Sentences with phrase «end of the film sets»

Not exact matches

The end of the film and its accompanying end - credits set up the start of «Infinity War» seamlessly.

At the end of the day, though, even though the company experiments with films and design sets centered around popular franchises, traditional LEGO bricks are still the main focus.

Groups of young friends who go to see some of the more death - focused horror films in vogue of late will routinely take bets on which stock character will face a grisly end soonest, as when viewing the Final Destination series» a film series that is, essentially, the apex of the set - piece disaster horror movie as orchestrated by MacGyver.

Ender's Game (12A) It's a film set in the future but this vision of it doesn't see gender balance on the horizon.

generates a «sour» review they could (in theory) change the end of that very show as soon as they read it... the Story NXT tells is set on film (digital file) 4 days to 4 weeks before the Audience sees it, to adjust their sails for that would require back stage re-shoots and post production edits (look at Impact scrambling to re-write their Pre-tape to cover for ADR's release)... easier to let it ride, see if the opinions stay sour, and then IF Needed adjust the angle for the next taping, at which time they'll have a better idea for the correction and can make it look more organic

In the film, six kids from one of the toughest neighborhoods in Chicago set out to fix school lunch and end up at the White House.

Plot: The film set in post-WWII Germany and focuses on a warcrime trial of the former lover of a law student Michael Berg nearly a decade after his affair with the older woman ended.

As for this film: the ethical dilemmas that crop up are brushed over and done away with, and of course, all must be set right by the end, but in all The Change - Up is a fun, stupid movie - and I mean that as a compliment.

I think Jackson has to be commended for, quite bravely, deciding to jump in at the deep end once more by taking on yet another set of films, where the story is not so much saving the world but helping a band of warriors reclaim their home.

In the end, the film is overrated and kind of a drag, but the set up is intriguing, and the performances are what ultimately save it, so, even though it will depress the dickens out of you, consider giving it a watch.

His next project (which, though it doesn't begin filming until next month, is currently slotted for an end - of - year release) is a New York - set period dramedy based on the stranger - than - fiction, real - life FBI sting operation (ABSCAM) that brought down numerous crime figures and corrupt government officials in 1980.

Set at the end of the 19th century, the film stars Kodi Smit - McPhee as Jay Cavendish, a 16 - year - old boy on a journey across the American frontier in search of the woman he loves (Caren Pistorius).

That scene sets the stage for the plot of the film, which surprisingly, takes place over a very concentrated point in time — only a month, really — when the Civil War was limping to an end, and Lincoln was rushing to pass the 13th Amendment to ban slavery.

Loni Anderson's most recent husband was film superstar Burt Reynolds, whom she met on the set of Stroker Ace (1983); after several months of well - publicized courtroom histrionics (most stemming from a custody battle over their adopted son), Loni and Burt's marriage came to a comparatively swift and silent end in 1994.

While the beginning of the film feels like it's setting the audience up for a somewhat boring lesson on drone warfare (I'm looking at you, Good Kill), Hood — still wiping the sting of X-Men Origins: Wolverine off with Ender's Game and now this — excellently threads the needle of tension and, before you know it, the thriller aspect of the film becomes abundantly clear as the series of events play out in semi-real time over the course of one day.

Highlights among the 26 episodes in this seven - disc set include a great time - travel tale involving a previous starship Enterprise, with a surprise guest spot from deceased crew member Tasha Yar (Denise Crosby), and the season - ending cliffhanger, the assimilation of Capt. Picard (Patrick Stewart) by the cybernetic Borg, the lynchpin to the big - screen «Trek» film «First Contact.»

Parts of F6 are fun, but a convoluted plot, with terrible, frenetically chopped up action set pieces, and an overextended run time, make this film cumbersome and dull by the end.

Still, it does remain interesting and quite watchable even if the characters and story are cartoonish, but any aspirations of being a good film get blown into the wind by a grossly overblown deus ex machina ending and is further evidence of De Palma's problem: he has so much fun setting things up he seems begrudging when he has to end it, and it's a letdown both for him and for us that he can't punctuate things properly.

While Malick was busy pondering the very beginnings of life on this planet, two other films set about envisioning the end.

Directed by Danny Boyle, the film is set backstage at three iconic product launches, ending in 1998 with the launch of the iMac.

Production on the film is set to begin at the end of April in London.

And — miracle of miracles — the aliens have a real reason for being here, and the aliens actually wind up making sense, in a way that sets up the film's triumphant ending.

It does little more than set still frames to the film's score, tacking on a list of its seven Academy Award nominations at the end.

Ditto the submarine - set finale, which evokes an even stronger sense of déjà vu considering that the last Bond film, Tomorrow Never Dies, also ended in the water.

I could've used a little more subtlety around the set piece at the end of the film (abandoned gulag, really?)

Stay through the end credits for a funny scene involving his character that likely had been intended as a set piece within the main body of the film, but which works much better out of the context.

