Sentences with phrase «dialogue scenes of the film»

Not exact matches

During an early screening of Roland Emmerich's latest disaster flick 2012, which opens today, laughter erupted in the audience near the end of the film thanks to corny dialogue and maudlin scenes (among the biggest guffaw getters: a father tries to reconnect with his estranged son on the telephone, only to have the son's house destroyed just before he could say anything).

The script of the film stays the same but the director — the histone mark — can choose to eliminate, slow down or speed up certain scenes or dialogues, altering the film for better — cancer cell death — or worse — cancer cell survival.»

The repetitive, insincere, and ultimately pointless dialogue in this crucial scene thoroughly tinges one's impression of the whole film.

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.

One of many interesting stylistic choices by director Irvin Kershner and cinematographer Haskell Wexler, who shot the film in gorgeous high contrast black - and - white with the warts - and - all insouciance of a documentary, is to present this reunion scene sans dialogue (which is buried by train noise)-- with Billy and Pio framed in the oval window of the train door.

there were a few moments where just a little more dialogue would have improved certain scenes and the film was not without a few of the cliches of this genre, but overall it stands as a personal favorite of mine.

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.

A bit of impromptu (and sloppy) cosmetic surgery was also performed on this film by its U.S. distributor, with additional English dialogue scenes haphazardly edited into the already confusing original.

(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.

But I kept telling the studio, and I kept telling Ryan, I'm like, «No, the director's cut going to come in at like 2:12,»» Leitch explained about his rough cut of the film before elaborating that the extended version contains a montage of Deadpool attempting suicide, some extra material with Domino and alternate takes of existing scenes with different dialogue.

The audio track is similarly excellent, especially considering the film's mixing of overlapping dialogue, raucous and noisy crowd scenes, and incidental music — much of which is provided by Frank Zappa and the Mothers of Invention.

With infrequent profanities and several scenes that involve sexual dialogue along with some partial, painted nudity, the film's biggest content issues are the frequent depiction of alcohol and cigarette use.

It's all on the page in terms of dialogue, but the deer scene, for instance, or the scene on the phone near the end, were the moments where I felt she's allowed to be more emotional than anywhere else in the film.

Often during the calendar - straddling list - making frenzy of «top ten season» a scene or a line of dialogue or even a whole film will refuse to dislodge itself from any internal conversation you may have with oneself about the year.

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.

This is my long winded way of saying that bad guys and good guys face one another with loads of juicy dialogue and even juicier action scenes that are filmed with absolute precision.

Indeed, Waititi previously revealed that much of the dialogue in the film was improvised, and Hemsworth explains in the clip below that this scene was originally just one line — what we see in the finished film is all improvisation.

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

Adapted from the novel by Chris Fuhrman, there's some funny dialogue and interesting insights delivered during the course of the film, and had the tone stayed within the bounds set during the opening scenes, this would have been an enjoyable slice of life film with humor and heart.

Its dialogue is repetitive, its characters are underdeveloped, and there are moments in which the film steers into the surreal only to lazily abandon this journey in favor of a more easily presentable resolution to a scene.

Take away the love it or hate it score (it's jarring, but in its own way, it almost feels like it's a character itself) and the long stretches of dialogue - free footage (again, the praise for these scenes reeks of movie snobbery to me — five minutes is good, twenty minutes is puffed - up filler), and what you're left with is a film that showcases the downward descent of one man.

We see Tommy go through endless re-takes involving only a few lines of dialogue, an awkwardly staged sex scene, a scene that has no significance to the rest of the film, and a suicide in which the actor writhes on the floor in pain after shooting himself in the head.

And sure, one could justify that choice as a metaphorical one, emphasizing the claustrophobia of the entire situation, but this a film that requires performances to carry what the isn't in the (endless) scenes of dense dialogue.

Ruzowitzky uses camera angles designed to force audience identification with the prisoners, and one scene late in the film follows suit with subjective audio effects — a very flat soundmix, with muffled dialogue — to put you inside Sol's head, his senses going dull after he witnesses the death of another inmate.

But Focus will need to make some nifty marketing moves to reach them; despite the age and appeal of the cast, the dialogue is often expressed in a kind of stylized formality, while art house touches like a scene backdropped by «Ave Maria» and an upper - crust manor setting can belie the film's quicker, looser rhythms.

The two stars fell in love during filming of the earlier To Have and Have Not, later marrying, and in fact new scenes in The Big Sleep were shot with extra dialogue between them to play up on public awareness of their real - life romance.

