Sentences with phrase «editing style of the film»

This feeling is further accentuated by the editing style of the film.

Not exact matches

Forster's manic editing style — at its worst in The Quantum of Solace (2008)- does turn that opening street rampage into a blithering mess of shakycam shots, reverse - swish - swoop pans and psycho - edits, but the film soon calms down, and there are several strong performances in the quiet scenes that buffer Lane's ongoing question for answers.

The style, which features speed changes, a mix of editing techniques, and 5 acts (instead of 3), perfectly captures both the influence of who is behind the film, and the target audience (which happen to be connected one another).

Again, the film's style is pretty frantic, but it's also refreshingly nifty, offering anything from editing snaps to comic panel and onomatopoeia bounces that Randall Miller, as director, utilized well enough to sustain a degree of entertainment value, kept up after style dies down by directorial plays on music.

And even if Stone's rapid - fire style of editing and filming the many football scenes don't appeal to you, there's got to be at least one or two actors in this cast that'll float your boat.

Hallmarks of Altman's aural and visual style are evident everywhere - overlapping dialogue, life - like improvised roles and ensemble acting, multiple means of communication to connect the characters (phone calls, tape recordings, radio and TV, and P.A. announcements), a continuously moving camera, long takes, and imaginative sound and film editing.

Other lesser known works, such as 1928's The White Stadium, are marvels of late - silent era filmmaking, employing elliptical editing rather than the newsreel style more common to several of the earlier compilation films in this collection.

Well probably the only thing for this reviewer were the fight scenes which crackle with realism, vigour and fluidity meaning there is none of the fast editing / shakycam technique that has become the signature style of Hollywood action films since the success of the Bourne franchise.

David Holmes «score pulses and blatts with style — it's half Lalo Schifrin, half John Barry — and the film is full of long - take action and pursuit scenes where you only realize how superbly and meticulously choreographed they are after the fact when your pulse has cooled enough to let you count the long moments between edits.

Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self - consciousness, and editing that avoids editorial comment.

According to a long - standing film - history periodization that — #yesallperiodizations — is contested and contestable, this year marks the centenary of the birth of the «classical Hollywood» style, with a set of agreed - upon conventions including continuity editing, crosscutting between parallel events unfolding at the same time, the use of close - ups to express a character's state of mind, etc..

Hark's delirious sense of action staging and editing — along with the unusual blend of styles — make portions of this film quite arresting.

It's the filming and editing style, as well as the realism in our characters that helps propel this one into the top tier of this genre.

Despite annoying characters, the film does retain a modicum of mystery as we watch a lot of improbable sleuthing on the part of these teenagers, following a string of clues that even Dan Brown would deem too ludicrous to inject into his stories and expect us to swallow, such as highlighted poetry quotes, thirty - year - old road maps in secret locations, and edits to Wikipedia - style entries to towns that don't really exist.

Nichol, who also deftly shot and edited the film, never fetishizes or aggrandizes the typewriter, but instead smartly contextualizes its place as a classic symbol of American ingenuity, practicality and style.

«The Evolution of Hulk» is a really cool look at the character's history in comics, TV and film, while «The Unique Style of Editing Hulk» shows what went into creating the comic book panel look.

Wiseman's unobtrusive filming style and strategic editing reveals the inner workings of the multifaceted institution, engages with discussion about the role of art in broader society and explores how people connect with art.

Though the film uses the pop - styled first half of Hancock's «Main Titles» for the original English language mono mix, Antonioni, or perhaps an executive, chose to substitute Hancock's livelier «End Title» music in place of the more subdued variation, which was slightly edited and placed over the film's End Credits.

The film is impeccably made in his trademark style of long takes, elliptical editing, sardonic detachment, and top - notch acting.

Instead, it is all about mood while telling the rise - to - fame story through its sharp and unique editing style — the film's co-directors earlier work includes The Tree of Life, Moneyball and 28 Days Later, which should give you a good idea how Jimi: All Is by My Side feels vitally different from your standard musical biopic.

Smith compares the film to dark character pieces of the 70's while Walker talks about his editing style of holding on a shot for maximum effect.

Topics discussed include Brolin's goatee continuity, the challenges of recreating such a recent period, the time it took to get the movie going, the films researched for look and feel (Body Heat for sweat, Stand by Me for nostalgia, Terrence Malick movies for editing), shooting things quickly documentary - style, and bits that were lost (including a Budweiser print ad meticulously recreated

Director Tim Pope, making his big screen debut, does little more than ape the quick - edit style Alex Proyas used in the original film; his idea of a fresh touch is lingering on S&M kinks which, quite frankly, are boring.

(SPOILER WARNING: Due to the «unique» editing style of 21 Grams, one doesn't truly grasp the story until well into the film, but I have to offer some sort of plot synopsis for this review, so I'll outline the story in a manner that doesn't give too much away.)

Miller edits the film using a visually appealing comic - book paneled style, as if the film were ripped right out of the illustrated pages of Punk magazine (the publication's origin itself exists as a prominent subplot of the film), which was one of the main publications that wrote at length on the CBGB scene at the time.

And on a technical level, Wright brilliantly mimics the structural characteristics of these films, with rapid - fire editing (Wright deploys Bay's fast - edited style to such a degree that there can be up to eight cuts per second in a few action sequences, a noticeable and hilarious gag) and swooping, circling and slow motion camerawork that would make John Woo proud.

The erratic demeanor of the film, both the editing style and the electronic musical score, are certainly effective in raising the audience awareness of Krisha's anxiety which is at first internalized.

It's Ozu's unique way of bringing realism to a film that allows for such speculations: despite his unusual editing style, tatami - level camera placement and generally fixed camera (though it moves more here than in any Ozu I can recall), everything in an Ozu film feels real: people talk like normal people about normal human issues.

All were filmed, edited with a bit of style, and set to music; all became runaway hits on YouTube and had the media beating a path to Block's door.

Jenny McCormack is a New York - based film editor, experienced in all styles of editing: shorts, features, commercials, documentary and scripted.

8 p.m. Thursday, May 11 8 p.m. Friday, May 12 Bruce Conner Film Series Internationally acclaimed for his found footage approach to filmmaking and his fast - action editing style, Conner's films have influenced two generations of filmmakers.

You can't turn on the tube without seeing the influence of Bruce Conner, the elusive San Francisco artist whose classic collage films of the late 1950s and»60s pioneered the popping fast - cut editing style used on countless commercials and MTV clips.

His groundbreaking body of work has had a profound effect on mainstream film directors such as George Lucas and Martin Scorsese, particularly in the application of a cross-cutting editing style and the integral use of pop music.