Sentences with phrase «few shots of the film»

I'm all in, but I could have done without the last few shots of the film.

Not exact matches

Only in the past few years have a large percentage of films been shot digitally, and shooting on celluloid is still alive and well.

Suppose, for example, that a beam of electrons is shot through two narrow slits in a metal screen and strikes a photographic film placed a few centimeters behind the screen.

When we were shooting the book trailer for Simply Vibrant, we took some time to film a few process cooking videos for some of our favorite recipes in the book.

The only reason even a few of the evil cops are somewhat facing actual consequences for their actions is because they're getting filmed and it shoots down any lie they or the police union tries to spin to save their sorry asses.

What began a few years ago as a trickle of small independent films shot in and around Kingston has of late turned into a veritable flood, including big - budget productions with real movie stars, thanks to a new tax break and efforts by local officials to woo and accommodate the industry.

The both films were directed by Fernando Mendez, who also shot a few notable horror films such as «The Body Snatchers» (1957), «The Black Pit of Dr. M» (1959) and «The Living Coffin» (1959).

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.

It's New York City, by the law of averages, there has to be another film shoot a few blocks away.

It does have a few holes story wise, but the performances from Granger and Walker alone make this worthy of a view, and it is not hard to fall in love with how Hitchcock shoots his films, as well as the music he selects to raise the hair on the back of your neck at the precise, appropriate time.

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).

One of the few engrossing moments in the film finds Alexander riling up his men with an impassioned speech, though Stone manages to ruin that by inexplicably cutting to a soaring eagle midway through (a shot that's undeniably impressive, but indicative of the film's off - kilter momentum).

Individuals have come with different agendas - love - making, a shot at stardom or political advancement, aspirations within the music business, and longing desperation, to name just a few of their motivations in this exhilarating film:

If you only know the film from a few melodic snippets and one Austrian helicopter shot, clear an evening and sit down with one of the seminal works of cinema history.

It's a terrifically elemental premise for a movie, one that Cuarón treats as an excuse to indulge in some truly spectacular eye candy; his famously epic tracking shots move here on all axes, making the film a pretty remarkable technical exercise — even as a few of the sequences, especially those that adopt a through - the - helmet POV, suggest the experience of watching someone else play an FPS.

Romanek shoots the hell out of the film, turning in one of the most beautiful looking pictures of the last few years.

The final shot of the film is genuinely heartbreaking and actually brought me to shed a few tears.

The film will most likely do well, mainly because of the mammoth ad campaign that has bombarded us over the past few weeks, but it is a pale imitation of such greats as Hot Shots or Scary Movie.

Having gone from one of the few actors in Hollywood whose association with a film would guarantee it box office success to being in a string of high - profile disasters, Arnold Schwarzenegger's career (political and thespian) needed a shot in the arm, and what better way than by resurrecting his most popular character for one more outing.

«Fly on the Set» Featurette — In this section you can watch a few videos shot on set during the filming of the movie.

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.

It is shot with the usual High Definition glitz we've come to expect from any film set even a little bit in the seventies, which works a dream for the highly - charged performances but jars uneasily with the murkier aspects of Brown's life Taylor attempts to tackle, which is perhaps why he spends so few times in those moments.

Considerably more is made of the film's debt to John Ford, specifically The Searchers (a debt underscored in an alternate ending that apes its famous bookend shots), than to the graphic novel series on which Goodman's script is allegedly based, and we learn that the phrase «brutal functionism» was coined to describe the movie's props, including a blade fashioned from Damascus steel that took 100 hours to sculpt for a few seconds of screentime.

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).

Shot in a boxy aspect ratio, in rich, complex black and white, the film isn't simply stylistically arresting, however; these first few moments find us in a quiet cloister of a Polish convent in the 1960s as a group of novice nuns silently, piously, go about restoring a statue of Christ, returning it to its plinth in the convent's snowy grounds.

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 beginning).

A few outside shots and scattered votes for Bridge of Spies, the elaborate Tale of Tales, the 80s - infused Joy and coming to America film Brooklyn finish off the Gold Rush Gang's list.

-- Jean Genet, Prisoner of Love (1986) Querelle was Rainer Werner Fassbinder's final film, shot only a few...

I don't know what the actual process was, but this feels like the sort of intimate, small - scale film where the director had the actors live together for a few weeks before shooting began.

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.

