Sentences with phrase «few scenes in the film»

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.

There are few scenes in films that I regret seeing, two of which are unfortunately in Susan Seidelman's maudlin «The Boynton Beach Bereavement Club.»

There are a few scenes in the film where Josh Gad just must sing.

There were quite a few scenes in the film that immediately grabbed my attention.

Ever a model of consistency, John Goodman shines with his few scenes in the film.

Not exact matches

Digital effects were brought in later for a few select scenes and to clean up any instances of Irwin in the film.

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).

The former «Alias» star who plays a U.S. government agent in the upcoming movie «The Kingdom,» told People magazine that filming the fight scenes «was so down and dirty that [I] had scratch marks that we had to cover up on my face for the next few days.»

The Skyway in Buffalo was shut down for a few hours Tuesday so a film crew can shoot a scene.

The film opens, with one of its few color scenes, with a closeup of a hand lighting votive candles with a match in a pre-war Polish Jewish family's home on a Friday night Sabbath.

Corbijn isn't making a stereotypical Hollywood thriller, with the stakes spelled out in neon and the loud fight scenes spaced every few minutes, but he doesn't seem to realize there is such a thing as being too vague, and in his efforts to make some kind of art - house / thriller hybrid, he goes too far the other direction and creates a nicely rendered film with no emotional hook.

There should be a little more horror than a couple of shots in the first hour and then a few poorly filmed kill scenes at the end.

The film rushes through these scenes in only a few minutes, missing a great opportunity to bring substance and care to this cherished Marvel property.

The songs are familiar but more importantly they're kind of perfect songs within the context of the scenes, God knows I was singing «Gloria» in my head for a few days after seeing the film.

The interacting with Killmonger and the secondary character and the final few scenes that he and T'Challa get to spend together are honestly some of the best moments from any of these films in a very long time.

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.

Spielberg leaves too much on the table between the two characters, especially in a film that earns the right to breathe for a few seconds, but Streep shines in these scenes all the same — this is Spielberg's first female - driven film since «The Color Purple» in 1985, and the actress is eager to make up for lost time.

This film is brilliant, but could have been picked up a bit better in a few scenes!

The truth is — while Lawrence is naked in a few scenes, not only is this misguided and often vile film NOT sexy, but it doesn't contain a single thrill.

The few battle scenes depicted in the film manage to disappoint, frustrate, and downright blow.

Stone's misguided efforts to turn Alexander into a drama of Shakespearean proportions undoubtedly plays a big role in the film's wildly uneven tone, which flits wildly between talky period piece and flamboyant melodrama (often within the space of a few scenes).

Recruited by an old chum (Peter Boyle) to help find an exotic prostitute missing in Chinatown, Hammett enlists his implausibly gorgeous neighbor (Marilu Henner) to play Girl Friday as he matches wits with colorful actors including Jack Nance («Eraserhead» and other David Lynch works), David Patrick Kelly (whose strangled voice is an interesting counterpart to his iconic «Come out to play - yi - yay» taunt from «The Warriors»), Roy Kinnear and a few old - timers from film noir's heyday (the scene with Sylvia Sidney is especially good).

Though he doesn't appear in near enough of the film, the few Doctor Dee scenes are among the best.

«We only did a few scenes together for this film (Godzilla), but we spent time together in Vancouver and I got to know his family,» she said, with the actor having two children to director Sam Taylor - Wood who is 23 - years his senior.

In an interview promoting the film, the director, Alex Garland, discussed one of the few cut scenes.

The Aviator is a well made film, and one of the year's best, with enough great moments to make the three hours not seem so long, although some trimming down of certain characters and scenes could still be done (Jude Law's cameo as Errol Flynn seems to be just an excuse to get him in the movie for a few minutes).

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

Not a problem in of itself (and, in fact, many filmmakers would do well to follow his lead, as few commentaries hold any kind of interest aside from the stray tidbit now and again), when the commentary track is enabled through remote or Special Features menu, as the film plays on into un-commented scenes the regular soundtrack doesn't return.

«Life of the Party» is another classic case of a comedy that puts its best stuff in the promos, while the actual film provides very few funny or memorable scenes.

The disc is packed with extras, including some deleted scenes that add very little, a blooper reel and a featurette detailing how Wonder Woman fits in with Batman and Superman as a DC flagship character that are all fairly throwaway, but there are a few neat production featurettes that detail how director Patty Jenkins approached making what could have been a potential disaster given the negativity towards the DCEU's previous movies, and also interesting effects details about the lighting, costumes and the chosen colour palette that may not sound like much but actually prove to be quite enlightening about the whole filming process.

