Sentences with phrase «early scenes of the film»

It's a joy to watch Edie Falco's face whenever she sees Chris in the earliest scenes of the film.

In some of the early scenes of the film, we get a graphic picture of J. D. Salinger's personality as a highly self - confident, even cocky, social climber in his flirtations with Oona O'neil (Eugene's daughter, charmingly played by Zoey Deutch).

Not exact matches

From the Inside Out - «Making Avengers: Age of Ultron»: A 20 - minute video going back 18 months showing what it was like on set of the film in Italy and Seoul, Sourth Korea; a look at the Avengers Tower; some of the behind - the - scenes early visual effects of Ultron; early concept work for Quicksilver, the Hulk, and Vision; and more.

But contrary to some of its marketing, this film is not a celebration of the Greenwich Village scene or the late 50s / early 60s folk movement.

In the early part of last year, McLaren allowed Amazon Prime go behind the scenes and film a documentary on the team's 2017 season.

The sense of being outside of time did not change when they departed two days early from school, when they spent three hours on the bus to Eugene staring out the window with their Walkman headphones on, when they wandered through the swirly paisley carpeted hotel hallways, or went in street clothes to have a walk around Autzen Stadium, where a sex scene in Animal House was filmed.

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).

Gossip Girl beauty, Leighton Meester, was spotted filming another round of scenes for the hit show early this week.

Jack hands off one of his stories early in the film for his brothers to read and while hints to its plot are dropped, only later does it manifest itself into one of the few scenes in the film that felt not merely fresh to me but touching; briefly, we glimpse an event from the day of the funeral, awkward and uncomfortable, with the kind of details that only siblings might later recall.

At the end of a big rhinoceros battle, a male character submits to Gurira in the film's single most iconic shot, while an earlier scene in which she tosses aside a bad wig ranks as the most gay - friendly Marvel moment to date.

What becomes clear pretty early on in Mia Hansen - Love's «Eden» is that despite the large roving ensemble of ravers and DJs and partiers, and despite the fact that there is a lead character, the dance - club «scene» is the real star of the film.

Gosling and Dunst's low - key chemistry in these early scenes hint at the film that All Good Things might have been had it bothered to ground itself in the specifics of the Marks» romance.

There's a hint of camp pleasure to be gained from the film's early soft - focus domestic scenes and late hysterics, but «Elfie Hopkins» is sunk by a lame script and mannered performances.

The film's earliest scenes are its best, the most concrete and precise, including the first scene of Burdon and his wife in their suburban kitchen.

It is both the source of her frustration — her struggles to speak up and assert herself in the film's earlier scenes — as well as a secret strength: She understands the language of this world, and watching her slowly take command is stirring.

As a sign of how well Daley and Goldstein have cast the film, there's an early scene featuring a deadpan Camille Chen as a fertility doctor, whose backhand insults and dives into inappropriate personal matters almost go past our notice.

Despite the film being set in the late 90s / early 00s, the music is all from the early 90s and, clumsily, a number of posters in the background of scenes are of films released years after.

Levinson has a deft touch with ordinary people and places, and the film's early scenes, especially, take care of business in a satisfying, sideways fashion, developing character with exposition and finding every avenue for real - world humor.

Through an earlier project, Jordenö met Chi Chi Mizrahi and Twiggy Pucci Garçon, luminaries of the kiki (ballroom argot meaning «to have a good time») scene, who, crucially, invited her to film their milieu; Pucci Garçon has a co-writing credit on the film.

While Gens can splatter gore with the best of them — early in the film, a human body packed with C4 goes off in graphic detail — he fails to stage so much as a single rousing action scene, even when he has four double - fisted swordsmen facing off inside an abandoned subway car.

As for that key moment that sets up the final act, I thought the film established the character motivation adequately with the earlier scenes showing us Schultz's reaction to some of the violence against slaves.

As Lelio's earlier films demonstrated, the director's style is restrained but potent, which helps the impact of the actors» performances as well as the picture's fairly graphic love scene.

Listen to how he describes better framing for one of his earlier films or the seductive, slow buildup of information in the famous CARRIE prom scene and you'll find yourself in the presence of a man who has earned his unmistakable hubris.

An early scene that sees Toni skipping rope and contemplating the world around her (her defining characteristic) is exemplary: all of a sudden, the soundtrack becomes possessed with what sounds like a piece of music originally recorded for a 1940s swamp - monster horror film.

Likewise, Emily's point - of - view, which is strong during some of the early scenes, disappears late in the film.

The other factor leading to Darwin's creative block was the death, seven years earlier, of his daughter Annie at age 10; in scenes where Darwin is visited by the goading spirit of Annie (newcomer Martha West) and finally in the film's keening climax in the town where she died, «Creation» seems as neurotically focused on her passing as Darwin was.

