Sentences with phrase «first frame of the movie»

Not exact matches

She didn't seem to care about losing her virginity to someone she barely knows (another way these movies typically frame young men), and there's a point when she asks her father (John Cena) why society makes such a big deal out of virginity in the first place.

The denouement is particularly interesting and although Schrader himself has stated that the closing «could be spliced to the first frame, and the movie started all over again» suggesting that what we've witnessed falls more into the damnation element of Travis, there also exists a sequence that could arguably be claimed as redemptive which would leave Travis Bickle as on of cinema's most intriguing (and contradictory) anti-hero's.

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).

Where the first movie, which begins with Tyler's character rejecting Speedman's proposal of marriage, subtly positions the masked strangers as a warped reflection of a nuclear family — a man in a suit, a sexualized «pinup girl,» and a cherub - faced baby doll — Prey at Night scores its first killings with Kim Wilde's «Kids in America,» the equivalent of having Bugs Bunny lean into the frame with an arrow - shaped sign reading, «Get it?»

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.

First, they'll just be a couple of cameos used as a framing device, so that Professor X and Magneto are looking back at the events of the new movie.

Video introductions from Shyamalan preface four full - frame deleted scenes — which, according to the cover art, «reveal clues to the movie's twists and turns» — totalling 11 minutes, the longest of which finds Brendan Gleeson giving his everything to a monologue that more than likely motivated him to accept the otherwise unmemorable role of August Nicholson in the first place.

A good chunk of the Marvel movie's opening weekend audience opted not to follow up for a second viewing this weekend since the movie suffered a 56.4 % drop in ticket sales from its first frame, but the massive turnout was still enough for Avengers: Infinity War to top its nearest competitor by almost $ 100 million.

But there were no real losers on the first frame of the 2014 holiday movie season.

From the very first frames of Deadpool, the movie announces its intent to take nothing seriously.

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.

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.

That's a significantly higher frame rate than Peter Jackson's experimental use of 48 FPS for The Hobbit trilogy, and it sounds like the reaction to this format from the first reviews of the movie is even more resistant than to that previous effort.

The philosophical frame of the first LEGO Movie and the rapid - fire in - jokes from LEGO Batman are missing, letting the adults in the audience down.

It's a reputation that makes his movies uniquely entertaining; because you know a perception - shattering twist is coming, anticipation is seeded ahead of even the first frame.

There would be no movie, of course, without an actor the stature of Brendan Gleeson, who's stubbornly, messily alive, carrying Calvary from first frame to its almost - last.

Peele's confident writing and direction is clear from the first frame of the very funny socially - conscious horror movie, which has the distinction of being the first February release nominated for Best Picture since 1991, when The Silence of the Lambs took home Best Picture and four other Oscars.

The only movie the sequel trails, of course, is the first Deadpool, which earned $ 132 million in its first frame.

Co-directors Dorota Kobiela and Hugh Welchman have put together a movie that is the first ever to be assembled entirely via oil paintings on canvas, with each frame of the animated feature brought to life by the efforts of 125 artists.

This is, from first frame to last, a fully realized work of action cinema, a movie as visually arresting as it is emotionally stirring, one that could only be appreciated, in terms of its visual accomplishment, on a big screen.

The 1978 original was the first horror movie I genuinely fell in love with — those elegant wide shots, that spine - tingling score, those autumn leaves twirling through frame — and it was a staple of my late - night movie - watching ritual as a teenager.

Seductive Subversion includes Marisol's John Wayne sculpture, commissioned by Life magazine for an issue on movies; the French sculptor, painter, and filmmaker Niki de Saint Phalle's eight - foot - tall Black Rosy, one of her «Nana» sculptures exploring the role of women; Rosalyn Drexler's oil and acrylic work Chubby Checker, inspired by the poster for the movie Twist around the Clock, and Home Movies, based on frames from old gangster movies; the Times Square — inspired Ampersand, a multilayered, stylized, and illuminated neon ampersand in a Plexiglas cube by Chryssa, one of the first artists to utilize neon in her work; and a seventeen - foot - long triptych by Idelle movies; the French sculptor, painter, and filmmaker Niki de Saint Phalle's eight - foot - tall Black Rosy, one of her «Nana» sculptures exploring the role of women; Rosalyn Drexler's oil and acrylic work Chubby Checker, inspired by the poster for the movie Twist around the Clock, and Home Movies, based on frames from old gangster movies; the Times Square — inspired Ampersand, a multilayered, stylized, and illuminated neon ampersand in a Plexiglas cube by Chryssa, one of the first artists to utilize neon in her work; and a seventeen - foot - long triptych by Idelle Movies, based on frames from old gangster movies; the Times Square — inspired Ampersand, a multilayered, stylized, and illuminated neon ampersand in a Plexiglas cube by Chryssa, one of the first artists to utilize neon in her work; and a seventeen - foot - long triptych by Idelle movies; the Times Square — inspired Ampersand, a multilayered, stylized, and illuminated neon ampersand in a Plexiglas cube by Chryssa, one of the first artists to utilize neon in her work; and a seventeen - foot - long triptych by Idelle Weber.