I'm tempted to write off the entire documentary as being solely of interest to nut - and - bolts geeks, except for the segment devoted to Oliver Reed, who died of a heart attack three weeks before principal filming wrapped, necessitating some CGI trickery to insert him into a crucial
final scene of the film.
The final scenes of the film show the real Vince Papale.
The final scenes of that film, when the two clash and then make up are something that most of us have gone through.
The final scenes of this film are as disastrous as they are odd, and could only be more damaging to the film overall if the first two hours had been better.
I also love
the final scene of the film the most, which I won't give away, but genius is all I have to say.
And it's in
the final scenes of the film — in which Jenkins knows he's laid the groundwork, trusts his actors and allows the emotions of what's unsaid to provide the dramatic thrust — that «Moonlight» makes its greatest impact.
Silliest of all is the realisation that Jack has undertaken his journey not to save the good burghers of New York, nor even just to save his own son, but rather simply to prove that he can for once keep an appointment — making
the final scenes of this film hilariously anticlimactic, as our hero is left with literally nothing to do except grin.
The final scenes of the film hitch the publishing of the Pentagon Papers to the Watergate break - in, in case we weren't sure of the ramifications of what we just saw.
In
the final scenes of the film, Hutton deliberately collapses the distance between the camera and the curious workers in the ship - breaking yard in Bangladesh.
Not exact matches
Director J.J. Abrams recently revealed that between 10 - 20 minutes
of scenes were cut from the
film's
final edit.
While on CNN promoting his new
film Godzilla, Bryan Cranston indulged the interviewer's theory that Walter White didn't actually die in the
final scene of Breaking Bad.
Each
of the three
scenes features Guinevere, a character practically missing from the
final film.
The
film occasionally broaches heavy - handedness, corniness even, but that's forgivable; Safaria shows an impressive command
of tone, particularly in the
final scene, where she's doing two seemingly incompatible things, at the same time, and beautifully.
The
final scenes in the saga
of Harry Potter look «right» but don't produce the awe
of truly great fantasy
films that comes with true artistic interpretation.
In one
of the strongest
scenes in this
final film, a character tells Harry about the importance
of words and how things that exist only in the mind are as real as anything else.
My concern is that the NC - 17 controversy about «Killer Joe» and the extreme nature
of its
final scenes will become the story
of Friedkin's
film.
The interacting with Killmonger and the secondary character and the
final few
scenes that he and T'Challa get to spend together are honestly some
of the best moments from any
of these
films in a very long time.
Roughly translated, those are the last words in Robert Bresson's «Pickpocket,» a movie that figures prominently in the work
of Paul Schrader, who has alluded to its
final scene in many
of his
films, including «American Gigolo,» «Light Sleeper» and his new one, «First Reformed.»
Adele Haenal and Kevin Azais both give strong performances, and the chemistry is certainly present on screen, while the flick's bizarrely charming score and array
of beautiful shots create definite impact; one
of the
film's
final scenes, that takes place in an abandoned town, surprised me in its method
of creating danger.
From the opening space arrival
scene to the
final battle, this
film has it all in terms
of a video feast for the eyes and excitement for the ears.
Even most
of the death
scenes feel rushed, highlighting the PG - 13 rating that the
film has secured, and one does miss the Grand Guignol extravagance
of the
Final Destination franchise.
As for that key moment that sets up the
final act, I thought the
film established the character motivation adequately with the earlier
scenes showing us Schultz's reaction to some
of the violence against slaves.
In the
final, incredible
scenes at Candie Land, easily the peak
of the
film and some
of the best
scenes of the year, everyone on - screen is hiding something from Django pretending to be a mandingo expert to Broomhilda pretending she doesn't know him to Samuel L. Jackson's memorable turn as a loyal butler with plenty to hide.
In the
film's
final act, the screenplay serves them up what might otherwise be a moment
of real conflict, but Roth's direction seems so blithely uninterested in anything but eagerly justifying Willis» violently sadistic rampages that the
scene plays as limp and useless as a vestigial tail.
From the series
of pranks and stunts that are done to ruin Shack professionally throguh the
scenes of A No. 1 trying to educate Cigaret all the way to the big
final confrontation aboard the moving train, this
film is fileld with energy, tension, and the world being presented really comes alive in all
of its unsavory detail.
And the
film kind
of peters out in its
final scenes post-Candie Land in a disappointing way.
By playing the
film's
final scene under the closing credits crawl, however, Denis undermines the very idea
of an ending.
The
film stalls and sputters badly when it gets to Candyland, plodding through a squirmingly long dinner
scene and then giving us about three different
Final Acts
of Revenge that seem increasingly redundant.
Both characters have been conspicuously left out
of Infinity War's first part, but the
final moment
of the
film's post-credit
scene suggests Brie Larson's Captain Marvel will be a key part in resurrecting this flurry
of «dead» Avengers, and bringing down Thanos in the process.
