Sentences with phrase «dialogue from the film»

But to paraphrase some dialogue from the film, «nothing is going to change.

The creator opted to ditch Zack Snyder's battling babes and insert the Disney princesses for a beautifully twisted trailer set to the tune of Silversun Pickups» «Panic Switch» and some dialogue from the film.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

Most TV spots use the actual dialogue from the film with title cards to get their point across.

This is an abstract making - of alternating B - roll shot in a variety of media, watermarked outtakes (including one from a deleted scene between Phoenix and Amy Adams), and snatches of dialogue from the film that gives the impression of a tight - knit cast and crew there to serve Spike's vision.

Unlike the disjointed storytelling in the disappointing LEGO Marvel's Avengers, The Force Awakens uses dialogue from the film effectively.

Some of the dialogue from the film is lifted from these congressional transcripts.

Appearing on «The Late Show,» the «Avengers» star performed iconic dialogue from films ranging from «The Princess Bride» to «The Lord of the Rings.»

Question: As you see the late Karen Black in the cockpit, will there ever be a better line of dialogue from a film that this one: «The stewardess is flying the plane!»

«Santa Thread» repurposes dialogue from the film's official trailer and fits it into footage from «Rudolph the Red - Nosed Reindeer,» the classic stop - motion animated special that aired on NBC in 1964.

All of the dialogue from the film appears word for word in speech bubbles, and the 16 - bit version of John Williams» score is as emotionally - stirring as its real - life counterpart.

At first hearing the dialogue from the film being spoken by small, plastic people was a little bit disturbing, but once I got used to it things went rather well.

It features all new dialogue from the film's cast as well as exclusive content that was...

Mark's partner, filmmaker Martin Bell, offers his lauded 1984 documentary (which is also titled Streetwise) to the exhibition as well, and dialogue from the film, as well as from Mr. Bell's upcoming doc, TINY: The Life of Erin Blackwell, are used in the texts and captions for the exhibitions.

Not exact matches

The filmmaker's attentive camera and inclination to inactivity without any sort of audience catharsis is a shrewd directorial decision; the film's action comes from extended dialogues that let the performances percolate until they're on the verge of exploding.

As we've come to expect from these type films, the dialogue is loaded with numerous goofy puns and timely pop - culture references that always provide entertainment for the grown - ups, but I don't think we've ever had them thrown at us at such a machine - gun like pace.

Although at times it suffers from cheesy dialogue, The Cabin in the Woods is easily on the best horror films of our time, poking fun at the cliches of horror, while being pretty scary, as at least one of your greatest fears appears, in one of the best films of 2012.

There's a tonal dissonance here: The gangster - movie dialogue of these different groups, as well as a somewhat lame late movie shoot - out, feel far removed from the terse, beautifully choreographed pandemonium of the film's first act.

The film, which is based on a television series (which was itself a spinoff from the Wallace & Gromit franchise), boasts a tremendously appealing stop - motion animation style that's heightened by an assortment of affable characters, and it's worth noting, too, that the movie's total absence of dialogue in no way hinders one's ability to get caught up in the briskly - paced narrative.

In this film, which began life as a multichannel video installation, Blanchett plays 13 roles, from a turbaned choreographer to a nuclear scientist, with all of her dialogue spliced together from nearly 60 artistic manifestos of the 20th Century.

Hannah was given too little to do in the first film, and she does her very best to make Tarantino's samey, show - off, adolescent dialogue feel as though it could have come from her character's mouth.

This is a film where tension comes from personality conflict, dialogue and body language, not action.

Released on DVD from Kino Lorber, the film has its fair share of flaws but is worth checking out for fans of offbeat, intimate, dialogue - driven tales.

The film had plenty of potential to being great, but instead it suffers from long, tired scenes of painful dialogue and the film's story just lingers and goes no where and when there's something that actually is interesting that happens, it's too little too late.

Everything about «American Ultra,» from it's dumb dialogue, to it's ridiculous story, to it's very unfunny cast, there really is not much to enjoy about this film.

Clooney proves again that he knows how to direct intelligent films that rely on a great dialogue, and this intriguing character study is gripping from the first scene to the last, centered on a brilliant political battle and with an intense performance by the always fantastic Ryan Gosling.

From both a plot and dialogue perspective, the script is by far the film's worst flaw.

