Sentences with phrase «films opening through»

The 2017 Fall Movie Preview is a snapshot of the films opening through early November.

Not exact matches

«Ready Player One,» director Steven Spielberg's science - fiction thriller about a grim world where people seek escape through virtual reality, opened as the top film in North American theaters, delivering the first No. 1 debut this year for Warner Bros..

For that to happen, Star Wars will have to break through in a usually crowded December period for movies, a month where no film has broken past $ 100 million in its opening weekend.

Once a sector has been cracked open, operational restrictions come in to play — witness the ongoing regulation of the film market through censorship, import quotas and central government decisions on movie release dates.

«What we've seen through technological changes, the shift from film to video opened up a lot of opportunities for women to move behind the camera,» she said.

At the push of a button, an unassuming circular table blossoms open to reveal lights and 18 custom wine bottles, each etched by hand to represent one of the James Bond films, from Dr. No, through Tomorrow Never Dies.

He runs the film through from opening kickoff to final gun, studying the positioning of his officials, where they were on crucial plays, how they called the plays and whether they were correct or not.

Their courtship was both skilled (a dinner in the chef's kitchen at Emeril's and a film session in which coach Sean Payton promised to tailor his wide - open offense to Brees's strengths) and clumsy (an accidental tour through the parts of the city left most damaged by Katrina barely six months earlier, devastation from which the Saints had hoped to shield Brees).

Through these experiments, Ruike identified three main parameters that give kirigami films their adhesive properties: shear - lag, in which shear deformation of film can reduce the strain on other parts of the film; partial debonding, in which the film segments around an open slit maintain a partial bond to the underlying surface; and inhomogenous deformation, in which a film can maintain its overall adhesion, even as parts of its underlying surface may bend and stretch more than others.

From pre-production to final cut, Jarecki follows the existential - minded director through the entire process of making a movie as Toback opens up to the camera to discuss a variety of deeply personal matters and explore just how they have manifested themselves in such films as Love and Money, The Big Bang, and Black and White.

After some opening images — a shadowy blond figure, complete with trench coat and heels, dumping a corpse off a bridge — that immediately frame its tale of moneyed madness through the greasy lens of B - movie schlock, the film moves to an aging Durst (here renamed David Marks and played by Ryan Gosling) on the witness stand.

Will Gluck's Peter Rabbit opens as one might expect for an animated / live - action film based on the misadventures of Beatrix Potter's beloved fictional animal character: with a flock of birds gliding through the sky and singing a pretty little tune worthy of Julie Andrews.

Of course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopters.

The actors are really just playing themselves as far as their line delivery goes and the plot really doesn't go anywhere new, especially since the opening scene of the film rewinds through the entire film, showing every action beat, which was a really bizarre move.

Into this season of the Serious Movie, when every other film seems to speak to the troubled times in which we actually live, the fact - based, yet farcical «The Disaster Artist» blows like a fresh breeze, throwing open a window through which we may escape, briefly, from ugly reality.

Directed by, as the opening credits note, «One of the Two Guys Who Killed John Wick's Dog,» the first 10 minutes of «Deadpool 2» feature roughly the same amount of spectacular bloodletting as both that film and its sequel combined, as wiseacre mercenary Deadpool slices a gruesome swath through waves of villainous henchmen.

In HOOKED ON HOLLYWOOD, Maltin opens up his vast and illustrious personal archive to take readers on a fascinating journey through film history.

A quirky little film with an offbeat trajectory that rattles through the bones of story with eyes open to the texture of experience and the dimensions of character.

Second, Hollywood and other film industries feed off one other through a series of dynamic exchanges (ask Mr. Amenabar what were his major influences in the making of his nationally and internationally successful Tesis and Open your Eyes).

Dano does very layered work as Hank who, throughout the film, gets peeled back more and more revealing someone who is just so full of hurt and loneliness but through Manny has maybe opened up to happiness in a way that he's never truly known.

The film opens with a shot of a planet being destroyed and then a look at the Silver Surfer, albeit only identifiable as a comet - like projection zooming through space.

The film starts promisingly, opening with a foreboding shot of a girl wandering through Griffith Park, scored with ominous guitar squalls courtesy of Black Rebel Motorcycle Club, who composed the film's score, setting the tone for a film much weirder and more interesting than the one that follows.

The film opens with King George asking Churchill to take over the role of Prime Minister since Neville Chamberlain is woefully ineffectual against Hitler, whose army is sweeping through Europe with alarming speed.

In the film's instant - classic opening, Spielberg uses little dialogue as he follows Rudolf Abel (Mark Rylance) through what looks like a routine but also includes a tiny, crucial bit of spy - craft as he picks up a coin containing a coded message on a park bench.