However, that emotional intensity is completely erased in the
film's
final half hour, which is devoted to typical courtroom
scenes that provide none
of the power
of what we just endured.
While the main event
of the
film certainly did happen, as well as some
of the
scenes (some
of them, excerpted from the documentary, are shown during the end credits), the
film as a whole does tend to traverse familiar territory as far as feel - good sports
films go, especially with the
final game where all
of the loose ends comfortably fall into place.
Birdman «Times Square Lockout» I could have chosen the
final scene or Edward Norton getting a hard on in front
of a live audience or really any
scene from Alejandro Gonzalez Inarritu's visionary
film, but this is the
scene everybody keeps talking about.
He's playing with so many interesting ideas when it comes to race that I wish the
film felt a bit more satisfying in its payoff, even if that disappointment is amply offset by the pure intensity
of the
final scenes, during which Peele displays a skill with horror action that I didn't know he had.
«Get Out» is not a
film that takes breaks for comedy routines (even if Howery allows a little relief, it's often in the context
of how he's convinced all white people want black sex slaves), keeping us on edge and uncertain from the opening
scene to the
final one.
(remix) music video by Danger Mouse and Jemini; deleted
scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting
final image
of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the
films soundtrack (the
scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.
One thing the
final act can not sully is the sublime score by Michael Patton, with its echoing keyboard effects conjuring a romantic melancholy that electrifies many
of the
film's key
scenes.
But in keeping with revived franchise's goals
of shedding the old to make way for the new, he meets his apparent end during the
final act
of the
film in a
scene that will undoubtedly leave audiences asking a lot
of questions.
Well, he does save the world and in the
final scene returns to her cell for his «reward», which is conveyed in the
film as a POV shot recorded by the agent's spy glasses, much to the shocked disgust
of Q-esque Merlin (Mark Strong).
Suffice to say that there's a thrilling large - scale battle
scene, and a lot
of slightly less - large - scale ones, and that the
film's
final 15 minutes or so have a genuine, unexpected emotional resonance.
Spock's
final scenes etch the Kirk / Spock relationship in stone and set the standard for character relationships in all genre
films, to say nothing
of future «Star Trek» sequels.
For fans
of the first
film, the
final ending
scenes are the most spectacular in linking directly into the opening
of the first Thing.
When their story ends and brings a sense
of achievement to the
film, though, Fisher chooses to continue the movie as if to remind the audience in a
final scene that he really is the most inspiring movie studio security guard who ever wrote a spec script.
Directed with period flair and eye - catching
scene transitions by Paul McGuigan (Victor Frankenstein), the
film that charts her
final years likewise does more than just combine a tear - inducing tale
of sickness with an unlikely romance.
(American Gigolo's transcendent
final scenes are a near - total copy
of the finale
of Bresson's 1959
film Pickpocket.)
Extras include a six - minute behind - the -
scenes featurette whose highlight is star Wilson suiting up for a pre-production supersonic flight; seven deleted or extended
scenes — among them odd alternate opening and closing title sequences — with optional commentary from director Moore and editor Paul Martin Smith — these trims carry a viewer discretion warning, for they would've threatened the
film's PG - 13 rating; a fantastic, largely CGI pre-visualization (with, again, optional Moore / Smith commentary)
of the virtuoso ejection set piece that at times gives
Final Fantasy a run for its money; the teaser trailer for Spielberg's upcoming Minority Report; and two engrossing full - length commentaries, one by Moore and Smith, the other producer John Davis and executive producer Wyck Godfrey.
Sex
scenes between Sean and Nathan are beautifully handled, and the
film's
final chapter is a sensitive reminder
of what the political fighting is all about: living your own way.
It is a pity that the script doesn't quite have the courage
of its convictions to provide a more understated ending and instead lapses into the slightly saccharine
final scene but it's only a minor blemish on an otherwise thoroughly enjoyable
film.
Additionally complementing a flawless, 2.35:1 anamorphic transfer and thudding Dolby and DTS 5.1 mixes (note that the DTS audio draws gratifying attention to the surrounds) on this Ultimate Mummy are a pair
of wisely - deleted
scenes; brief lessons in Egyptology and pharaoh lineage; full - motion split - screen storyboard - to -
final film comparisons; an extraneous montage
of production stills; what appears to be the Electronic Press Kit for this summer's The Mummy Returns; trailers for The Mummy and its upcoming sequel (in Dolby 5.1); cast and crew bios (plus notes); and the following DVD - ROM links to: a soon - to - be live webcast from the premiere
of The Mummy Returns; Sommers's script; screen savers; The Mummy's PC game demo; and The Mummy Returns» official website.
Some
of the CGI was a bit spotty in the
final action
scenes but other than that, this is the
film I was hoping for.
The
film's
final sequence - a side - by - side recreations
of scenes from The Room - suggests the intended takeaway is simply how well Franco's actors imitate Wiseau's (i.e. with mechanical precision, but a little less genuine chaos).