Sentences with phrase «few frames of the film»

If you don't know what I'm talking about, the censorship occurs on only a few frames of film.

Not so perfect are the last few frames of the film, however.

Not exact matches

In a highlight film of his career that was shown at a testimonial dinner for him last year, Marino appears on camera, full frame, with a few earnest opening remarks about how he'd like to be remembered as a team man who worked as hard as he could, and as a team leader, etc..

There's little doubt, too, that the film's hands - off vibe is perpetuated by Abdalla's sleepy, far - from - charismatic turn as the one - note central character, and it's clear that The Narrow Frame of Midnight's few moments of electricity are thanks entirely to Choutri's captivating, Vincent Cassel - like performance.

While it has visual energy to spare, the movie is more relaxed and less flamboyantly playful than most of Honore's other films, unfolding with naturalistic grace — precise but unfussy framing, fluid camera movements — and fewer New Wave - y winks and nods.

Despite perilously under - lighting a few nighttime sequences, cinematographer Rachel Morrison shoots the country so full of life that it's genuinely hard to believe she didn't film a single frame of it in Africa (for a movie that's full of sloppy CG, the environmental green screen work is astonishing).

If we look for commonality among the worst of the worst, we identify a slippage in film - craft — enough so that the tease that maybe a few more frames of Tod Browning's London After Midnight have turned up was enough to send shivers down the spine of every practical - effects lover in the audience.

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

Whether by happy accident or through post-production meddling, a few frames of the stock have been overexposed — a phantom image in a film overrun by ghosts.

It's unbelievably not competing for the Palme D'Or and I'm not sure how that happened, but I've got an inkling that it will wind up as the granddaddy of the UCR; with more experience and wisdom captured in a few frames than entire films in the section.

No film season is complete without a few films that are designated as «must - sees» before a single frame of them has even been filmed, and summer 2007 is no exception.

The look of this film is astounding without even seeing more than the same few frames from the first teaser and it features a clip of a new song from the film that will have you drooling for more.

From a screenplay by Josh Campbell, Michael Stuecken and Whiplash's Damien Chazelle, the film revolves around the character of Michelle (Mary Elizabeth Winstead), a young woman who, from the opening few frames, seems to be going through a messy break - up with her boyfriend, Ben (voiced by none other than Bradley Cooper).

The film, with backlit shots of pilgrims strolling across twilit hillsides exhibiting amazing detail, has never looked brighter, so the few instances that the dragon is inserted into the frame betray the sort of sharp lines that James Cameron would finally address in Terminator 2 with his own animation blurring techniques, replicating the imperfections of the human eye at a distance and while observing motion.

Working again with cinematographer Yorick Le Saux, the visuals are stunning, but there are a few more of those really obvious shots — you don't have to know La Piscine to get that the pool is Bad News, given the way it looms in the frame, like it's stalking victims — and the jittery pacing of some of the editing is at odds with the languorous and sumptuous tone of the film.

Probably nothing was going to have quite the same impact as John Boyega «s head popping up into frame in that first teaser trailer (which we featured in last year's edition of this feature)-- after all, it was the very first glimpse we got at the single most widely anticipated new film release of the last few decades.

This added to two earlier Robert Zemeckis films (Who Framed Roger Rabbit, Death Becomes Her) that had been among the few non-science fiction productions of their time to claim the statue.

At best the film could be described as the intellectual cousin of the Bourne trilogy with all too few moments of great scene transitions, framing and sound editing that is largely overcome by the many noticeable moments where it doesn't get these components quite right.

Like the opening of the film, the trailer is framed by narration which is punctuated by the swish pans to each character, followed by a few lines of dialogue from them.

I think it's fair to say that I bought Cindy Sherman in her first exhibition in a group show, with some of her black - and - white film stills framed together in those days as a collage of 10 images, and went on to buy much of her work for the next few years.