Sentences with phrase «film beautiful scenes»

The company expressed its desire to «film beautiful scenes in stereoscopic 360 VR video,» expressing a strong belief in how much that can be achieved with virtual reality.

Not exact matches

The breathtaking Erdem Fall 2012 collection; Behind the scenes drama at Fashion Week; Burberry's beautiful Fall rain; one of my favourite films, Manhattan; Audrey Hepburn's divine orange coat in Breakfast At Tiffany's.

Western films and songs often feature a rowdy bar scene involving outlaws, cowboys, and beautiful damsels.

It's an emotionally involving rather than harrowing film, with scenes as beautiful as oil paintings.

My personal favorite being the first bar scene in the film with the song choice and the choreographed dance scene was just beautiful.

Adele Haenal and Kevin Azais both give strong performances, and the chemistry is certainly present on screen, while the flick's bizarrely charming score and array of beautiful shots create definite impact; one of the film's final scenes, that takes place in an abandoned town, surprised me in its method of creating danger.

A lot of the scenes are also very visually beautiful, and that's good because the film often pauses the story to have the audience briefly reflect on the interviews.

The film is artfully shot with eye candy galore: sumptuous dresses, beautiful people and scenes from Pierre and Yves's time in Morocco.

The problem with the film is it has unnecessary scenes for example the Hawaiian tradition scenes; they were beautiful though sometimes it will take people who are watching this film out of the moment.

Among many others, the scene with The Dude morphed onto a bowling ball and rolling down the lane - between the legs of a horde of beautiful women - and to some groovin» music - may be the funniest and most surreal thing I've ever seen in film.

The cover story, «Grade B — But Choice,» is devoted to an obscure 1934 musical called «Young and Beautiful,» featuring «budding starlets, grade - A character actors, grade - B musical numbers, a pair of vaudevillians, a look behind the scenes of Hollywood, bogus appearances by Charlie Chaplin and Buster Keaton and a script by Dore Schary» [later famous as a producer of films such as «Crossfire,» «Mr. Blandings Builds His Dream House,» «They Live By Night» and «The Red Badge of Courage»].

In one of the film's odder scenes, she tells Max, rhapsodically, how Charlie almost beat the number - one boxing contender («He was beautiful,» she says).

This Asian (South Korean / Chinese) film made good use of that figure, with sometimes disturbing, but very well done fight scenes and in general, beautiful cinematography.

There's a scene late in the film where she tries to explain to her beautiful - mind boy about love, valuing yourself, and the pain of being a parent that deserves its own movie.

It's an animal movie that doesn't bank on likable characters, while never overplaying the instant charm it has for featuring a beautiful elephant in almost every scene in the film.

Galleries of production stills, production art, filmmaker biographies, posters, lobby cards, merchandise, set documents (call sheets and the like), and a screenplay excerpt of the film's climax (Felton had a beautiful command of language), three radio spots, storyboard - to - screen comparisons for the scuba and squid scenes, an outtakes reel, and 20,000 Leagues Under the Sea's 1954 theatrical trailer finish off this exhaustive treasure chest of a DVD.

The root and supplemental menus feature a deleted scene from the film of Henry trying to free his pants cuff from the wire leash of a mummified cat carcass (it's beautiful, perversely)-- you have to watch it for a while before you're allowed to select anything, and though you'd think that'd be maddening, it's a nice way to prepare for the picture.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

This emphasis on complexity and a disinterest in reducing a heroine to a sad - sack victim extends to Lelio's hyper - vivid aesthetic, which drapes the film in surreal dream sequences, beautiful colors and left - field soundtrack choices like «Time» during a pivotal emotional scene.

In fact it was not certain until the last minute whether we would get to see it, for apparently the censors had insisted on some changes, including the removal of some scenes featuring the film's beautiful female protagonist, Hanieh, played by Golshifteh Farahani.

When the beautiful she - devil leans down for a kiss, lesser films would resort to jump cuts or gore, yet the scene's simplicity makes plain Caleb's complex feelings: A kiss is what the poor horny kid most desires and fears — with good reason.

Tellingly, Signs also features bookend title cards touting it as «An M. Night Shyamalan Film» in thirty - foot letters — it's a total ego trip (note Shyamalan's extended «cameo» and exactly how crucial it is to the film: the man makes himself the most important character in the piece), and no matter how beautiful it looks, how expertly its sound is mixed, how funny it can be, and how effective a few tense scenes are, the picture is a first - class disappointment.

«If the camera is in love with all the characters, it seems especially aroused by the women, all of them beautiful, who in the film's frequent party scenes bump, grind, pole dance, and indulge in hot, flirtatious girl - on - girl moves.»

The film has clearly been made on a tighter budget than your average Hollywood shoot -»em - up, but Travis makes the most of limited resources: the industrial backdrops are stunning, the action scenes sizzle and the eye - of - the - addict Slo - Mo sequences are sickeningly beautiful.

Oh, and let's not forget the cherry on the top of this sweet gateaux: one of the most beautiful final scenes ever filmed.

