Sentences with phrase «film moments here»

But Rymer has fun with some expressionistic and experimental - film moments here and there, specifically in Lestat's music video and his fantasy reveries.

Not exact matches

It is here that the title line of the film fits chronologically: but Welles chooses instead to flash - forward to this moment for the movie's opening, so we hear Falstaff say, «We have heard the chimes at midnight, Master Shallow,» before we know just why thinking of his youthful escapades makes him so heavy - hearted.

I love the way he decided to leave out filming here in pain and instead choosing to support her through those moments.

They are filming Game of Thrones here in Seville at the moment, such a coincidence.

Here you will find all of your favorite lines, moments, and memories from all your favorite Harry Potter films.

Here you will find all of your favorite lines, moments, and memories from all your favorite Harry Potter films.

(And although Galifianakis too often falls back on his ostentatiously off - kilter shtick, the comedian fares much better here than he did in The Hangover and actually does a decent job with the film's dramatic moments.)

The film isn't without its bumpy moments, which are marked by a confusion that can only have come from the trying to import too much from books, but the size and skill of the achievement here can't be ignored.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

Outside of that, though, the movie offers fairly basic horror fare, though there's some pretty cool moments here and there, there aren't enough of them to sustain an entire film, that much was obvious.

Here, it's as if her camera only exists to allow for the moment where she asks to take her long - ago lover's photograph, but in this scene, like the film's final one, there isn't even a sense that Ronit is looking to reclaim something that was never hers.

And finally here come the supplementary complaints: Kate Beckinsale (Underworld: Evolution) looks ridiculous in this film, not only as the spineless wife of an annoying slob, but because she's completely unbelievable as the oh so clichéd stay at home mum who looks like she's just walked out of a hairdresser's at any given moment.

But if none of these women are nominated (and at the moment, it's hard to make the case that any will), it's still worth nothing that they're here and they're making their mark on film nonetheless.

There's a moment when Julian literally penetrates Crystal — it's not an overtly sexual act (no spoilers here: you'll just have to watch the film to see what we mean) but the whole thing's dripping in a blatant, sub-Freudian glaze.

It shouldn't be terribly surprising to anyone who has followed the production of this film that it's wildly uneven, but if you temper your expectations accordingly, there are a lot of compelling ideas and gnarly moments here.

Watch for the way that outer space (visited more often here than in the previous films combined) dissolves into the glow stars that still cling to Clark's childhood ceiling; the way that baseball is resuscitated America's central pastime; or the way that Singer cuts every cornball moment with a little humour at the expense of our childish hunger for it (like Lois sliding down a plastic slide, or a little boy's asthmatic wheeze off - camera).

gaining a Best Picture nomination, I'm really surprised that Joe Wright hasn't been recognised here, as it was his directorial verve which was responsible for that film's best moments.

Achieving moments of lyrical beauty seldom before attempted, much less reached, in his earlier films, Rosi here appears to be moving beyond a politically - inspired cinema and more towards an investigation of private spheres of experience.

Some wag commented on Twitter during the festival that when a film is described as «soporific,» it means that the critic fell asleep during the screening, but here, we'd mean the word as a compliment; Tsai conjures up a surreal tone closest to the moments after waking where you try and work out if your dreams were real or not, and it's a feeling that lingers long after the credits roll.

It's a stupid idea, in other words, one exacerbated by the casting of the usual suspects of beautiful young things who here find themselves trapped in a bad rave by some twisted games master (Lance Henriksen, in the kind of performance you praise for his knowing how wretched the film is — let's think on that for a moment).

What You Need To Know: There were many festival films this year that have impressed, even wowed us, but if there was one single film that boasted the unique attribute of making us long for the moment we'd be able to watch it again, it was the warm, human, funny, uniquely Coens - y «Inside Llewyn Davis» (here's our [A] Cannes review).

Moments like these prove that Refn can write a script, but here he prefers silences, wasting what could have been some good, film - saving, scenes.

Unfortunately, what this fine collection of actors can't do beyond just offering up a few nicely acted moments is spark any momentum to the film's pacing, which plays out without any bits of excitement beyond a mildly interesting development here and there.

The film had a few funny moments here and there but never really reached the comedic heights it was aiming for.

I feel frustrated because the film does have good moments scattered here and there.

Some critics dinged You Were Never Really Here for its ostensible feel - bad sensationalism after its Cannes debut last year, and the film could indeed be spun as «topical» in the midst of our #MeToo moment.

This year is no different with the aforementioned Allen and Assayas films as well as Sean Penn's The Last Face, which will give us Charlize Theron (and some possibly awkward moments between the two former paramours), no less than four French films in competition and Jeff Nichols» Loving making its debut here at the festival on its way to the Oscars.

Overall, this latest addition to the King Arthur filmography is at best mildly enjoyable schlock with some cool moments scattered about here and there, and at worst an inconsistent take on a classic character with an unpromisingly shaky foundation on which to build a film franchise.

It's too bad that the makeup in question here is distracting from Harrelson's performance, because midway into the film, when he is taking the oath on Air Force One, his «not without Jackie» moment is a powerful scene.

Calling this sequence one scene is a bit of a misnomer, as it unfurls over much of the film's transition from its second act to its third, but there's no way to pare down the joy of everything that happens here to into one moment.

