Sentences with phrase «films party sequence»

«The Masquerade» looks at the films party sequence.

Not exact matches

The film opens with a barbaric sequence of a Comanche raiding party murdering the husband, two daughters and infant son of Rosalie Quaid (Rosamund Pike).

«That party sequence is why I really wanted to do this film, because I've been to that party,» Kaluuya said of a scene in which Chris politely navigates a series of white strangers whose pleasantries are edged with passive - aggressive racist undertones.

However, they do make great «wallpaper» cinema: films to turn on in the background during a cocktail party to entertain your guests (especially fun when Thunderbirds are Go casts aside narrative and indulges in a prolonged dream sequence at a night club in space — call it a camp precursor to the Stargate sequence in Kubrick's 2001: A Space Odyssey).

From the EW preview we know one thing for sure: there will be more spectacular party sequences as there were in the first film, with Neighbors 2 including a Mad Max - inspired tailgate and a hall - of - mirrors rave.

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

The film opens with a stunning opening sequence, as an 11 - year - old girl exits her own birthday party and jumps off the balcony, killing herself, and from there, Avranas slowly pulls back the curtain on the horrifying truth behind her family.

In between it offers, among other things, meditations on Spanish architecture and landscapes, an outdoor concert where the conductor is on an elevated platform in a shopping arcade and the musicians are on nearby balconies, a lavish state party thrown for the novelist, a verbal chess match at the party, a credit sequence 20 - odd minutes into the film, a concert inside a cathedral, extended lovemaking, a recitation of part of the novelist's book, an opera performed at a gigantic fish market, a university lecture on algae, another opera set (though not staged) in a Turkish bath, a TV interview, a meal prepared and eaten by the three lovers, a film screening, and a plane trying to extinguish a forest fire.

Although in one instance — a party sequence featuring a rather clichéd depiction of Catherine's feelings of claustrophobia in a crowded space — the film falls victim to a heavy - handed narrative choice and unsubtle execution, more often, smaller moments such as Catherine's interactions with Rich, or her reminiscences about the past with Ginny, become crucial in expressing her emotions.

Also more interesting in concept is «A Golightly Gathering,» a reunion of various people who were involved in the film's famous party sequence; while there are some amusing remembrances of working with Hepburn, George Peppard, and director Blake Edwards, at 20 minutes it goes on too long, and the cocktail party conceit of the gathering is a bit too precious.

At a climactic concert at a party, rows of listeners can be seen gliding off in separate directions as if on separate mind journeys, and in a much earlier surreal sequence featuring newsreel war footage in a cafe, the narrator, reading a letter, can be seen rising with his chair like a film director seated on a crane, all the way to the top of the room, where he encounters his own childhood self running a projector — an image that might be traced, like much else, to one of Proust's extended descriptive passages.

Though it most comes alive in game sequences, which are depicted with many layers of sound and perspective and set to short clips of hip hop, hard rock and at one point Bill Withers, the film also depicts parties, publicity, and the filming of a rap music video.

Like ALL of Rogen's films, «Sausage Party» unnecessarily takes everything to the extreme to get the cheap laugh, and in the case of the final sequence, simply shock and stun the audience.

Deathly Hallows has plenty of special effects moments that look spectacular in HD, and even when there's not a huge action sequence in play, the film's reliance on the party's trek means there are lots of sweeping landscape shots that have their own beauty.

Taking the form of a video essay, the film is at its best stitching together clichéd clips from different movies — montages of house parties and masturbation sequences playing out over an angsty soundtrack by indie band Summer Camp.

Perhaps all would be forgiven if M: i: III were competently - directed (while M: I - 2 is one of the stupidest films ever made, as John Woo is one of the best action directors of the past twenty - five years, damn if it's not beautiful, coherent, auteurist stupidity), but it's a glassy - eyed, dead thing complete with superfluous flashbacks to events we don't care about involving characters we don't recognize, an interminable party sequence in which Cruise trots out his smile like it was a weathered, beaten - down trophy wife, and a smug, self - congratulatory conclusion full of high - fives, victory arms, and shit - eating grins.

Criterion's Blu - ray presents the film exclusively in its 1996 extended cut, rather than the unrated 100 - minute original theatrical cut that abbreviated that out - of - nowhere party sequence.

They don't pretend it's a silent film, mind you, but rather build a series of visual gags on a basic premise — Peter Sellers as an accident - prone East Indian actor accidentally invited to dinner party by an A-list Hollywood producer — and then let the comedy bits sequences evolve, build on one another, and guide the story, like a feature version of a Chaplin short.