Sentences with phrase «filming such a dialogue»

Not exact matches

As we've come to expect from these type films, the dialogue is loaded with numerous goofy puns and timely pop - culture references that always provide entertainment for the grown - ups, but I don't think we've ever had them thrown at us at such a machine - gun like pace.

Such problems are exacerbated by Berg's uniformly questionable directorial choices, with his relentless and thoroughly distracting use of shaky camerawork easily the film's most egregious failing (the needlessly overlapping dialogue comes in at a close second, however).

Given that this film is over 50 years old, I can forgive many aspects of it (such as dialogue, special effects, visual effects, etc) that would cause many people to regard this as a complete turkey in the vein of Edward D. Wood, Jr..

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle way so multiple viewings is beneficial and a lot of fun.

A successful stage director in New York by the late 1920s, George Cukor began working in Hollywood as a dialogue director and filling other uncredited crew roles on such films as All Quiet on the Western Front.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle

There exists such little dialogue that connects each character together that the film's five chapters only reinforce that feeling of segmentation.

The screenwriter and Howard do let Lauda and Hunt's marriages slip by with minimal coverage, and the film opens with unnecessary narration and wraps up with obvious dialogue, but Morgan makes up for such issues with his precision in detailing the central relationship.

The running time desperately needs to be trimmed, as there's just not enough story here to carry the load of a nearly two - hour film, especially one that has such a barebones plot with minimal dialogue.

One would expect a strong script for such a dramatic film, but the sparse dialogue consists mainly of the different people debating whether the young boy might actually be Sean or not.

TALKING: Aside from some curious statements by Theron's Raveena that might stir up a Slate.com feminist breakdown or two, dialogue is highly superfluous to this story; it's got such obvious visuals it could probably play out as a silent film.

For a film with such dark thematic content, like rape, murder, racism and hatred, there's a lot of witty dialogue and wicked humor.

He even sets Return to Waterloo's narrative to the album's music, incorporating very little dialogue in the process, and as such the film suggests a visual LP.

Latin America has stopped being an emerging cinema to become the solid ground for inspired, exceptional films such as the Golden Dream, where spared dialogues, actual facts and stunning images reconstruct the ordeal of three Central American teenagers that try to cross the US border.

Because this is such a dialogue - heavy film, there are very few surround effects.

The film does lose steam in the home stretch with Niccol serving up some dialogue that is too on - the - button (such as a line where Viktor lays bare all his reasons for creating Simone) and some mechanical plot twists that are less than surprising.

Diaz spends most of the film with Applegate, and they have an unforced, cutesy girly - girl best friend rapport, but one wishes Kumble and Pimental gave them more to do than just goof off and make faces at each other and the audience, often while delivering lame dialogue such as (in reaction to seeing Jane's boyfriend nude) «Oh my cock!»

Luckily, Mitt can breathe a sigh of relief, since the low budget film is marked by such dubious dialogue, shoddy special f / x and sloppy editing that it doesn't even measure up, cinematically, to an episode of your typical, cowboy TV show from the Fifties, like The Lone Ranger.

When you have a film with such terrific actors like Al Pacino (The Recruit) and Christopher Walken (Kangaroo Jack), and such easy - to - watch personalities like Affleck and J.Lo, the horrendously misguided dialogue and lack of vision to the storytelling only become more pronounced, akin to performing the Macarena in the middle of a ballet, or having the diva of an opera perform a beatbox in the middle of her aria.

Awkward performances, under developed characters, flat dialogue and bad dubbing are very common in his film as well as the films of his Italian horror contemporaries such as Mario Bava and Lucio Fulci.

The eighth film Written and Directed by Quentin Tarantino, and appropriately named, combines many elements of previous works, rich and poignant dialogue, favorite cast members such as Samuel L. Jackson, Kurt Russell, Michael Madsen, James Parks, and Tim Roth, adding in a host of new faces to the Tarantino menagerie Jennifer Jason Leigh, Bruce Dern, and Channing Tatum.

The film does have noticeable faults, such as sub-plots of dubious purpose drifting in and out of the narrative and some stilted dialogue with no purpose other than expository contrivance.

She mixes beautiful comedic timing with utter rage - fuelled despair and delivers some of the best film dialogue I have heard in a very long time with such class that certain moments got a round of applause.

The dialogue is compelling and user friendly, with both men taking us through the process of making such a fun and engaging film.

Rarely has the seemingly unstoppable evil force in a comic - book superhero film been given such a richly dramatic background and so many scenes in which there's actual dialogue and not just CGI - laden battle sequences.

But, in achieving his realism sans much dialogue, McQueen also shows that he is, in a sense, the anti-Cassavetes, for where Cassavetes achieved such realism with dialogue, in great films like Faces and The Killing of a Chinese Bookie, by letting characters speak as in real life, McQueen allows characters to react and brood, as in real life.