In this clip from the special features of the film's home release, seen first on SPINOFF, the curtain's peeled back a bit on a few scenes to give viewers an idea of how things look before and after the movie magic happens.

In a sense, it would seem like having all of these egos is a small - time film might work against the production, but by all appearances, everyone put in their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scenIn a sense, it would seem like having all of these egos is a small - time film might work against the production, but by all appearances, everyone put in their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scenin their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scenin making this film work, with what must have been a sparse crew and few takes allowed for every scene.

There's a dream sequence late in the film that reminded me of something out of a Luis Buñuel film, complete with surreal visuals and butchered meat, and it's startling and alive in a way the film overall fails to achieve, outside of a few scenes.

But queerness has never looked so bland, and for a film about a sexual revolution, pleasurable sex is conspicuously absent: Indeed, most of the shockingly few sex scenes result in the protagonist, the white, all - American, conspicuously attractive Danny (Jeremy Irvine), so ashamed by his apparent debasement — he briefly resorts to tricking for cash — that he's literally brought to tears while having his dick sucked.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

The «Select Scenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginScenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginscenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginning).

He's seeking a commission for an exhibition of paintings that comparatively few will see, that in any case will be hard - pressed to summon the galvanizing power of a well - made film (or song, as we see in one lovely scene), which Mrs. Cole's slop is turning out to be.

Though the film glosses over some traits of the real life Gerda, Ms. Vikander is stunning in more than a few scenes, which in the hands of a lesser actress, could have proved cringe - inducing.

The film does have a few shining beacons bobbing along in its sea of bewilderment; Alden Ehrenreich is absolutely fantastic & incredibly watchable as perennial sharp shootin» cowboy & all round good guy Hobie Doyle and his scene with making - it - look - easy Ralph Fiennes is genuinely crying - with - laughter hilarious.

We see Tommy go through endless re-takes involving only a few lines of dialogue, an awkwardly staged sex scene, a scene that has no significance to the rest of the film, and a suicide in which the actor writhes on the floor in pain after shooting himself in the head.

The farm scenes in particular (the poor city is reduced to only a few locations (that look like sets actually) and seems much smaller than the town in Sunrise are really stunning: much of the film feels like Days Of Heaven was the film Murnau actually wanted to make (same location: wheat field in the upper midwest, attacked by a natural disaster, though Murnau doesn't appear to have the budget for his hailstorm whereas Malick could afford locusts).

It's a dark echo in there, side - by - side with Jimmy's grim dedication to buying up lakefront property and turning this prelapsarian wonderland into an exclusive, members - only club, but the film explores neither beyond their mention and contents itself to wrap up with a few scenes of mayhem, three insipid montages set to horrible music, and the same finale involving the birth of a child it seems like Martin has done now in a good half of his films.

Mark Duplass, star of the film, was in attendance for SIFF's closing night, and answered a few questions for Scene - Stealers.

This is one of the few purely comedic scenes in an otherwise bleak film, yet it sets the mood perfectly for a narrative of displacement, in which a woman tries to find herself in another country's ways.

Unfortunately this film is not one of my favorites, it plays more like a slapstick comedy, which is not funny, with a few decent action scenes chucked in.

Marginalized in the initial sequences was Reeves, the lone actor well - known in the U.S. Universal opted to reshoot a major fight scene near the end of the film, as well as a few other scenes to sharpen the focus on Reeves» character Kai.

The film includes a passionate romance of a couple that can make you believe the scene involving sex in a tiny phone booth, a rehash of the 1991 arrest of mafia chieftain John Gotti, and a family drama about a young man who makes too few visits to his mother and kid brother to impress them even though he offers them an envelope filled with more cash than they could make in five years.

They split up for a few days: she tours museums and ruins (in the film's most documentary, and also most moving, scenes, perhaps prefiguring the cinematic direction Rossellini would take with his history films fifteen years later) while he tries to hook up with younger women.

The few instances where I did laugh in the film, such as the aforementioned «period party» scene, I owe to Gerwig or Kaling.

Schaffner came from TV, and while he has few of the obnoxious visual affectations of the TV - trained director, he tends to restrict the most significant actions and relationships in his films to spatial arenas that could be served very adequately by the tube rather than the Panavision screen: the real convention hustle in The Best Man takes place in hotel rooms, hallways, and basements; the tensest moments in his strange and (to me) very sympathetic medieval mini-epic The War Lord are confined to a small soundstage clearing or that besieged tower; the battle scenes in Patton are hardly clumsy, but the real show is George C. Scott; and Nicholas and Alexandra comes alive only after the royal family has been penned up under the watchful eyes of Ian Holm and then Alan Webb, far from the splendor of St. Petersburg or the shambles of the Great War.