Sentences with phrase «even scene of his films»

Wes Anderson is one of those directors who commands even scene of his films and surely every transportation device was planned.

Not exact matches

And while this was undoubtedly Han Solo's film (God bless Harrison Ford, limping around on a broken leg) the new characters felt at home straight away: Daisy Ridley as Rey was an absolute star (the scenes between her and Leia ensured the film passed The Bechdel Test) and Oscar Isaac's Poe stole each of the few scenes he was in (even if his character was just Han Solo in a jumpsuit).

This is my favorite quote of the chapter... maybe even the whole book: «If we're more opposed, for instance, to what we take to be «bad language» and nude scenes and films about gay people than we are to people being blown up, starved to death, deprived of life - saving medicine, or tortured, our offendedness is out of whack.»

Which yes, the movie 100 percent tugs on every ounce of nostalgia you have for the original film, even mirroring many of the scenes, frame by frame.

The film occasionally broaches heavy - handedness, corniness even, but that's forgivable; Safaria shows an impressive command of tone, particularly in the final scene, where she's doing two seemingly incompatible things, at the same time, and beautifully.

Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self - analysis.

The evocation of that old film noir feeling is hugely effective here: Dad telling his freshly - bribed son «You can't buy dignity,» the fantastic slow zoom on a love scene reflected in a two - way mirror, even the beguiling torch singer.

The film did a good job of tying up the loose ends left in the film series and although some scenes require your complete attention to be understood, even a non-book reader can understand all the things that have led up to this conclusion.

Even when the film is dragging and airless, he comes into a scene and knocks it out of the park every time with a word, a gesture, a line delivery.

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

Even with a rushed production schedule - during which time a number of the crew's cameras froze while filming the Christmas scenes - there is no excuse for such an appalling attitude.

Even Spielberg had trouble with this — «Munich» might have been the best film of 2005, but 13 years later people only really talk about Eric Bana's sweat level during that climactic sex scene.

Russell pokes fun of his weight, makes ludicrous power plays to establish his dominance in prison, and invites a number of deeply uncomfortable jokes about his inevitable sexual abuse in prison — a line of comedy that feels even more unwelcome given that the film's cast includes an accused sexual assailant in T.J. Miller, who needlessly returns as Deadpool's best friend, Weasel, in a few throwaway scenes.

Some of the banter between Ruth and the jaded cop named Det. William Bendix (Gary Anthony Williams, TMNT: Out of the Shadows — yes, William Bendix, like the classic film actor) on the case offer some insights on where the film could have found its comedic spark, but even those scenes lose flavor when we see that cop break down in anguish because of his own personal relationship issues bubbling up to the surface.

For the most part, «My Life Without Me» ably transcends TV - movie, disease - of - the - week waters (thanks to Sarah Polley's gritty performance), but even she can't save the scene in which a neighbor (whom we just met) gives an incredibly maudlin monologue that grinds the whole film to a halt.

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.

The rumored $ 250 million production features even more scenes filmed in the IMAX format than 2008's The Dark Knight 82 and will once again see the return of Alfred (Michael Caine), Lucius Fox (Morgan Freeman), and Jim Gordon (Gary Oldman).

Anyone who pays even the faintest bit of attention to the behind - the - scenes goings - on in Hollywood must be aware that its original directors Phil Lord and Chris Miller — the guys behind The LEGO Movie and 21 Jump Street — had a creative disagreement with Lucasfilm, leaving the film in the safe - as - cotton - wool - padded - houses hands of Ron Howard (a close chum of one George Lucas).

Even most of the death scenes feel rushed, highlighting the PG - 13 rating that the film has secured, and one does miss the Grand Guignol extravagance of the Final Destination franchise.

An Alexander nut for most of his life the director gives us a film that — even in its loooong three - hour form — continuously holds your attention especially its intense and bloody battle scenes.

There are nods to previous Mission: Impossible movies, including the famed wire - drop from the first film when Hunt and company decide to... get this... infiltrate the Vatican (a scene that is accompanied by a charmingly amusing performance of Cruise going all Italian), and even a small homage to «Top Gun».

While I enjoyed The Wedding Plan, some of the dialog - heavy scenes went on too long... Even so, this one is highly recommended to a discerning audience for independent films.

Keener's performance keeps the film grounded even as blunt scenes of the opposing camp's machinations flirt with soap opera villainy.

Even though her role is minuscule in this movie, her scenes are, by far, some of the best moments of the entire film.

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.

