Sentences with phrase «film scenes remain»

But the city's music and film scenes remain vibrant.

Not exact matches

The audience at the first screening of the film in New York City, at the Cinema Village in Manhattan's Greenwich Village, remained silent during a scene showing the death of Kim Jong Un in the downing of his helicopter.

If Ross occasionally plays loose with the facts, he remains true to the core of the story, and many of the racetrack scenes evoke more sharply than ever before on film a sense of the surpassing grace and power of the running horse, the sound of rolling thunder of the hooves and a sense of the precarious, perilous nature of the jockeys» existence as they bound along hell - fired at 40 miles an hour, monkeys on a stick, wind - sheared and often screaming at each other in the din.

Also included, Anderson's American Express commercial that remains a fun homage to Truffaut, a loving speech by Oakley Friedberg, the young son of set designer Mark Frienberg, who spent time on location with his family raising funds for charity organizations, a silly trophy case application making fun of the film's lack of critical awards, deleted and alternate scenes, a stills gallery, and the theatrical trailer.

De Palma remains their only interview subject as he chronologically spins fascinating tales of his experiences intercut with photos and key scenes from his films.

Like Kurosawa did before him, Altman used multiple cameras to film the big crowd scenes; the actors had to remain in character because they had no way of knowing what footage of them might be used.

Illustrated by astounding color and black - and - white images, the book presents the best of this mind - bending genre, detailing through insightful commentary and behind - the - scenes stories why each film remains essential viewing.

Fisher is onscreen early in the film and remains front and center throughout; her scenes with Mark Hamill are nostalgic, garnering images of the initial film.

The film remains fascinating for a good portion of its running time, most acutely in scenes where it isn't entirely clear who's running the show: the director or the actors.

Yet the film remains true to McEwan's intellectual preoccupations with different kinds of love, and has lost none of the novel's most memorable elements: the plays on the ambiguity of the title, the arresting first scene, and the strange dynamics of the relationship between Joe and Jed.

Despite the palpable sense of cinematic tremor that's worked into scene after scene, the focus of the film remains on faces — on Mackie's subtly desperate clutching to military rules as an illusion of order, Geraghty's soft - featured guilt and fear, and Renner's «rowdy boy» coolness threatening to crumble into despair.

Composition, sound design and story all cut together beautifully, and yet, there's no question that ’12 Years a Slave» remains an art film, especially as the provocative director forces audiences to confront concepts and scenes that could conceivably transform their worldview.»

And if this were a film that had all of the same scenes, in the same order, but was strictly fictional without any reference to America's most wanted man, I don't think the same critics who love it now would remain quite so enamored.

«We should have done this years ago,» says Drew to his dad's earthly remains, wiping away a brave tear, but for as machine - calibrated as the scene is to pluck at the heartstrings, there isn't — as there isn't at any moment in this film — a hint of authenticity to the sentiment.

Without giving anything away, the 72 - year old auteur's filmmaking remains incredibly sprightly; one scene is as shocking and heart - stopping as anything a younger British filmmaker might serve up, and the final third of the film lets him tackle the issues facing today's youth with surprising credibility and nuance.

The Vietnam War film — released at Christmas 1986 — has been followed by a host of Vietnam War films, but remains in the upper tier because of its strong young cast, terse storytelling and claustrophobic scenes of jungle combat in the wet, humid fog of war.

The shower scene in Psycho remains one of the most iconic scenes in film history.

Remove Branagh's calculated nebbish nonsense, and what remains is a virulent commentary on the film's titular culture, and a smattering of scenes that stand up well enough on their own.

This scene doesn't exactly scream «maternal instinct» but that's exactly what it portrays and one of the reasons why the film remains a potent example of feminist cinema.

Enough ink to fill Albert Hall has been spilt explaining what the final scenes in that film mean and part of the reason the film remains a masterpiece is because it evades comprehension.

This is pure Hollywood formula carried by star power and carry it they do, even though Harlow died before the film was completed (you can spot a stand - in in the scenes where her character remains with her back conspicuously turned from the camera).

They remain clean, clear, sharp, and detailed throughout, only briefly faltering in one scratchy bedroom scene, an isolated fluke occurring in the middle of the film, and more understandably in a climactic effects shot.

A haunting scene involving Rudd interacting with an elderly woman searching the burned remains of her home sticks out like a sore thumb (in a good way) and gives the film a unique shape that distinguishes it even more from Green's studio work.

With over a hundred films in his C.V. (including silents), King remained one of the studio's leading directors for decades, and though he worked with superb cinematographers, his films consistently show a dramatic visual style that maximizes elements within a single shot, plus a knack for crafting kinetic action scenes — particularly the storming of the fortress at the end of the film.

Nevertheless, the film has achieved enormous critical and commercial success (indeed, a psychological torture scene with fish, and Cleese caught with his pants down, are moments just over-the-top enough to remain unforgettable), and frequently finds itself on lists of the greatest of all comedies.

An uneven film to say the least, the film's most notorious aspects remain its graphic nudity and a rape scene that drags on for a long, detailed time span.

