Sentences with phrase «filming started»

Timothy, who was named best actor at the Cannes Film Festival for his performance as the artist, spent two years learning to paint before filming started.

A followup to Shyamalan's 2014 supernatural thriller The Visit, Split brought the director back home to the Philadelphia area for filming that started in November 2015.

The film had a super quick turnaround (it was released in theaters just 7 months after filming started!)

Pictured on set in New Mexico where filming started this week: Maggie Gyllenhaal (The Dark Knight, Donnie Darko) as Clara, Michael Fassbender (Prometheus, Shame) as Frank and Domhnall Gleeson (Anna Karenina, Harry Potter and the Deathly Hallows: Part II) as Jon.

Filming started at the end of May and wrapped by late July, at which point Spielberg had just three weeks to get an edited version to composer John Williams.

After filming started, the duo continued for three more months to keep Pratt in top - notch shape.

Desperate and out of money, Disney found his way to Hollywood and faced even more criticism and failure until finally, his first few classic films started to skyrocket in popularity.

My friends and I got to the theater 40 minutes before the film started and we were about 40th in line.

And then things got more awkward... the film started.

your beef with TJ was the cheesiest thing ever, you guys seem to be offended and annoyed with the smallests of things, and you complain about a globally known film start being sensetive?

All films start at 10:30 a.m., and tickets are available on a first - come, first - served basis.

It's because I'm high - risk, in a way that has nothing to do with the stock market, live electrical cables, or fantastically 80's films starting Tom Cruise (unfortunately).

The film starts with «David Cameron» at a piano.

The film starts out when the star is dragged into a tendril that shows up as an x-ray flare in telescopes.

Finally, after 90 minutes, the criers reported even a better mood than was the case before the films started.

It's like watching the trailers for movies before the film starts.

And, when that brown film starts building up in the bottom of the bathtub, fill the bottom up with water, add a good third of a bottle of hydrogen peroxide and let it sit.

Earlier this year a 6 minute clip from that film started circulating around social media and I was reminded of its brilliance.

Let the soap sit until a film starts to form over the top and the soap begins to thicken, remove any skin that may have formed then stir in the glitter.

It's how the film starts.

The film starts off quickly in suspense, with a suspicious looking eastern European officer taking us through the events that would become the main emphasis of the film.

I felt that the film started off well enough, but then it ventured into too similar territory of ideas that have been explored in previous films.

Featuring a strong ensemble cast and solid camera work, the film starts out as one kind of story before metamorphosing into a bittersweet tale of retribution that never fails to engage.

This is a hell of a ride from the moment the film starts to the end.

The film starts to pick up after it begins borrowing liberally from The Omen, even more liberally than the film's two predecessors which, as freak - accident horror films, are by definition Omen clones.

23:40: I forgot this film starts pre-Bat Signal.

In fact, the film starts off with one of the more moving images I have seen in American cinema in which during an unveiling of a statue celebrating America's peace and prosperity, a crowd is stunned to find a homeless man, our tramp, sleeping on the monument.

The film starts off with a wise man / wizard named Vitruvius (voiced by Morgan Freeman) battling with the evil Lord Business (Will Ferrell), as he attempts to protect the «secret weapon» known as The Kragle.

I think this movie has similarities to James vehicle «Mall Cop» in the sense that both films start off really well with a nice chuckle level but end up going too far.

With a typical horror film start, the original finds its way to the top as it is filled with surprises and plot twists.

But this film starts out with Earp's youth and takes its time getting to Dodge City, a sheriff star and Doc Holliday.

The film starts off great, with big ideas, thoughtfulness, and wonderful effects.

However, where the film starts to falter is in dialogue that, without the exposition of the novella, is at best stilted, at worst almost a series of non sequiturs.

It's a real shame because the first half is so promising and Jeff Bridges is so good as his character that when the film starts heading downhill with a surplus of tired clichés, cheap dialogue and subpar filmmaking, we're left hoping that it will eventually get better, but it never does.

Not to forget exploitative beginning the film starting on the night of her death hammering the message that there is no return.

The film starts as all films should: without its title or names of director, writers, and actors.

The cast here are uninteresting, and though the film starts off with some potential, Accepted ultimately fails to deliver anything worth mentioning.

As the film starts to cover the meat of the story, the production of The Room itself, it becomes giddy, often hysterically funny entertainment.

The film starts out slow, building up with character development and the start of a new friendship.

The film starts with her having sex with her regular lover, Vincent (Xavier Beauvois), a portly, pompous banker with terrible manners.

The film starts by slowly building the characters one by one, giving them each reasons why they all end up using Holland Tunnel, whilst at the same time another sub plot sets up the reason for the disaster.

The film starts promisingly, with bold red graphics identifying the many geographical shifts on day one of the hijacking, later rewinding to the planning stages in Germany and at a Popular Front for the Liberation of Palestine training camp in Yemen.

The film starts off in a fine manner with Price playing a vampire (he didn't play them often... or ever) and biting Carradine in a most polite way of course.

Initially the film starts as a basic kid fitting in film where Jonah uses his position to get in with the in - crowd.

Though the runtime is a bit much, and the film starts to drag near the end, for the most part, Marly features electrifying concert footage, and great interviews.

It's like they saw Idlewild and thought the idea of a «hip - hop musical» was good, so all of a sudden everyone in the film starts breakdancing for no reason, scratch decks materialise out of thin air and everyone starts rapping.

Longtime Pollack collaborator, the writer David Rayfiel, in an uncredited role polishes up the script and tosses in his now much used line from other Pollack films starting with The Slender Thread (1965), as Penn tells Kidman: «Not getting caught in a lie is thought of in the same way as telling the truth.»

The film starts off with an awkward explanation by the ethically - challenged Dr. David Marrow (Liam Neeson).

The early - going intrigue maintains interest, but once the film starts shamelessly riffing on High Noon, all the excitement fritters away.

My parameters for judging a film start with what was the director trying to do, and was he successful?