Similarly, the 2017 version presents the filming of a very special scene that appears right at the end of the main feature, showing the set up of the set.

Set backstage at three iconic product launches, beginning with the Mac in 1984, moving through the NeXT in 1997 and ending in 1997 with the unveiling of the iPod, the film aims to take audiences behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter, Steve Jobs (Michael Fassbender).

It may not be called Infinity War, but the second film is still clearly going to be the conclusion of the fight against Thanos, who has, after all, been set up as the biggest of Big Bads ever since the stinger at the end of the first Avengers.

The cover of their The Happy Ending blu - ray is embarrassing — it's a fraction of the film's original movie poster blown up and set off center with the title written in thin blue lettering that's nearly indecipherable.

The Clint Eastwood - directed film about the late U.S. Navy SEAL sniper Chris Kyle has only been in limited release since the end of December, and is set to go nationwide Friday.

In the vein of Haggis» Oscar - winning 2004 drama Crash, the film follows three intersecting stories set in Paris, New York, and Rome, «with each storyline following a different stage of a love relationship from the beginning, middle, and the end.»

The festival tends to look after its own, and while there was some speculation that his new film, which shot at the end of 2011, could be ready for the fall festival circuit last year, Cannes always seemed the better bet for his Bangkok - set, ultraviolent re-team with Ryan Gosling.

Although Scott Thomas never wearies of working onstage (she has appeared in several West End plays over the past decade), «sitting on a film set, waiting for hours to say one sentence, can be unbelievably boring,» she said.

This would be a heartbreaking and shocking way to end the film, but it would set up an obscene level of anticipation for Avengers 4.

Maybe the photos were snapped during the filming of a scene that will serve as the end - credits tag of Ant - Man and the Wasp, setting the stage for the Avengers finale.

This would be a heartbreaking and shocking way to end the film, but it would set up an obscene level of anticipation for

Setting the film at the end of the 20th century may seem kind of arbitrary, since the novel it's based on was published in 1992.

Limited Edition 2 Disc DVD set & Blu - Ray Extras: 36 minute Black Metal short film of deleted scenes, Alternate ending, Outtakes, The Cutting Room with musicians not in the film including: Enslaved, Ted «Nocturno Cutlo» Skjellum from Darkthrone, and Jørn «Necrobutcher» from Mayhem, plus more with Ulver, Immortal, Jan Axel «Hellhammer» Blomberg, Gylve» Fenriz» Nagell and Kjetil «Frost» Haraldstad, 46 more minutes of Varg Vikernes and a 45 minute class on the history of black metal with Fenriz

With the big Universal Hitchcock «Masterpiece» box set bumped a month to the end of October, a pair of Warner Hitchcock Blu - ray debuts now arrive ahead of the set: Dial M For Murder 3D (Warner), which includes a standard Blu - ray version, and Strangers on a Train (Warner), one of Hitch's greatest films.

Often dismissed as oppressively tasteful and aesthetically repressed, their best - known films (A Room with a View, Howards End, The Remains of the Day) were marked less by any singular cinematic vision than by the ability to marshal a team of talented craftsmen — costumers, hair stylists, set dressers, and location scouts — to create a prettily detailed simulacrum of the past.

Emmerich has had several attempts at world - ending destruction, and although each of the aforementioned films was impressive in its time, 2012 sets a new standard for large - scale disaster porn.

In fact, during its opening stage - setting prologue, a card makes clear that the film's depiction of the conversation between Democratic Unionist leader Reverend Ian Paisley (Timothy Spall) and Sinn Féin politician Martin McGuinness (Colm Meaney) that led to a peaceful end in 2006 to Northern Ireland's Troubles conflict is director Nick Hamm and screenwriter Colin Bateman's fanciful imagining of historical record.

At the end, when their personas briefly transpose and Manny becomes a more literal partner, the film has done such a good job of setting expectations that the transition isn't jarring.

When Twentieth Century Fox and producer Lauren Shuler Donner brought director Bryan Singer back into the X-Men film universe with X-Men: First Class - a movie Singer was originally set to direct - little did we know that the man behind the first two X-Men films would end up working on an entire new trilogy of series installments.

The last moments are troubled in a way otherwise alien to the movie; where a character leaving a house at the start of the film sets the ball rolling, the same action at the end does so only for the eyes.

I'm not a fan of reset films in general, I don't like paying to watch a film that should start when it ends, nor any film that narratively treads water to set up a next entry.

Other similar films to come out then that I extremely admire are Merchant and Ivory's Howards End and The Remains of the Day, though these two are set in England.

Her dedication endears her to many during the film's 1940s setting, however, and the smart money's on «Florence Foster Jenkins» ending on a moment of triumph.

It's a ballsy move by Marvel, especially since Warner Bros. has the Batman / Superman film set for July 17 across the pond that year; Marvel will be hoping that everyone flocks to that in the first two weeks and is ready for something different by the end of the month.