Sentences with phrase «first frame of the film»

Gone Baby Gone isn't exactly the same story, though, since Patrick already knows, from the first words and the first frame of the film, that he is a product of the choices he didn't make.

Not exact matches

In the first instance, then, I shall, as it were, be stopping the film and examining a single frame, pointing to various of its details and suggesting their overall significance.

When Dustin informed me of Pajiba's films of the 1980s retrospective, I was a little ambivalent to write on one of the first films I remember seeing theaters, Tim Burton's Batman (1989; I think the honor for the first film I saw in a theater was Who Framed Roger Rabbit).

This is «Arrival» without any hint of Amy Adams optimism, something Alex Garland's film smothers, from first frame to last.

I felt the need to state that after my viewing of The Killing of a Sacred Deer, because this is a film that will truly make people not see another movie for weeks or just simply turn it off after the very first frame (I'm not exaggerating).

After the painfully one - sided sexual adventure of the first film, in which she met Christian and was brutally exposed to his odd habits, and after Christian's even nastier control - freakishness in the ill - conceived «50 Shades Darker,» Ana is at last able to demand to hold the reins from time to time — a narrative turn that manages to frame their marriage as an empowering structure for women: now enclosed in the gilded cage of their union, Ana can pull on the rope that Christian had tied around her neck.

Some of the lampooning is tacked - on like the non-idyllic portrayals of LA and NY, but «Mother's Day» is first and foremost a rabid exploitation movie and it drips an unbearably sickening atmosphere (the supernatural Queenie freeze - frame is a pulpy jump scare) which is the purpose of these films.

Maniac Cop is the first of three films featuriung this homicidal cop bent on destroying the NYPD and the city of NY, whom he loyaly served, but got framed for something that he did not do.

William Girdler was able to make a good horror film with Day of the Animals, though the acting suffers, the plot is what keeps you involved from the first frame onwards.

«Maze Runner: The Death Cure» is the highest grossing film of the weekend, but according to studio estimates Sunday, many moviegoers also chose the first weekend after Oscar nominations to catch up with some awards contenders like «The Shape of Water» which had its highest grossing frame with $ 5.7 million.

Renoir's first film in color is one of his most painterly, as many of the compositions here could be framed and hung on a wall.

The first look at a heavily anticipated blockbuster now inspires article - length analysis, with eagle - eyed writers going through them line by line, shot by shot, sometimes frame by frame, searching for pertinent plot details with the kind of intensity of attention once reserved for the Zapruder film.

In anticipation of the film's premiere, Amazon Studios has released the first official look at the film online today, including a small glimpse into the mesmerizing, unique format that frames all the events and characters within the film itself.

By the end of the film, every frame becomes imbued with meaning, and you want to revisit it again as soon as possible to catch all the details that you might have overlooked the first time.

Every piece of the frame is alive with details that can go unnoticed on a first viewing, and I urge a second viewing to really see this film.

Writer / director Jeff Nichols («Mud», «Midnight Special») hasn't made one of the worst films of the year, but he has made, arguably, the dullest — from the first frame to the last.

It's the lowest total for a first - place film since the second weekend of «The Hitman's Bodyguard» won the final frame of August.

Damon has his low - key charisma and Van Sant captures the enraged anomie of the community, but, except for one big plot twist, everything in this film is telegraphed from the first frame.

It's the first film to be partially shot with a 120 frame per second rate (most films are shot with at 24 fps) and excerpts were recently shown at the National Association of Broadcasters Show in Las Vegas last month who were reportedly blown away.

Other significant personal preems, in order of original release, included: Buster Keaton's Go West (1925) and College (directed by James V. Horne, 1927); Howard Hughes's and James Whale's Hell's Angels (1928 - 30), featuring (sorry, other Howard) the most awesome aerial scenes I've ever witnessed; John Ford's Up the River (1930) and Airmail (1932); Michael Curtiz's The Kennel Murder Case (1933), utterly silly but quite beguiling as an empty exercise in directorial pizzazz; Gordon Wiles's — and Daniel Fuchs's — The Gangster (1947), an archetypal arty film noir; Val Lewton's Apache Drums; (directed by Hugo Fregonese, 1951); Richard Fleischer's The Narrow Margin (1952); Robert Bresson's Quâtre Nuits d'un rêveur (1971); Tobe Hooper's The Texas Chainsaw Massacre (1974); Phil Karlson's Framed (1975); Clint Eastwood's The Gauntlet (1977); and Robert Mulligan's Bloodbrothers (1978), which returned to Seattle (after a five - day first run in» 78) only via Showtime.

It is possible to truly step away from the first film and enjoy 10 Cloverfield Lane as a separate entity, putting us in a truly fascinating and unique frame of mind when watching this sequel.

A look at our SXSW 2015 coverage, a supercut of first and final frames from some classic films, and a recommendation for the Iranian vampire western A Girl Walks Home Alone at Night help make up this week's Top 5.