Special kudos must be given to film editor Michael Kahn, whose facility with these completely unhinged battle sequences should shame anybody who's ever worked on a Michael Bay movie; to cinematographer Janusz Kaminski, who has given these scenes a dull grey cast evocative of nightmares torn from America's sleeping subconscious brain; and to sound designer Gary Rydstrom, who has crafted a World War II soundscape that rattles and unnerves you even when your eyes are closed.

There's good stuff around the edges of the film — all that word play and all those visual gags demand that you pay attention lest you miss something even in the slow scenes.

More, this is an unusually «dark» film in the literal sense, with many a lowly / dimly - lit or nearly - black interior scene, but even in those dark moments detail and solidity of colors, shapes, and figures is impeccable.

While Divergent had plenty of big scene skirmishes that resulted in massive numbers of casualties, the killings in this film are even more disturbing.

Even though it tells a simple tale, has only two main characters and features several scenes that are mostly silent, it is more moving, more memorable, and just so much BETTER in every way possible than 95 % of the films I see each year.

Already one of the most Halloween - friendly shows on TV, we already know that the some scenes for the new season were filmed in the South Pasadena neighborhood where John Carpenter shot Halloween, reportedly even using some of the same houses.

As with many of Joel Schumacher's (The Lost Boys, Batman Forever) films, the lighting is dark, with emphasis on steam and neon colors, giving the «real life» scenes a kind of haunting, nightmarish, even melancholy texture that works well when life and afterlife collide.

He's playing with so many interesting ideas when it comes to race that I wish the film felt a bit more satisfying in its payoff, even if that disappointment is amply offset by the pure intensity of the final scenes, during which Peele displays a skill with horror action that I didn't know he had.

Although Fatal Attraction does go overboard in a few memorable scenes, it never quite breaks suspension of disbelief, even when Lyne lets it all rip in a frantic confrontation at the end (reportedly re-shot for audience approval) that commands your attention, even if it feels a bit inconsistent with the rest of the film's tone

The film features even more aimless scenes of Frida and Anna frolicking around the countryside.

Richard LaGravenese's adaptation of Jason Robert Brown's stage musical contains about four big numbers that are among the year's most memorable scenes (even though the film itself is pretty spotty).

«Get Out» is not a film that takes breaks for comedy routines (even if Howery allows a little relief, it's often in the context of how he's convinced all white people want black sex slaves), keeping us on edge and uncertain from the opening scene to the final one.

His even more complicated relationship with Patsey (Lupita Nyong» o proving herself to be the film's scene stealer in her feature film debut), the «Queen of his field» demonstrates how McQueen doesn't leave a single character one - dimensional, and their respective demons and qualities are equally fascinating.

Even at just over an hour and a half, the film becomes interminable at points thanks to the repetitiveness of the scenes.

Even with long scenes of action utilizing modern effects, the approach doesn't seem gratuitous, which is an impressive accomplishment after having seen so many action films already this year.

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.

And the scene that immediately follows is not even remotely funny — it's straight out of a war film.

While there's good chemistry from Knotts and Jones, there is a real excess of race scenes, the weak point of the first film, which here are not as original and are even less exciting.

Last night, my wife, daughter and I took in Black Narcissus at the AFI Silver and enjoyed it as much as we always have (only more so because it was in the gorgeous main theater projected on a huge screen) and afterwards I started thinking about movies with very famous scenes, so famous that most casual film goers might know it (or have a vague sense of familiarity with it) even if they don't know the movie.

Performances are uniformly not great; the whole thing takes place at night and even scenes inside the house are lit too dark; a PG - 13 rating holds back the violence, most of the action features a weird reliance on cheesy slow motion, and - perhaps the film's greatest misstep - the tech house angle is barely utilized.

There's much to admire on the screen yet even more to admire behind the scenes: Douglas, also the film's executive producer, hired screenwriter Dalton Trumbo to adapt Howard Fast's novel, a brave move given that Trumbo was one of the victims of the heinous Hollywood blacklist.

A veteran action director, McTeigue shoots individual fight scenes well enough, but never provides any modulation or sense of escalating terror — at no point is anyone allowed to crack a smile, and even when the children are threatened with imminent death, the film's pace never seems to quicken.

Without revealing too much, the film starts to fold in on itself in a Persona - like manner, complete with shifting identities, repeated scenes, and even abstracted glimpses of the film's own clapboards.

Even uncomplicated scenes, as long as the film keeps rolling, can elicit feelings of awe and admiration.

There's no lack of immediacy in the footage south of the border, where Heineman, who filmed with a small crew and served as one of his own cinematographers, captures the eruption of live fire, a gunpoint interrogation in the back of a moving car and even a scene of torture.