Sentences with phrase «dialogue in the film as»

Matt: There's not as much dialogue in the film as I was expecting.

Not exact matches

Years of experience in the entertainment, fashion, film and tv world as on - camera talent combined with a decade of exploring energy healing traditions to include Shamanic Healing, Reiki, Voice Dialogue and Yoga helped Kahshanna sink her narrative, branding and media chops into her boutique media hub Kissing Lions Public Relations.

Great dialogue, but it is not as popular as the Pulp Fiction (1994) dialogue but it has great lines and what it suggests in this film.

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.

I've never been a fan, as a rule of horror movies, however, the trailer drew me to this one and i'm glad it did, the awful acting we usually get in horror movies wasn't there this time round, in fact, the whole cast were excellent, the special effects were really very good and the humorous, intelligent dialogue (another thing you don't usually get in horrors) was brilliant, loved the film, Chris Hemsworth, although with less to do in this than he does in Thor, was great in it too.

Given that this film is over 50 years old, I can forgive many aspects of it (such as dialogue, special effects, visual effects, etc) that would cause many people to regard this as a complete turkey in the vein of Edward D. Wood, Jr..

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.

Neil LaBute's debut film was an adaptation of his own darkly comedic 1992 play, and its provocative, Mamet-esque dialogue marked the writer - director as a rising star in indie film world in the late 1990s, while also launching the career of star Aaron Eckhart, here playing one of a pair of coworkers seeking cruel revenge against women.

Mature's first starring film role was as Tumack the caveman in Roach's One Million BC (1940), which enabled the fledgling actor to display his physique without being unduly encumbered by dialogue.

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

He entered films as a dialogue director in 1929 (The Love Parade [1929], The Benson Murder Case [1930]-RRB- before embarking on a long career as a bit part player.

The film too often puts too much trust in dialogue, as Marie and Boris's predicament is sometimes perfectly conveyed by the actors» facial expressions and body language.

First - time director Fisher Stevens has a flair for dialogue comedy, the film operates nicely off the element of surprise, and the large cast is solid — especially Marisa Tomei, who in an extended cameo as a merry dominatrix rarely has been more convincing.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle way so multiple viewings is beneficial and a lot of fun.

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.

Aardman studios, best described as artists in film making, with no dialogue whatsoever in the film yet the storyline is told effortlessly.

A successful stage director in New York by the late 1920s, George Cukor began working in Hollywood as a dialogue director and filling other uncredited crew roles on such films as All Quiet on the Western Front.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle

«It was a really great process because the film, Either Way, the Icelandic film, served as a fantastic blueprint, and I really just spent a day dictating that movie into a screenplay and then spent another couple days flipping it around and expanding certain things, emotionally investing myself in some of these characters and some dialogue.

The film is graciously written, with endless back - and - forth dialogue sequences that among other things, bring out Robert De Niro's most memorable performance in a long time as Pat's OCD - suffering father.

(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 iin 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 iIn 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 iin 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 iin 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.

Thornton, whose character in The Man Who Wasn't There was borderline mute, returns as a chatterbox this time around, spouting nearly as much dialogue in his first onscreen minute as he did in the entire previous film.

In the film's instant - classic opening, Spielberg uses little dialogue as he follows Rudolf Abel (Mark Rylance) through what looks like a routine but also includes a tiny, crucial bit of spy - craft as he picks up a coin containing a coded message on a park bench.

With all three elements in place, the film unravels as the expected CGI - laden mess the trailer promises, rendering dialogue, story and mis - cast star Worthington secondary to fight sequences.

Lance and Alvin's dialogue is intercut with shots of the flora and fauna of this burnt - out corner of Texas, because of their intrinsic beauty and because, as in all Malick films and Green's favourite Days of Heaven especially, this too continues, regardless of the pretensions and conflicts of the humans passing through.

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.

The Black Stallion is a high watermark in family filmmaking; children of all ages can appreciate its simple, dialogue - light storytelling, while adults will relish it as both a great film and a breathtaking piece of filmmaking.

I wonder if Rajkumar Hirani indeed penned the Story & Dialogues (as is credited in the film), or did he humbly lend out his name out of some obligation so as to add to the credence of the movie.