Fisher is onscreen early in the film and remains front and center throughout; her scenes with Mark Hamill are nostalgic, garnering images of the initial film.

As much as The Mummy's early scenes draw inspiration from the spirit of old Universal monster movies, the film's clearest touchstone is the 1999 reboot.

The film trots through the early scenes of boot camp brutality with a quick step.

After that, it was a collage of scenes from the film (which Spielberg noted represented some of the earliest renderings out of Weta).

There's an unintentionally auto - critical scene early in Last Vegas when Robert De Niro is brought face to face with the thrusting crotch of the boorish MC at a bikini contest that the film's protagonists are inexplicably judging.

The trailer indicates that Ridley's film is as much a work of Impressionism about Hendrix's experience performing as part of the 1960s London music scene as anything else - a sentiment backed up by the early reviews, with the Seattle Times» Moira Macdonald calling the movie «a mood piece, not a biopic» in her overall positive critique.

In a sequence that vaguely echoes the storm scenes in the earlier films, their tryst is largely reduced to a reading of John Donne's «On His Mistress» (instead of a private piano recital) and a montage of the couple visiting various picturesque sites together.

«Glory» tells the story of the 54th Regiment largely through the eyes of Shaw (Matthew Broderick), who in an early scene in the film is seen horrified and disoriented by the violence of the battlefield.

Compounding the problem are the slow push - ins and pull - outs and willy - nilly insertions of scenes from the film that sometimes complement the pullquotes but at other times (as in an early insert of the «surprise» flashback over Perkins's difficult admission that her ex-husband's stepfather used to hide in closets to scare him) minimizes Thom's abuse and exposes the relative silliness of the film at the same time.

In the movie's early scenes, the queasy feeling that these two don't even like each other is so palpable it leaves a residue of sourness that extends through the rest of the film.

About two - thirds of the new scenes were presented in the deleted scenes section of the earlier edition of this film: «Battle Aftermath,» «Looking for Strength,» «Dye Market,» «Meeting at Gracchus» House,» «Father and Son,» «The Execution,» «Spies Close In,» «Another Enemy,» and «Fighting with Fire.»

Features commentary by film noir historian Alan K. Rode, who hosts the track and provides most of the production comments, and critic / noir maven (and fellow MSN writer) Kim Morgan, who chimes in for color commentary (and an obsessive appreciation of the pickle that J. Carrol Naish chomps in an early scene; Kim, sometimes a pickle is just a pickle) plus a gallery of stills and advertising art.

The theme of «Moonlight,» writer - director Barry Jenkins» melancholy meditation on one young man's coming - of - age, is summed up in an early scene in the film.

That makes me think of a scene early in the film where Rose lectures a cop for hassling Chris.

Other than an early scene of Wall Street protesters, they've vaporized the politics and returned to the absurdist stoner silliness that made the first film a cult hit.

In the early 1970s, cult filmmaker Jess Franco inspired by the Hammer horror films being made in the UK revisited the iconic monsters of yesteryear, placing them in the castles and crypts of the Spanish countryside, and bracketing the thrills with scenes of frank eroticism.

If you've seen either A Haunted House or those earlier Scary Movies you know what to expect: a plethora of lewd and crude renditions of popular scenes based on notable horror film releases since the last flick.

There's a scene early in the film (chapter 8) in which Patricia Clarkson's character is standing well into the background and we can still make out the individual dots on her clown costume; many of Tim Orr's images are postcard - perfect to begin with, but this is the sort of rendering that drives you to buy a video printer and fulfill that promise.

(The elderly Ventura's claim to be «19 years, 3 months old» when asked his age early in the film connects directly to a later scene in an abandoned factory; mentions of a revolution that at first seem like science fiction are eventually revealed to be memories of the mid-1970s intruding into the present.

The raucous energy of the early scenes isn't sustained and the film becomes increasingly repetitious and silly.

But it's still a cut above the majority of family entertainment, and director Paul King, who got his start helming the surreal cult comedy series The Mighty Boosh, continues to prove himself a confident and comparatively sophisticated stylist, employing cutaway sets, Rube Goldberg slapstick, animated sequences in different styles, and loads of visual gags to create the film's dollhouse - storybook world; the aesthetic influence of Wes Anderson is especially pronounced in the scenes set at the prison, where an early mishap involving a red sock and the prison laundry dyes the convicts» uniforms a Grand Budapest Hotel shade of lavender pink.

«This film really encapsulates early «90's filmmaking and the thriving New York indie scene of that time, said Grady.

If for some reason the drawn - out and incoherent battle scenes are what you liked about the earlier films, the climactic one here is still both of those things.

There is that scene early on in the film when y ’ all get a lot of cash from the festival that Gosling and Refn make for their appearance.