Sentences with phrase «film than location»

The lighting and shadows were brilliantly rendered, making the ballroom look more like something out of a classic film than a location in a video game.

Maybe some people care more about location than film, maybe some care more about film than location.

Not exact matches

Using the same locations as Whyte and his acolytes did several decades ago, Hampton's team came up with more than 38 hours of comparable film.

My thought is that the location component of the vote could be more preferred than any film part, skewing it.

He has scouted locations for more than 50 others who may or may not film here someday, he said.

WATCH: For a visual journey to the City of Lights, consider the award - winning Amelie, which was filmed in more than 80 locations around Paris.

Much ballyhooed for its on - location filming in and around the United Nations building in Manhattan «The Interpreter» works better as a captivating drama than it does as an espionage thriller due to some sticking plot points that prevent the audience from

He nails the time period, the locations are perfect, the young actors are amazing (not over or underplaying anything), the cadence is on the money, and the adults are much more genuine and sincere than they have been in other W.A. films.

The original film turned suspense levels to 11 by playing with dramatic irony, showing the audience the location of the three strangers far more often than the characters are aware of it.

In the mid-nineteen-forties, Rossellini rose to international fame with the seminal works of so - called neo-realism, in which he filmed actors who weren't stars, mainly on location, in stories and with methods that seemed closer to documentary than to fiction.

Gripping Drama - Fuzzy Politics Kidman And Penn Elevate UN Thriller By Cole Smithey Much ballyhooed for its on - location filming in and around the United Nations building in Manhattan «The Interpreter» works better as a captivating drama than it does as an espionage thriller.

Rather than expanding on the original in its exploration of romantic relationships, the sequel relies too heavily on Kevin Hart's frenetic energy and the Las Vegas location to carry the film.

Venom's premise, which is borderline nonsensical in its unfolding, is curiously played straight by director Piers Haggard as something closer to the similarly location - bound Dog Day Afternoon than the more populist horror films that cropped up during the early 1980s.

The results are fairly engaging; the many scuba - diving treasure - hunting scenes in The Deep were filmed on location rather than in a tank, and Challis's submerged but uncompromised lensing makes them all the more impressive.

If the recent crop of low - budget, intimate war films featuring a handful of actors in limited locations tells us anything, it's that studios are desperate to ensure that they get a better return on investment than a full - blown, star - studded action spectacle.

But the truth is that the film is beautifully shot, making good use of location shooting in Houston and capturing Winona Ryder's Gen - X goddess status better than any film ever would.

The 2007 TIFF program boasts more than 350 films from 55 countries, including over 70 feature directorial debuts, with screenings taking place at historic locations, modest venues, and modern multiplexes across Toronto.

Mills are featured as locations in two other Hitchcock films, Young and Innocent and The Manxman, though these are grain mills with turning water - wheels rather than rotating blades.

As the longest Marvel Cinematic Universe film at 147 minutes (yes, longer than Avengers and Ultron too), Civil War is a never - ending thrill, bouncing from one location and set piece to the next like a James Bond film.

There isn't much to the mix: the occasional bit of unidentifiable pop music and dialogue in which the filming location has more of a presence than most.

But there's one other film for it to take place in, and unless Infinity War opens with Thanos stealing it from another location, that would be none other than February's Black Panther.

It's fantastically unrealistic stuff from the first minute to the last (and there are far too many minutes between them), but Idris Elba and Kate Winslet generate enough heat to keep the frostbite at bay, and Mandy Walker's stunning location cinematography ensures that the film looks considerably more authentic than it feels.

Often dismissed as oppressively tasteful and aesthetically repressed, their best - known films (A Room with a View, Howards End, The Remains of the Day) were marked less by any singular cinematic vision than by the ability to marshal a team of talented craftsmen — costumers, hair stylists, set dressers, and location scouts — to create a prettily detailed simulacrum of the past.

In a sense, the film is the anti-Departed, quietly insisting on an authenticity of location that is far more crucial here than in Martin Scorsese's New Yorker's love - letter to Boston, where Beantown provides only a convenient situs of crime and police corruption appropriate toa transplanted Hong Kong action film.

«[Our release] Hunt For the Wilderpeople was never in more than 200 theaters but grossed more over time than films that had been in over 600 [locations].»

Sure, the film looks nice, but I would credit that more to excellent Los Angeles location scouting than full - bodied design.

The farm scenes in particular (the poor city is reduced to only a few locations (that look like sets actually) and seems much smaller than the town in Sunrise are really stunning: much of the film feels like Days Of Heaven was the film Murnau actually wanted to make (same location: wheat field in the upper midwest, attacked by a natural disaster, though Murnau doesn't appear to have the budget for his hailstorm whereas Malick could afford locusts).

