every scenIn the better comic book films, you'll have that dynamic performance from either the hero or villain (i.e. Robert Downey Jr.'s Iron Man, Heath Ledger's Joker in The Dark Knight, Hugh Jackman in X-Men) that raises the film to another level and drags the audience along with them through every scenin The Dark Knight, Hugh Jackman in X-Men) that raises the film to another level and drags the audience along with them through every scenin X-Men) that raises the film to another level and drags the audience along with them through every scene.

That scene simply played too dark and left the film on a strange note, as opposed to the final post credits sequence which still involves a dark act but in a much more amusing light.

While Dark Night remains fascinatingly ambiguous throughout, Joshua Marston's Complete Unknown (Grade: B --RRB- only starts that way: Early scenes deliberately disorient, the film making speedy leaps in time and geography, with Rachel Weisz popping up in what looks like a series of disguises.

Featuring exclusive concept artwork, behind - the - scenes photographs, production stills, and in - depth interviews with the cast and crew, THE ART OF THOR: THE DARK WORLD provides an insider's look into the making of the highly anticipated film directed by Alan Taylor and starring Chris Hemsworth!

Behind the Scenes: Darkest Hour - Director Joe Wright and Gary Oldman as Winston Churchill onboard a vintage London Underground carriage which features in the film / / #GaryOldman #JoeWright #DarkestHour #WinstonChurchill #behindthescenes #WT

Nevertheless, the film never gets too dark for its young audience and indeed it is during one of the big carnage scenes that the filmmakers very comically reveal Astro discovering that he has machine guns in his butt.

Shadow detail was appropriately heavy but not excessively thick, something that was no mean feat in this dark film; it contained many dimly - lit scenes, and these looked quite smooth and visible.

Giallo - like in its plot convolutions as well as its stark, shadowy visual style, this rare foray into strict horror by dark crime thriller master J. Lee Thompson is perhaps best known for its infamous shish - kebab murder scene, but the underappreciated slasher film has much more to offer, with a whole slew of show - stopping death set pieces and a stellar supporting cast, including Glenn Ford as Virginia's doctor.

Blade was written in a decidedly tongue - in - cheek manner, but that didn't stop the film from including scenes that were genuinely dark and terrifying.

Italian writer - director Marco Bellocchio burst on the international film scene in 1965 with this savage, dark - hued look at a psychopathic young epileptic (Lou Castel) who embarks on a murderous campaign against his own family.

Still, dark despair does not always equal profundity, and the film, though effective in certain scenes, managed to leave me cold in the face of death.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailein Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical traileIn, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

The result, in the case of The Dark Knight Rises, is a movie so rich in lushly cinematic images — with lustrous colors and richly textured night scenes — that it should be displayed side by side with the likes of The Avengers and The Amazing Spider - Man in public forums devoted to educating the audience about what is being lost as the making and exhibiting of films on actual film becomes a museum art — the latest, but surely not the last, casualty of Hollywood's relentless focus on the bottom line.

Any Marvel Geek knows that there is always either a mid or end credit scene in a Marvel film, so check out what Thor: The Dark World director and Marvel Studios boss have to say about this scene.

It plays more like a dark - comedy than a horror flick simply because despite the random disturbing scenes thrown in here and there, they never really get under your skin the way you hope a horror film will.

In the build up to this weekend's release of Deadpool 2, it was revealed that one of the film's post-credit scenes had been left on the cutting room floor, having been considered too dark even for Deadpool's standards.

Jason Clarke, the Aussie actor who stole many of his scenes in «Zero Dark Thirty», is starring in the next «Planet of the Apes» film.

The Dark Knight is much more about the symbol than the violence — so much so that Batman's first scene in the film feels tacky and unnecessary.

In its early flashback scenes, the film works as a domestic study, and when the darker elements suddenly come into play, they are all the more unnerving as a result.

The dark corridors and shadowy streets of post-WWII Vienna were never more ominous than in this film, which stars Joseph Cotten and a scene - stealing, iconically evil Orson Welles.

The film has few truly dark moments because it excels in the subtlety of emotionally infusing each scene with genuine emotion.

In fact, while most of the supporting actors are consigned to only a few scenes each, it's in these moments where the film shines the brightest; and that's quite a feat considering just how dark this movie is, both visually (the colors are so washed out that it's like watching with sunglasses on at times) and thematicallIn fact, while most of the supporting actors are consigned to only a few scenes each, it's in these moments where the film shines the brightest; and that's quite a feat considering just how dark this movie is, both visually (the colors are so washed out that it's like watching with sunglasses on at times) and thematicallin these moments where the film shines the brightest; and that's quite a feat considering just how dark this movie is, both visually (the colors are so washed out that it's like watching with sunglasses on at times) and thematically.