Pixar's best films are distinguished by strong openings (see also: Up and WALL - E), but Coco's opening is a little tortured, contorting through plot devices and contrivances to ensure Miguel ends up in the Land of the Dead.

«From indie film, we filtered through to mainstream Hollywood, which opened us up to the world.»

Although Mona dies during the film's opening moments, Midler's title character is revealed through the story's perpetual flashbacks, during which each character's theoretical motive for wanting to kill Mona is disclosed.

The opening moments of the film are contagiously energetic, with multiple locations seamlessly edited together through narration, breaking of the fourth wall, and snappy writing.

DAYBREAKERS is a film that has run through 99 % of its good ideas by the time the opening credits have concluded.

Through 4 months we've witnessed a pretty impressive opening to the 2018 film year.

Since «George Washington» (2000) opens with a teenage girl's dreamy, wise - beyond - her - years narration as the camera floats in slow - motion through waving fields of grass and glides along railroad tracks, you probably don't need to be told that first - time feature director David Gordon Green, then just twenty five and fresh out of film school, was a big Terrence Malick fan.

The powerful dystopian imagery itself (both displayed and evoked through description) is not easily forgotten — particularly the prologues and opening sequences, nor is the idea behind the films, or the many paradoxical narrative loops.

Among the standouts are the opening night film starring Jake Gyllenhaal and Naomi Watts, Jean - Marc Vallée's Demolition, a film about a man struggling with his wife's tragic death through an unlikely communication with the customer service department of a vending machine company.

After the near miss of the film's opening, in 1943 the 26 - year - old Louis suffers through a more prolonged, relentlessly life - threatening series of unfortunate events.

Studio Canal opened the film in the U.K. in early March, grossing over $ 1.3 M through last month.

But the young, media - savvy Kim Jong - un made known his opposition to the film months before its scheduled opening through an unofficial spokesman and later North Korea's UN ambassador.

No, the explanation for Adaline Bowman's (Blake Lively) unchanging physical form is purely scientific — it's just that the science behind the phenomenon won't be discovered until 2035, according to the omniscient narrator who walks viewers through her unique condition in the film's opening scenes.

Opening on an air force squadron of Free French fighters hidden in the countryside, it segues into a sea drama, a prison escape thriller, a war film, and during a brief deck brawl something approaching a pirate film, all nestled into the storyline through flashbacks and plot twists.

An auspicious breakthrough for Mitchell (who scored a Best Director nomination last week from the Independent Spirit Awards), the film excels through harmonious design elements that serve an open metaphor that dynamically allows various interpretations — and also rattle even the toughest of nerves.

The film's misjudged intro relies heavily on knowledge of a particular British TV show, but if audiences persevere through this awkward opening, Chalet Girl makes for untaxing, light - hearted fun that lacks the pretensions and meanness that seems to be the current flavour of comedy.

We get to meet Lincoln's challengers and allies, and through these discussions and negotiations the film opens up from stagy setting to a broader context.

Amy Schumer charmingly tripped her way through 2014's biggest films in her opening montage for this year's MTV Movie Awards, scoring some hosting advice along the way from Boyhood's bright - eyed Ellar Coltrane, The Hunger Games» Elizabeth Banks and Whiplash's always - inspiring J.K. Simmons.

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

This film opened with a series of beautiful focus racks through trees and leaves, revealing gently lit houses, frolicking Scottish Terriers, and a somewhat frumpy middle - aged woman played by Laura Linney.

Just like the children in C.S. Lewis» tale, as you push through the opening minutes of this incredible film and get lost in the magic kingdom of Narnia, you'll leave all thoughts and cares of the real world behind.

The film opens on a quick recap of the big early events of Genesis through the fall of Man, leading into a quick prologue wherein Noah as a young man sees his father murdered by descendants of Cain.

The flashbacks are shot conventionally, and about halfway through the film opens up to shoot scenes from both perspectives.

In a clever bit of character building, the film opens with Robbie (Adam Scott) effortlessly running through the end of a marathon while his brother, an able - sighted Bill (Nick Kroll) sweats the last leg out trailing behind on Robbie's guide rope.

Meanwhile, young Mitsuko (who stars in the toothpaste ad that opens the film, the jingle for which echoes incessantly through the rest of the runtime) comes home to find that her mother has massacred a group of gangsters sent to kill her Yakuza boss father Muto (the familiar Jun Kunimura).

Rear Window — One of the greatest, and most famous, of all Alfred Hitchcock films is this essay on voyeurism in which James Stewart plays a wheelchair - bound photographer who passes his convalescence watching his neighbors through their open windows.