After seeing the packed narratives within narratives of part one, Arabian Nights Volume 2: The Desolate One seems, as Miguel Gomes himself suggested, a very different film, connected to the first by the framing device, theme and some of the performers (assuming different roles in the new installment) rather than through narrative continuation.

The very first aerial shot of the film suggests this is an open - matte presentation, as fast - moving helicopter blades find their way into the top of the frame.

Arguably one of the most enduring images in the cinema of François Truffaut is the freeze frame that concludes his first feature - length film, Les quatre cents coups (The 400 Blows, 1959).

The screenwriters make the assumption that audiences will already have a vested interest in Bond's plight from the very first frame due to the events of Casino Royale, though the shift in the tone of this film to emphasize brutal action and CGI - laden stunt work makes tying the two films together a bit of a chore.

The central motif, played gently at first on a harp and then far more disconcertingly on a scratchy, Scandinavian hardanger fiddle, is the perfect accompaniment for the opening of the film: the snow - white screen, on which we gradually make out a bird in flight, and then the approaching car, framed by vertical telephone poles (another inverse nod to The Third Man)?

Well, from the very first frame it is clear that «Lost River» is a film born out of Gosling's influences.

Billed as «the world's first oil painted feature film», which is slightly harder to quantify than the film's PR people might hope, Loving Vincent consists 65,000 frames painted by a team of 125 classically - trained painters on glass, with about two - thirds of those have been copied over live - action reference footage.

Ever since the release of the first trailer of Avengers: Infinity War, diehard fans had been poring meticulously over every single frame and still from the movie, released via both official and unofficial channels, trying to figure out the main story beats of the superhero ensemble film.

Anderson's first film is an interesting look back at the development of filmmaker's now signature style: the methodical cinematography, with its bright coloring and compulsive need to center - frame the actors, along with humor so dry you'd better pack a canteen.

Though it's unclear if the men framing Mills in this movie are connected to the bad guys from the first two films, the real draw of «Taken 3» (other than the action, of course) is its «Fugitive» - like storyline, which finally gives Liam Neeson a worthy co-star in Forest Whitaker.

Schrader — who is best known for his screenplays for Martin Scorsese, but has also written and directed movies like American Gigolo, Mishima: A Life In Four Chapters, and Affliction — has never made anything as minimalist and contemplative as First Reformed, a film of empty spaces framed in boxy Academy ratio.

A sliver of Joaquin Phoenix's face monopolises the film's first frames, his dark, darting eyes taking centre - stage.

Hanks» folksy charm is captivating in the first film to depict Walt Disney, and Thompson gives an Oscar - worthy turn as her curmudgeonly Travers drives nearly every frame of the film.

Both of those films provided intrigue, suspense and engaging storylines worthy of your full attention from the first frame to the last.

The look of this film is astounding without even seeing more than the same few frames from the first teaser and it features a clip of a new song from the film that will have you drooling for more.

As opposed to the frantic handheld camerawork of Shiri, JSA makes full use of its widescreen frame (it was the first Korean film to use Super-35, the Hollywood big - budget standard), to create more deep - focus static compositions.

Rear Window is thoroughly entertaining from first frame to last, and one of those rare films that has only one disappointment: it eventually ends.

LOVING VINCENT is the world's first fully painted film, with every one of the 65,000 frames of the film an oil - painting hand - painted by 125 professional oil - painters.

No footage was screened but Lee said it is the first time ever that a film is being shot on Sony cameras in 3D at 120 frames per second and he believes the future of filmmaking is exciting and will provide audiences with a new type of cinematic experience.

That sensibility allows Cuaron to avoid the pretty postcard images of the first two films, turning every frame into a brooding reminder that we are leaving childhood behind.

Almost a silent film, the way it tackles notions of self are truly sublime, an aura of graceful longing and a sincere thirst for knowledge permeating this adventure right from the first frame.

Find the film on the first disc in a 1.85:1 anamorphic widescreen transfer that adjusts every aspect of the bare - bones DVD's 4:3 letterbox presentation — hues, saturation, contrast, framing — for the better.

The first act begins with this framing story leading into Pi's early life, all of which serves as a precursor to the bulk of the film that is covered by act two.

The final skirmish is not on a scale anywhere near as huge as the first film's climax, while the images of Roland Emmerich - scale city destruction are so brief there's hardly a frame of it in the film not featured in the trailer.

Probably nothing was going to have quite the same impact as John Boyega «s head popping up into frame in that first teaser trailer (which we featured in last year's edition of this feature)-- after all, it was the very first glimpse we got at the single most widely anticipated new film release of the last few decades.

Or that he'd be able to pull off such remarkably assured work from the first frames of his first film?

Under Rothman's leadership, Sony is taking chances and pushing technological boundaries with Ang Lee's adaptation of «Billy Lynn's Long Halftime Walk,» which will be the first film to be shown in 120 frames per second.

The first «fully painted» feature film took a live - action drama of the days following Vincent van Gogh's untimely death in a small French village and, with the work of more than 125 artists from around the world, converted every frame into an oil painting in the Modernist's style.