Shot by Academy Award - winning cinematographer Robert Elswit, who has worked with Anderson ever since Hard Eight, scored by singer - songwriter Michael Penn, edited by the great Dylan Tichenor, who started as an apprentice on Robert Altman's movies and went on to do great films such as Magnolia, There Will Be Blood, Brokeback Mountain and The Assassination of Jesse James by the Coward Robert Ford, Paul Thomas Anderson's epic drama went on to garner three Academy Award nominations, did reasonably well at the box office by tripling its initial investment and, more importantly, showcased the surprising talent and determination of one of the few brilliant filmmakers of American contemporary cinema.

It took 18 months to shoot each portions of «Infinity War» back - to - back (the sequel is due out subsequent summer season), placing a stranglehold on a few of our absolute best film stars, like Chris Hemsworth and Anthony Mackie.

By turns nostalgic for a bygone period in cinema — that of the classic John Wayne shoot - em - up — and hungry to forge new frontiers with a riveting story that, while not categorically unpredictable, explores boundaries few films bother exploring anymore.

Though the shooting itself is found - footage by - the - numbers, Brice includes a few terrific structural surprises that whisk the film in new directions, even though they lead to a sequence of events down the stretch that rely on suspect decision - making.

Though a few shots in the film required computer enhancement, most were accomplished the old - fashioned way, and the result is at times thrilling, especially in this age of ubiquitous CGI.

The next few bonuses seem tailored to people who worked on the film: «Visual Effects Step by Step,» a.k.a. «Visual Effects Progressions,» is a 5 - minute demo reel juxtaposing CGI composite shots in various stages of completion; «Gag Reel» (8 mins.)

After working on a few more independent films, including «Reckless» (1984), «Old Enough» (1984) and «Heartbreakers» (1984), he made another important personal and professional connection when Martin Scorsese hired him to shoot a low - budget indie - style film that he was working on as a way of collecting his bearings after a string of increasingly complex and complicated productions, the dark comedy «After Hours» (1985).

Battle: Los Angeles, the alien invasion action flick that is about to begin shooting in Louisiana (not quite Los Angeles...) has added quite a few cast members, and on the eve of the shoot star Aaron Eckhart makes some promises about what sort of film we're likely to see when it's all said and done.

Fans of the real house — the brothers filmed a few days in San Jose but shot mainly on sets built in Australia — will find some things to cherish in the first half of Winchester, but by the time it ends, it's like a spent rifle.

It's less of an issue here than on the original Toy Story, where the logo change has actually necessitated losing a few seconds of the film's original opening wallpaper shot, complete with the opening chords of Randy Newman's score that always accompanied Pixar's Disney castle.

A few shots near the beginning of the film raise a red flag for having had edge - enhancement very pointlessly applied to them, but they prove a freak occurrence, and overall this is a status quo transfer for a 3 - D animated title.

The Uninvited is DreamWorks's redo of the 2003 Korean chiller A Tale of Two Sisters, and it's rather appropriate that the title was changed, for while the film hews close to some of original writer - director Kim Ji - woon's basic concepts and a few specific shots, directors the Guard Brothers (Charles and Thomas) and screenwriters Craig Rosenberg, Doug Miro, and Carlo Bernard take a very loose spin on things plot wise — namely, reconfiguring the overall story into much more conventional American genre terms.

They didn't use all of the ones that they shot in the main film but they took the time to recreate a few of the scenes from the The Room with The Disaster Artist cast.

Editor Claudine Bouché's turbulent, free flowing cuts from early on in the film subtly slow in pace and becomes more pensive and methodical, capturing the tone of the characters by holding on to the shots a few seconds longer.

Although Samuel Shellabarger's novel had been bought by Fox long before the cameras rolled in 1946, it took a few years before everything was set to begin filming one of the studio's costliest production (which also included, Forever Amber, shot concurrently).

Shot through the haze of humidity on location at a plantation, there were few films as beautiful as «The Beguiled» all year — or as smoldering.

is a somewhat standard promotional documentary comprised of on - set interviews, shots from the film, B - roll footage, and a few (too few) nifty behind - the - scenes special effects sequences.

One of my favorite filmmakers, Darren Aronofsky is gearing up to shoot his fifth feature film in New York City in just a few weeks.

After seeing concept art and a couple of still shots from Patrick Lussier «s Drive Angry, I started to wonder if the film might be the sort of action film that few filmmakers seem to get right these days — a dirty, slightly weird, possibly quite violent revenge story.