Sentences with phrase «final scenes of this film»

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).