There's nothing particularly original here, and the script may be unsubtle at times (there are a couple of moments where it feels like the film is grabbing you by the shoulders and saying smugly, «See what we did there?»)

While one can imagine the trailer giving away many of the film's best moments just to put a few more butts in seats, those moments won't be spoiled here.

Here's what you've been waiting for: Richard T. Jameson and Kathleen Murphy present their annual «Moments Out of Time» («Images, lines, gestures, moods from the year's films») at MSN Movies.

1:30 - 2:30 Behind the Music with CW3PR: Composing for Sci - Fi, Horror and Fantasy Film — Award - winning composers Jim Dooley (Pushing Daisies), Nathan Barr (True Blood), Scott Starrett (The Event), Marco Beltrami (V, Scream 4), Michael Suby (The Vampire Diaries) and Sean Callery (24) have all composed WonderCon and Comic - Con fans» favorite movies and TV series, and are here to share a behind - the - scenes perspective on creating exhilarating musical moments for television and film.

Meanwhile, Daisy Ridley and John Boyega talked about how their characters interact with each other and shared their thoughts on favourite characters and moments from previous films, which you can read here...

Following Castile, Prince of the Foxes was the second novel by Samuel Shellabarger the studio flipped into a film, and while less epic in scope (no globe - trotting here), the story still gave audiences solid moments of superbly crafted action in some stirring combat and battle scenes, and a nasty villain named Cesare Borgia (played with dribbling glee by Orson Welles).

There are some standout scenes here, and certainly defining moments for the central conflict within Caesar's character, yet I couldn't help feeling that the narrative shift put the three - film sweep on pause, exactly when it seemed to be building toward a monumental climax.

There are tender moments in here, and events that will draw gasps, but given how much darkness there is in the film, I felt I would be moved more than I was.

«That Awkward Moment» isn't a complete waste of time thanks to the chemistry between its three leads (who are all capable of much better work than they deliver here), but that charm only takes the film so far before sputtering out.

Running time: 129 minutes Studio: Fox Home Entertainment 3 - Disc DVD Extras: Widescreen theatrical feature film, unrated director's cut, Wolverine theatrical trailer, Valkyrie, S. Darko, The Wrestler, Seth MacFarlane's Cavalcade of Cartoon Comedy, commentary by director George Tillman, Jr., screenwriters Reggie Rock Bythewood and Cheo Hodari Coker, and editor Dirk Westervelt, commentary by with Biggie's mom Voletta Wallace, and his manager Wayne Barrow, Behind the Scenes: The Making of Notorious, I Got a Story to Tell: The Lyrics of Biggie Smalls, Notorious Thugs: Casting the Film, Biggie Boot Camp, Anatomy of a B.I.G. Performance, Party & [Expletive](never before seen footage), The B.I.G. Three - Sixty, Directing the Last Moments, It Happened Right Here, The Petersen Exit, The Shooting, The Impala, The Unfortunate Violent Act, The Window, 9 Deleted Scenes, 4 extended / alternate concerts, trailers from: Secret Life of Bees, Gospel Hill and Slumdog Millionaire, digital copy.

It is only in the film's concluding moments — a punchline of sorts which I dare not spoil here — that the message of «Phantom Thread» becomes remotely clear.

As with the teaser trailer, we see director Peyton Reed and the film's writers (which include Paul Rudd) embrace scale, creating fantastic visual moments, like an enormous salt shaker or Pez dispenser, and here, where Rudd as Giant - Man employs a flatbed truck as a scooter in a high - speed chase.

The ingenious trick here is that the film will go silent at moments where in real life we would plead to be able to hear.

Here is moment from their chat that is appearing only on our website — in which they discuss the film's themes and influences, its place in the nineties independent film scene, and its importance in Moore's early career.

It is a message and a delivery that I'd dismay to ruin here by revealing too much, but suffice to say hat's off to Dafhyd Flynn for subtly delivering the film's finest performance and equally to Berry for keeping his cards so close in order to deliver a damning thematic blow in the closing moments.

Sarandon shows here how hilarious she can be while still giving a committed and full - out performance, which works really well in the more dramatic moments of the film.

The sound effects are extremely good, and there are many sing - along moments for those that enjoy films with lots of music (mostly pop tunes of the 70s, 80s, and 90s here).

I Used to Live Here, like all great neo-realist films, bears a very poignant, deliberate message that culminates in the closing moments, and is crucially told depicted via the more ardent elements of filmmaking, i.e. — script - structure, editing, framing and acting.

Even without taking under account the evident, constant battle between both characters» «little angels and demons,» there are indeed several religious images throughout «Changing Lanes» and my guess is that Michell tried to make a not so subtle parallel between both characters escalating wrong - doings and Christ's dying for our transgressions, not unlike the ones depicted here, only for them to end the film by actually achieving a redemption of sorts similar to Christ's resurrection, which for both characters in the film seemed so elusive throughout this day, even in moments such as the one when the movie manages to casually place the character played by Affleck (a non-Catholic, I think) inside a confessional with a priest, no less.

Typical of director John McTiernan's work, Basic has a top - flight soundmix that's well presented here in Dolby Digital 5.1, though the most powerful moment for your receiver would have to be the tidal - wave Intermedia logo that precedes the film.