Husted compares several scenes from both versions, and notes both the musical styles of the period, and the extra film footage that added more character information, dialogue exchanges, and plot minutia.

His appearances feature some of the film's finest dialogue, and help energise some more sombre scenes.

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.

Shot with all the expressive minimalism of a Dardennes film, the last quarter of Custody, from the dialogue - free party scene to the violent conclusion, is gripping beyond compare, the only film this year during which I forgot to breathe for a good portion of its running time.

Restoring a few of these cut - scenes would put much - needed flesh back on this skeletal film, though it's worth noting that many of them still suffer from Haythe's insecure shoehorning of subtext into the dialogue, as in a moment where Frank tells a story to guests Shep and Millie they've obviously heard before, only to have April come right out and confirm it.

However, given the film's nature, I can understand why 5.1 does «get the job done» with a somewhat even split of dialogue driven film versus scenes that could have greater benefited.

Working with a smaller budget, it's basically a four - character film which wouldn't suffer too much from being staged in a theatre — featuring unusually long dialogue scenes in diners, restaurants and motel rooms, with staccato rhythms and masculine posturing borrowed from David Mamet, another of Anderson's key, acknowledged influences.

The bulk of these scenes come from the second half of the film, and while we get more dialogue and drama, there's really nothing new.

The dialogue that drives the film is crisp throughout and fittingly reflects scenes» environments, while the rare bit of score also resonates nicely.

He carries the film, appearing in nearly every scene, and he does so without a word of dialogue.

This is one of the most heartbreaking scenes Wilder ever filmed, and a perfect example of how his subtle filmmaking style could tell so much through showing, even though he's best known for his trenchant dialogue.

There are moments — scenes, lines of dialogue — where this film comes to life.

Finding Dory: This absolutely delightful Finding Nemo followup bests its predecessor in every way imaginable, and boasts a scene - stealing periphery character named Gerald that doesn't have a single word of dialogue and yet is more memorable than 95 % of film protagonists.

The film starts off clumsily, a scene in a music shop where Richard (Efron) meets Gretta (Zoe Kazan) features stilted dialogue and an uncomfortably obvious telegraphing of a romantic subplot (though it would turn out to be more of a structural hallmark).

A couple of their scenes together are the best in the film for acting and realistic dialogue.

There is a heart - breaking scene towards the end of the film that requires no dialogue.

In these dialogue - free opening scenes, set to a score that buzzes like a plague of locusts, There Will Be Blood establishes itself as a film of Darwinian ferocity, a stark and pitiless parable of American capitalism.

Some of the most haunting scenes in Preminger films are those in which dialogue ceases, multivoicedness dies down, and a character is left to confront his or her own enigma in silence: e.g., McPherson in Laura's apartment; Dan (Dana Andrews) with the milk bottle in Daisy Kenyon; Diana (Jean Simmons) waiting for Frank (Robert Mitchum) in the empty house in Angel Face; the brief solitudes of Cécile (Jean Seberg) in Bonjour Tristesse (1958); Brig (Don Murray) returning to his office to commit suicide in Advise and Consent; Fermoyle in his room in Vienna in The Cardinal; Henry (Michael Caine) alone in his house in Hurry Sundown.

Shrew's Nest is a film containing many scenes heavy on dialogue, many of them going on far too long.

The tense tracking shots interspersed with static point - of - view sets the scene more than any line of dialogue could - it's two years on from events of 2014 film Dawn and the battle between humans and apes, fuelled by the traitorous Koba (Toby Kebbell), has rendered the world a post-apocalyptic wasteland.

Like all Berkeley musicals, the aesthetic split between the work of the credited director, in this case Lloyd Bacon, and the choreographer's takeover of the dance scenes is so vast as make the film seem like two movies stitched together.The final 20 minutes belong to Berkeley, who takes the blunt visual comedy and racy dialogue of the rest of the film and transforms it into visual poetry.

The script of this dialogue - rich film sounds forced, with every second line intended as pithy high - brow banter, and many of the set - piece scenes are symmetrically framed to evoke the formalism of 19th century portraiture styles.

But as with all of these films from Linklater, it's the candid and blunt dialogue that drives every single scene.

Sure, spans of dialogue by a blind Jared Leto make for some powerful and revealing scenes, but as I was told by a friend way smarter than me, we should be watching that anime they released online prior to the film's release.