Sentences with phrase «film keeps building»

The film keeps building and building and building and building.

Not exact matches

Compactedly put together and told usually built around an established star to keep them in the spotlight while a more prestigious film was either put together or sought.

Director John Crowley (Boy A, Intermission) does a very fine job with a good troupe of thespians, and while the film lacks a huge budget for large - scale action scenes, the more grounded developments definitely work in its favor in keeping a tenuous believability in what is mostly a story built on creative fantasy.

The film was released to theaters in a 137 - minute cut, but Cameron's preferred 154 - minute director's cut is even better; he keeps the suspense slowly building until it becomes almost unbearable in the final, tense minutes, with Ripley racing against the clock to rescue Newt from the bowels of the endless green - blue fortress.

Every scene, every shot and every character helps build this driving energy, which manages to keep growing throughout the film.

The film finds ways to keep us glued to the mundane work of reporting and builds tension as we watch the team poring over newly discovered documents late into the night, decoding them for the various euphemisms used to disguise misconduct as «sick» priests «on leave» were being transferred from parish to parish.

De Palma's always moving camera keeps us in this world, and the editing of the film builds maximum tension throughout.

It was worth commenting on, but Blunt implied — as did so many others over the last few days, as the shoegate outrage kept building — that women in film put up with so much adversity, the shoes are the least of the problems.

Still, it's a De Palma film, which means a good visual energy and a heavy dose of titillation, and this does keep the attention while the film is building up to something.

The first half of Talk to Me builds on the specific thrust of its subject's story, and it leads to a scene portraying the aftermath of a historically, tragically significant event full of such emotional power, the rest of the film can not keep up with it afterwards.

The scene - building tactic that the film keeps returning to entails the camera hunkering down in a defined space (a frat - house common room, a bar, a dugout) to observe a large group of characters tripping over each other with rapid - fire quips, cutting between them like a little steel ball careening wildly off ramps and spring - loaded slingshots.

I really think that this team can tackle the character, keeping him darker, grittier, and building him up in a way that Affleck has done in the past with his other films.

Director Ferenc Torok keeps the dialogue at a minimum, but the hushed conversations among the villagers speak volumes, and the film effectively builds tension as more and more secrets come to the surface.

Not unlike Sidney Lumet's Before the Devil Knows You're Dead, the film is built out of classic noir conventions but keeps the circle of characters contained with in the family, to form a knotty plot that results in a domestic hell.

Flinging special effects shots of alien spacecraft bombing buildings and shaky - cam confusion to the soldiers on the ground just isn't enough of a story to keep a nearly two - hour film afloat, and not long after the film starts does it run out of anything but the most basic ideas on what to do with its characters and where they should go.

Heavily influenced by horror films like «The Stepford Wives» and «Invasion of the Body Snatchers,» «Get Out» keeps you on the edge of your seat throughout its intense 104 - minute runtime, utilizing extreme close - ups and Michael Abels» eerie musical score to build tension and create an unsettling atmosphere of paranoia that effectively puts you in the protagonist's shoes.

This lack of profundity is what keeps The Good Girl from being a good film, because for all the well - drawn characters, good performances, and entertaining interaction, by the end you realize that the film was nothing but build up to something that never really seems to develop.

As with all the films by producer Ismail Merchant and director James Ivory, Remains moves rather slowly, but the actors and their understated chemistry keep the film riveting, building to a climax that is absolutely heartrending.

The film is structured with a series of flashbacks and flashforwards, keeping the audience in doubt as to the exact chain of events until a chronology starts building up to a terrible end — this structure, standout performances from everyone involved, and an enormously effective soundscape combine to make this one of the most terrifying pictures about parenthood ever made.

He's the only thing that keeps the movie afloat, because although the first half builds some nice tension as David infiltrates the Peterson's family dynamic, all of that hard work is wasted in the final act when it devolves into a silly B - movie that favors violence over subtlety, falling victim to the typical slasher film conventions with some incredibly strange and odd - placed moments of humor.

Like any good Hitchcock film (or any good mystery, for that matter), Tell No One always keeps you guessing and never fails to surprise, all while continuously building an emotional foundation that makes the shocker ending feel like a shotgun to the chest.

The strong start builds enough goodwill to keep things buoyant even when things slow a little around the film's midway point (does any Muppets fan ever think «this part could really use a slow Miss Piggy song here»?!).

He took photographs and films of his interventions and kept a few of the building segments, known as «cuts.»

Rosillo built a custom rig to hold a separate video camera pointed down at the Mamiya's viewfinder, keeping the camera stable in the frame throughout the film.

In addition, the film presents some great food for thought about our current system of building codes and zoning regulations, which hasn't seemed to keep up with the pace of alternative building innovations.

I have been filming stories with rule - bending builders for years now and I keep hearing about their promised land: sparsely inhabited parts of the U.S. (states like New Mexico and Texas) where there are no, or few, building codes.

Marvel's Cinematic Universe has so far been pretty big about keeping all its films within the same universe — each installment building on the same overarching narrative.