Though we are largely spared Leonard Nimoy's stentorian presence as a performer, we must endure his miscalculations as a director: the dialogue scenes are often hilariously turgid; the action scenes — when Nimoy can be bothered to descend from his podium and film them — are zanily maladroit.

Likewise, offbeat choices in the film's look and sound add edge from time to time: In a scene set in a cramped turkey barn, a cacophony of bird noise eerily eclipses the dialogue, suggesting the animal chaos behind the veneer of agrarian Americana.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

It redefined the crime film with it's emphasis on cool and endlessly quotable dialogue and there's so much attention to characterisation that Tarantino could have made several films from his material.

Sparse in dialogue (save for explanatory purposes), the film also has a very spare musical soundtrack save for its theme, composed by long - time musical collaborator Stuart Staples from Tindersticks.

What is more, the film brings a vivid immediacy to events which goes beyond anything on the written page, be it the face - to - face drama of Jed's dialogues with Joe (conducted in the novel mostly through letters and phone - calls), or the occasional brilliant reds (the balloon, blood, etc.) that flash from the film's otherwise subdued palette, signifying all at once eroticism, danger and passion with a visual economy reminiscent of the colour - codings of Zhang Yimou.

The trailer doesn't feature any dialogue, instead it shows an early scene from the film where a very young Moana learns that she has the power to control the ocean, specifically the water.

Of course, everything about «Pompeii» feels half - assed — from its bland romance, to its terrible dialogue, to the worthless addition of 3D — and though it's slightly better than last month's «The Legend of Hercules,» the film is still a pretty miserable viewing experience.

Fredrik Edfeldt's feature debut is the type of film I long for and rarely get: a beautifully shot film which captures as much emotion and story from silence as it does from any dialogue.

Speaking of dialogue — there are some great quotable moments from this film, especially from Burt.

The eight - episode British police procedural series is filmed from eyewitness perspectives and uses improvised dialogue, which offers a more authentic look at how police investigate cases.

As the volatile ex-wife of Javier Bardem's seductive artist, she stole the film from her co-stars and provided a suitable match - up to Woody Allen's sparkling dialogue.

Yet once said surprise is introduced, Awake once again finds itself at loose ends, failing to generate any palpable tension from its scenario, as well as positing absurd conceptions of the afterlife and offering up monotonous inner dialogue from Christensen that makes one want to assume a state of mind opposite to the film's title.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Another way this film differs from other A.I. investigations is in the way it handles dialogue in the context of this very technical story.

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

Meanwhile, co-star George C. Scott (munching on an ever - growing wad of gum) literally chews up scenery as the Commie - hating General Turgidson who, apart from delivering some of the film's best dialogue, serves as the perfect foil to Seller's straight - laced politico.

Nothing's changed from releases of previous Woody Allen films on DVD; the soundtrack, while crucial to conveying Allen's bristling dialogue, is not a wall - rattling demo piece.

The film has a jerky pace to it, lurching and twisting from simple, well - considered stretches of dialogue in the beginning to the horrifically violent, agonizingly unrelenting final set piece.

Quentin Tarantino's films (Jackie Brown, Pulp Fiction) have mostly borrowed ideas from other filmmakers that he admires and mixed them together into a new, hybrid form, taking the best of what those B - films had to offer and punching it all up with ingenious, sparkling dialogue.

Featuring deliciously unsavory dialogue, in an acid, brilliantly structured script by Clifford Odets and Ernest Lehman, and noirish neon cityscapes from Oscar - winning cinematographer James Wong Howe, this cynical masterpiece is accompanied on the Channel by a 1986 documentary about Mackendrick, a 1973 documentary about Howe, and a video interview with film critic and historian Neal Gabler.

If they could have combined the left - field surprises from Prometheus with the stronger dialogue and characterisations of this film, we would have had a perfect entry into the franchise.

What a tedious film.Over acting, wobbly plot, dialogue at times pure drivel and a laughable ending.It really was poor.The film goes straight into a Cul de Sac and can not get out.Way too much nudity from the metro sexual looking Tilda Swinton.Her androgynous body quite turned my stomach.A redeeming feature was the glorious sunshine and powerful light of Italy.The film meanders, wobbles and finally falls down.Older people like Swinton and Fiennes should really keep their pants on at all times.It is acutely embarrassing when the oldies need to do so much nudity (l suspect it is to appease their insecurity that they might not be physically desirable anymore) Horrible attempt at film making