Blu - ray Highlight: I'm a sucker for a good making - of featurette, and the one included here is better than most, covering a range of topics including the differences between the Icelandic original and the remake, casting and filming on location in New Orleans.

Starting with little more than a sketch of an idea, a few coherent characters and some very specific locations, the plot and the nitty - gritty would all emerge when the filming began.

Watching Liusaidh return to the same locations over and over again throughout the film gives the audience a sense of the true loneliness of her life; she clearly finds more comfort in these places than she does with other people.

Those expecting something similar to the first movie will be mostly let down, as this film is very much a one - location thriller that relies more on character piece than big Statue Of Liberty lobbing monsters.

On Jan. 24, the film's re-release will be expanded to include more than 250 additional locations.

The film is introduced with the atypical title «William Friedkin's Film Of Tracy Letts» «Killer Joe,» «suggesting that it'll be a no - frills adaptation of the play, but that's not quite true; it's plenty faithful to the stage version, but Friedkin and Letts (the latter of whom adapted the screenplay himself) do a pretty good job in making the play cinematic, certainly more so than either «Carnage» or «A Dangerous Method,» adding some striking locations (including an abandoned rollercoaster) and even a chase scene.

The Buzz: The feminine wiles of the charming Milla Jovovich, the killer score by Tomandandy, and the dissonant beauty present in the set design, shooting locations and cinematography, all conspired against me here, and surprisingly, I enjoyed this film far more than any of the previous installments.

Though Altman's films compare with Coppola's as chamber music does with grand opera, their work in the 1970s exemplifies what ultimately became the prevailing style of American film direction in that era: maverick resistance to studio - imposed time and budget constraints, insistence on directorial authorship, reliance on location shooting, use of improvisational acting, an emphasis on ensemble playing rather than star performances, Fordian gatherings — weddings, church services, parties, dinners — as exponents of group character (both Altman and Coppola had Catholic upbringings), and a revisionist approach to the mythic archetypes of the Hollywood genre film.

Unfortunately, the writing is considerably weaker than the film's performances and location shooting — so you have to take it on faith that these two men are so linked.

Filmed on location in Hamburg and Paris, with some scenes shot in grimy, late - seventies New York City, Wenders's international breakout is a stripped - down crime story that mixes West German and American film flavors, and it features cameos by filmmakers Jean Eustache (The Mother and the Whore), Samuel Fuller (Shock Corridor), and Nicholas Ray (Bigger Than Life).

What better location in which to film in order to convey this idea than in the unforgiving deserts of the Outback.

The film will jump to more than 150 locations next week.

Outside of the fights however, the film doesn't feel particularly well put - together: the direction is weaker than the previous outing — jerking between various scenes, locations, filler Thailand Tourist Board type shots... and there's no attempt at updating anything about the generic 80s action plot.

And because I had made two films that were basically three people together for a long weekend, I wanted to try a film with multiple storylines, an ensemble cast, more than one location.

Essentially a jungle - peril drama about a couple on the run, that film used its Central American locations and its very modest budget to economical effect — and was astutely sparing with shots of its titular creatures, eerie rather than frightening phenomena that resembled ethereal stilt - walking jellyfish.

Yates's dispassionate shooting of those scenes in clinically sound locations certifies the grimness of Higgins's thesis (one gets a grubbily incontestable, time - and - money demonstration that crime often pays miserably), and ultimately he improves upon the experience of the book simply because the visual experience of the film is less monotonous than the verbal experience of the book.

He propels the film at a pace that only seems leisurely, and uses a four - way split screen to establish locations in much less time than might otherwise be needed.

Thrones received 23 prime - time 2016 Emmy nominations, more than any other show, but requires a heavy amount of winter location shooting for the next season (locations include a production unit filming in Iceland).

The scale of the film seems so much bigger than it is and shot in some really beautiful locations.

Pialat's more naturalistic and exploratory camera style, largely derived from the 30s films of Renoir, describes a kind of wandering investigation of events and locations played over a subdued acting style, which seems indebted more to Robert Bresson than to Renoir.

Needless to say, as in any good Western, much of the character comes from the on - location filming, and «Slow West» has it in spades, captured by the fantastic cinematographer Robbie Ryan (best known for working with directors Andrea Arnold and Ken Loach) in a narrower frame than you might expect, one that manages some intimacy with its characters.

With Black Panther arriving in theaters less than three months before Avengers: Infinity War, it was widely believed the film would reveal the location of the Soul Stone, the only Infinity Stone that hasn't appeared in the Marvel Cinematic Universe.

My Life As A Zucchini, Gkids» Oscar - nominated stop - motion film, headlined a mostly quiet weekend at the Specialty box office, opening in two locations grossing more than $ 28,000.