Also, the film is peppered with Eszterhas's trademark lame dialogue, such as «I do the fucking; I don't get fucked,» and «Why don't you try out some of those butt plugs over there... a perfect fit for an asshole.»

Yes the parameters may be looser — we encourage submissions of older films, for example, firmly believing that such viewing keeps cinephilia alive and is always in dialogue with contemporary film viewing.

The friendship between the two comes through quite clearly; McQuarrie's screenplay is frequently praised, and while the writer laments the loss of favourite moments and choice dialogue, it's clear «The Usual Suspects» would never have evolved into such a fine film without a solid, densely textured screenplay.

But the film has aged remarkably well over twenty years, perhaps because it was even something of a throwback at the time: the imprint of conversation - driven French auteurs like Eric Rohmer is borne proudly by this sharp, sexy and nastily funny comedy of manners, whose dialogue crackles with such cutting truth and wit one wonders why Soderbergh doesn't write more these days.

* It must be noted that, at no point during the actual film does anyone call Devereaux «The November Man»; it's only name - dropped at the very end by the film's villain, a sad - looking Bill Smitrovich, visibly thankful to have such a big part in a studio film despite half his dialogue being clumsily misogynistic cracks like «Show me your tits»).

Of the dialogue in the film, Negga has the most, however she will face a competitive best actress race this year that might not make room for such a subtle, albeit it powerful performance.

Critical polls that are meant to single out the best films of the year are one such context — films are brought together, named, and appreciated in a truly supranational context where they enter a real dialogue with each other on a temporal (and not so much geographical and definitely not on national) basis.

Starring Joe Mantegna as a slick Seattle con man and Lindsay Crouse as an anxious therapist eager to learn the rules of the trade, the film featured the writer's trademark staccato dialogue delivered with deadpan aplomb by a slew of Mamet regulars such as Mike Nussbaum, J.T. Walsh, Ricky Jay and William H. Macy in a small role.

As well as testing his ideas over two shorts, Whitfield was in continual back - and - forth with his leads on the dialogue, and the result was a script impressive enough to lure better - known actors such as Jason Isaacs (Lucius Malfoy from the Harry Potter films) and Paprika Steen (Danish veteran of Dogme films Festen and The Idiots) on board.

How Ben Stiller can write such horrid dialogue, but then turn around and give us great action sequences and an overall solid looking film is beyond me.

With such high profile slices of movie beefcake determined to make their mark as auteurs as well as deliverers of dialogue, now is a good time to look back at some other aesthetically - pleasing performers who put their necks on the line as bona fide film directors...

No other film on the list inspired such low expectations from me before viewing it, but celebrated Irish playwright Martin McDonagh has kick - started the played - out Brit gangster genre with a dose of existential neurosis, refreshingly languid pacing and ream upon ream of rapid - fire, ferociously literary dialogue that credits its audience with as much intelligence as its audience.

This is a dialogue - heavy film, and as such, audio is focused towards the front and center.

Shot entirely in black and white, the film looks about as close to a low budget indie as you're bound to find, but Whedon and Shakespeare are such a great fit (both celebrated for their sharp and witty dialogue) that it's a wonder the latter didn't attempt an adaptation of the Bard's classic any sooner.

I loved the hilarious situations, hip dialogues, the side jokes and the cool references to films such as «GoodFellas» and «Reservoir Dogs».

Students watch the film three to four times, each time observing and analyzing different aspects of the film, such as lighting, music, scenery, dialogue, etc..

The voice - overs for the majority of the characters are lifted directly from the Star Wars films, so when you are hearing the dialogue of Han Solo, then you really are hearing Harrison Ford with further noticeable archive audio from Carrie Fisher as Leia, Adam Driver as Kylo Ren, John Boyega as Finn, Daisy Ridley as Rey, Oscar Isaac as Poe Damoeron, Anthony Daniels as C - 3PO, Max von Sydow as Lor San Tekka and much more besides, while there are also exceptional voice - over artists such as Matthew Mercer and JB Blanc amongst many more talented voice - over artists fulfilling a variety of character roles on the fringe of the story that interweaves with the archived audio to tell the story as authentically as possible.

By extension, the works dialogue with Romanticism and contemporary notions of self - worth as derived from the media, such as films.

One such example of engaging art filmmaker is the influential Valie Export, whose films are absolutely never boring — harnessing direct performance, the language of commodity, Hollywood, poignant dialogue, and narrative to make their point.

They explore material processes and ideas concerning surface and depth, they enter in a dialogue with other mediums such as painting, sculpture and film, and actively engage with the exhibition space itself.

This selection includes single, two - and three - channel projections and points to Islam's dialogue with the history of moving image devices and work of film directors such as Ingmar Bergman.