Starring Diane Kruger and Lea Seydoux, both former stars of Inglourious Basterds, this is a beautiful - looking film with an art - house feel due to all of the scenes taken from the point - of - view of the young maiden.

Me and Earl and the Dying Girl is an achingly beautiful film, with one of the most poignantly depicted death scenes, set to film, that I've experienced.

Even Joss Whedon wrote a «beautiful» scene with her and Steve for The Avengers that was never filmed.

It was an adaptation of a Paul Bowles story, shot partly behind the scenes on the set of Oliver Laxe's Mimosas (Grade: B --RRB-, the film that I ended up catching after The Beautiful Days At Aranjuez.

A film full of profoundly beautiful moments amid scenes of arduous exposition.

The part of the film that really engages me, the most beautiful scene in the movie to me is the scene between Cheryl Tiegs and I. I think what people miss if they put focus on the part of the film that they deem exploitive or titillating, they miss the film as a whole.

While in L.A. promoting the film, Bullz - Eye had a chance to sit down with the Brothers Farrelly and the cast (including Jerry Stiller, Danny McBride, Rob Corddry, Malin Ackerman, Michelle Monaghan, and Carlos Mencia) to discuss, among many things, the struggle to create a likable character and how to make strenuous sex scenes not so strenuous on your beautiful stars.

From an acting standpoint, the ensemble does a fine job in their portrayals, and some scenes are quite telling and beautiful, but, ultimately the lugubrious European tempo of this film may be too much for some.

While nearly every scene features a fighting sequence, the action effortlessly flows through the film like delicate leaves, and director Yimou produces a beautiful backdrop for his violence with the use of bold greens, reds, yellows and blues to distinguish the different sections of the story.

Group shots are as appetisingly clustered as fruit baskets, while a couple of scenes with Bobby and Vonnie together — in his Hollywood motel room during a power cut, and later, on a Central Park bridge at dawn — are the most visually beautiful sequences in an Allen film in goodness knows how long.

Girlhood is a measured, assured and relentlessly intelligent film that offers a real insight into delinquency and gang culture, and is at times beautiful to watch, particularly during a gorgeous extended scene when the girls rent a hotel room and bond by singing along to Rihanna's Shine Bright Like a Diamond.

The second disc includes a tour of the actual train, a tour of filming locations, some behind - the - scenes footage, and «introductions» with Orson Welles (beautiful) and Marlene Dietrich.

Beautiful and touching, the scenes between Boyle and his mother lend some levity and complexity to the film and the protagonist, humanizing him beyond his seemingly one - dimensional persona.

Like life, the scenes in the film are happy, and some are sad but create a beautiful world in which one family heals themselves in a country far away.

The dragon Smaug, who makes his entrance late in the film, is a beautiful creation, slithering through his scenes both physically and verbally (thanks to silky voicing by Benedict Cumberbatch), but Jackson can't resist turning the battle of wits between Bilbo and Smaug into yet another theme - park ride of a spectacle.

Both in the film and in real life, Sestero proposes that he and Wiseau perform a scene together, the beginning of a memorable, if not necessarily always beautiful, friendship.

One of the most beautiful and poignant final scenes in film history.

Although not really big on special effects, this is a beautiful looking film, with its scenes Italian vistas, and even the subways look good.

In the interview, Pete talks about some of his favorite movies he recommends to friends, the evolution of the project over the years, how he got involved as a director, his vision behind the stark contrast between the beautiful, almost photo realistic backgrounds and the cartoony characters, a scene from the film that I felt was a homage to Jaws, the 1400 kid search for the main star of this film, how directing the voice actors for the English version of Miyazaki's Ponyo helped him in making this film, and find out who directs Peter Sohn when he performs in his own film.

«Boyhood»: Richard Linklater's masterwork, and a piece of cinema as superb as it is unique, with one boy's step - by - step trek through the years brought to meaningful, beautiful life in a film made up almost entirely of the kinds of real, wrenching and funny scenes other, lesser movies either cut or never include in the first place.

The DTS - HD Master Audio 5.1 track is also very impressive and works well with the war scenes and the film's beautiful score.

BB - 8 is, indeed, adorable, the climactic saber duel was mostly great, some of the jokes were seriously funny, the Falcon escape / dogfight scene was entertaining, and there were some beautiful shots throughout the film.

Indeed, the dance between Stoick and Valka is a beautiful scene, only marred by the interruption of Gobber, his role to introduce humour into a section of the film that didn't need it.

Focusing exclusively on art -, music - and culture - related movies, Arthouse Films («Where art and film collide») produces and / or distributes around 15 to 20 titles a year, from documentaries about specific artists (c: The Radiant Child) or other figures in the art world (Herb & Dorothy, on art collecting duo Herb and Dorothy Vogel) to in - depth looks at specific movements (Beautiful Losers, a tribute to the»90s DIY movement) or communities (The Cool School, about the Ferus Gallery and its role in bringing the L.A. art scene of age).