Sentences with phrase «few scenes of 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).

Although the winter's film scene is getting crowded with a lot of movie's with bi hype, few are matched with the expectation of Christopher Nolan's Interstellar.

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.

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.»

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.

Sure, there are some entertaining and amusing parts and, of course, a few sex scenes that show a lot of Johnson, but once the whips are whipped out things get really repetitive until there suddenly isn't much of an ending and the film just stops.

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.

there were a few moments where just a little more dialogue would have improved certain scenes and the film was not without a few of the cliches of this genre, but overall it stands as a personal favorite of mine.

A few minutes into director Steven Spielberg's Lincoln, immediately following the notoriously awkward scene between the 16th president of the United States and a pair of African - American Union soldiers, is a brief moment of horror expressionism that greatly informs the remainder of the film.

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).

A few scenes are a bit coy and the «big secrets» threaten to pitch into melodrama, but Birmingham keeps bringing the film back to the delicate dynamics of the relationships at its heart.

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

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).

¬ † Sundance, though, seems like an awful lot of trouble just to find out the buzz on a few films — my impression of it is just that it's a scene full of scenesters and part of me would rather chew glass than ever attend.

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

He wrote that Green, who was only 29 at the time, «has achieved what few directors ever do: After watching one of his films for a scene or two, you know who directed it.»

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.

There are a few behind - the - scenes featurettes, including interviews with real people this film is based of.

A too - long film buoyed by a few very good scenes, Winter Sleep is essentially a Woody Allen movie (a portrait of the artist as conflicted, self - absorbed, aging intellectual) with too few jokes.

There are moments when the film sinks into melodrama, and some scenes feel unnecessary to the story, but it's a captivating glimpse into a world few of us witness.

The worst I could spot was one scene with two fixed black specks and a few with out - of - focus portions (which may be part of the film).

Nobody's going to worry about busting a gut during the film but you'll find a few hearty laughs, some strong chuckles and plenty of smile - worthy scenes.

Cancer is a touchy subject to tackle on film, and there are a few very appropriately serious scenes that deal with the challenges and frustrations of the disease.

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 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.

Without nagging time - lapse problems, a few sloppy matching shots, central questions glossed (Gandalf's resurrection — without a reading of The Silmarillion, of course — is obscure at best), and a few story conveniences (Cate Blanchett's Galadriel makes a lame cameo, the abovementioned gauzy Arwen love scenes), the film would be something of a masterpiece (and even with its problems, it's among the best fantasies ever made).

With the exception of a few scary scenes, Pete's Dragon is the definition of a family - friendly film and I can't recommend it highly enough.

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.

Save for a few scenes that take place on a battlefield, much of this work could easily be accomplished on stage, yet instead of making the film feel small or inadequate, this restrained setting instead gives weight to the micro expressions and gentle asides that Day - Lewis uses to bring life to his role.

Noah is, at his core a human, and he doubts that humanity should even exist anymore if someone like Tubal - Cain (who sneaks onto the ark to essentially turn the film into Air Force One for a few thoroughly unfortunate scenes, though Winstone does his best with an unfortunate situation) can exert his dominance over much of the globe.

Paul Bettany provides the reassuring voice of Tony's computer, and Samuel L. Jackson gets a few choice scenes as Nick Fury (also teasing audiences with the future «Avengers» film).

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.

The «unrated director's cut» trumpeted on the cover makes few changes to the overall texture of the film, and the extra features consist of standard - issue deleted scenes, trailers, and behind - the - scenes info.

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.

But the film doesn't strictly hold to this limited perspective, as we see a few scenes that couldn't have been witnessed by any of the boys.

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 locustsof 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 locustsOf 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.

Ryan Reynolds, despite being on auto - pilot for most of the film, does have a few moments of mirth, and the showdown scene between him and Anna Faris lifts the otherwise dull midsection.