Writer / director Martin McDonagh - making his debut here - has infused the majority of In Bruges with a deliberately - paced, overly talky sensibility that undoubtedly reflects his background as a playwright, and it's certainly difficult not to admire the fervor with which both Farrell and Gleeson tackle their respective characters and the film's ample dialogue (the actors» heavy accents does make it difficult to make out every word, admittedly).

It's meticulously directed, the foley is as sharp and crowd pleasing as the finest Mamet dialogue, and Krasinski doesn't neglect the emotional core of the film — the family vying to survive, whose tensions, divisions and turmoil we experience in near silence, but with great expressivity and economy.

Body language says as much as dialogue in the film.

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.

As usual in the genre of the Tarrantino, Django is based upon the excellent characterisation of quirky characters and their snappy, ultra-cool dialogue — and the massive film geek doesn't disappoint.

«The lively dialogue and genuine excitement sparked by the films over the past 10 days is sure to resonate as they further reach audiences in the weeks and months ahead,» commented Keri Putnam, Executive Director of Sundance Institute.

In a film with almost no dialogue, you may think that audio isn't as important as the rest.

If the strength of this kind of film is in its yin / yang father figures, Miyagi remains constant while Sato, who delivers his dialogue as though he's swallowed Toshiro Mifune, proves a hollow substitute for Martin Kove's terrifying Kreese.

This emphasis on behavioral naturalism — as well as his penchant for orchestrating overlapping dialogue — imbues his films with a down - to - earth, lived - in feeling.

The actors aren't all well cast (I counted only about three I'd consider to be above average for their respective roles — Acker as Beatrice, Fillion (Waitress, White Noise 2) in the supporting role of Dogberry - the only time the audience I viewed the film with laughed at anything in the film that came from actual dialogue, rather than the injected slapstick and actors occasionally comical facial expressions, came from Fillion's delivery - and British actor Paul Meston in the minuscule part of Friar Francis) The rest often appear as though they're reciting lines without any sense of meaning in the words they are saying, and when one of those happens to be the male romantic lead, that's one hell of a liability.

In the film world, he became a specialist in the post-production writing and recording of dialogue known as ADIn the film world, he became a specialist in the post-production writing and recording of dialogue known as ADin the post-production writing and recording of dialogue known as ADR.

His cinematography and camera orchestrations are as sumptuous as ever, almost worth watching without dialogue, and yet, he doesn't exactly offer anything new here — it occasionally seems like he is trying to remake his cult classic, Chungking Express, for a Western audience, with some of the more interesting bits of his other films tossed in for good measure.

As in all of Tarantino's previous films, scenes exist here solely for the sake of dialogue.

Gollum (voiced and «performed» by Andy Serkis) engages in a schizophrenic dialogue that works as a nice bit of foreshadowing (for both later events and the suggestion that Frodo is on the same path as the benighted creature) but stalls the forward motion of the film almost fatally.

Olga Kurylenko almost literally phones it in as his former CIA handler and the script dabbles with some truly dire dialogue — «It's no secret that you and Ben were... intimate,» recites one agent, who might as well be called Basil Exposition — but Stölzl's visuals actually benefit from the film's plodding pace.

Sacha Baron Cohen is perfect as Ferrell's European foil Jean Girard, and the film is jam - packed with both sight gags (the live cougar in the race car) and brilliant dialogue (the prayer to eight - pound - six - ounce - newborn - infant Jesus).

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While some artifice creeps in during the sometimes strange dialogue and sensationalist situations, there is an underlying truth to each scene and character that anchors the film from becoming too overwrought, as many other family crisis dramas tend to suffer from.

Indeed, there are moments in the film when it seems the entire purpose of positioning Arthur as some sort of benign underworld Don was merely to provide some witty banter, word play and the quick cut dialogue exchanges between multiple characters that often marks Ritchie's work.

From its very conception, BULLETPROOF MONK is all wrong, only to be compounded by some very bad dialogue from screenwriters Ethan Reiff and Cyrus Voris, and it will come as no surprise to anyone who views this that TALES FROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to date.

The key to appreciating any Wes Anderson film (memorable efforts as «Rushmore,» «The Royal Tenenbaums»), is to have the ability to either pick up on his clipped and funny dialogue (usually voiced by actors in a totally serious deadpan monotone), or somehow connect with his goofy situations and quirky characters that slip between incredibly believable and ridiculously surreal.