Outside of some memorably disturbing images, there's very little to keep one interested in the story, and even during a particularly well - crafted chase scene near the end of the film, it still remains somewhat unexciting.

Elite's transfer is very nice, and along with deleted scenes and trailers, the commentary track (which includes two of the film's lead actors) also provides a rather vivid portrait of the horror genre at the time, which, for many burgeoning filmmakers, was the only way to enter the film business before the larger studios devoured the remaining independents.

By taking this approach and timing the use of flashback scenes perfectly, the film feels faster than it actually is and remains consistently engaging throughout.

On Disc One, which contains the theatrical version of the film, there's Cholo's Reckoning, an interview with actor John Leguizamo; Charlie's Story, an interview with actor Robert Joy; The Pillsbury Factor, an interview with actor Pedro Miguel Arce; Four of the Apocalypse: The Zombies of Land of the Dead, interviews with actors Eugene Clark, Jennifer Baxter, Boyd Banks, and Jasmin Geljo; the Dream of the Dead IFC TV special with optional audio commentary by director Roy Frumkes; deleted footage from Dream of the Dead; a set of deleted scenes (titled The Remaining Bits on previous releases); the film's theatrical trailer; and a photo gallery with 111 images.

At the film's recent press day, MacLaine talked about coming to terms with her own legacy, why she's not afraid to take risks, the advice Joan Crawford gave her that will remain a secret, her surprise at meeting Alan Ladd at Romanoff's, how aging people are underserved in our culture and what she'd like to do about it, her impressions of her talented co-star Ann» Jewel Lee, her favorite scene, presenting the Best Foreign Language Film Award at this year's Oscars, why she wants to do an improvisation with Marlon Brando, and the unusual role she'd like to play next.

And what continuously stupefies me is that time works no miracles on this particular film: Scenes remain familiar, but the narrative seems to shift every time I return to it.

The three work well together in scenes, and their chemistry really helps the film remain charming.

The film's most famous scene remains Grant being pursued acrosss parched fields by a murderous crop - duster, and the closing set - piece on the face of Mount Rushmore still packs a similar punch.

And of course he discusses the F / X set - ups for the film's tracheotomy, a death scene involving a shotgun, the creation of a gruesome half - mask with a false eye, the use of roast pork for a character's charred remains, and what sounds like a grisly effect involving shards of glass hitting a woman's face that didn't make the final cut.

While Dark Night remains fascinatingly ambiguous throughout, Joshua Marston's Complete Unknown (Grade: B --RRB- only starts that way: Early scenes deliberately disorient, the film making speedy leaps in time and geography, with Rachel Weisz popping up in what looks like a series of disguises.

Editor Jean - Baptiste Beaudoin's work remains noteworthy throughout the film, highlighting the skillful cinematography of many well constructed scenes.

The introductory scenes of «A Quiet Place» allow the audience to enter a world so intriguing, many will find themselves obeying the film's core rule to remain silent.

Most of these small issues occurred during the scenes in Hobbiton; those displayed the film's weakest elements, though they still remained generally positive.

Yet, I think he would perfect his approach to comedy with The Wolf of Wall Street which remains his funniest film to date as who couldn't laugh at that Qualuudes scene?

These deleted scenes wouldn't have «fixed» Three Billboards, but they remain an interesting look at a film that probably could have done more to flesh out its black characters rather than having them serve as symbols or part of the background.

3:45 am (17th)-- TCM — The Blue Angel One of Marlene Dietrich's early films, paired with her oft - director Josef von Sternberg — but even though she steals every scene she's in and is the reason the film remains known at all, it's really more about Emil Jannings» tragic professor character, who is dragged from his respected life and social position by his infatuation with Dietrich's showgirl.

The majority of the film remains in 2.40:1, with the handful of interwoven documentary scenes pillarboxed within that frame.

Although a high volume of night scenes led to the scrapping of director Brad Bird's original idea to shoot primarily on film stock in IMAX, sharpness remained paramount to the production and Tomorrowland became one of the first features to be photographed entirely in 4K.

Carol and Mad Max are definitely more of a 1A and 1B than a clear 1 and 2 for my best of the year, and I remain tickled that this completely crazy two hour chase scene in a desert reboot of a 30 year old franchise filmed by a 70 year old man has managed to capture the imagination of so many of us.

The final scene, in the toy store, strikes me as conventional moralizing — an obligatory happy resolution of all problems — but the deep mystery of the film remains.

The setup for this scene, in which Rob takes the call summoning him to her house, remains in the film.

Despite the crude, amateurish nature of the film, this scene is still incredibly hard to watch and in fact remains heavily censored in several countries.

Kurosawa remains one of the most reliable figures on the repertory film scene, but prints are becoming harder and harder to find.

The deleted scenes («The Remaining Bits») are far from spectacular, but the VFX featurette «Zombie Effects» and the short documentary «When Shaun Met George» (which follows «Shaun of the Dead» star Simon Pegg and director Edgar Wright during the filming of their cameos as zombies» are both worth checking out.