Sentences with phrase «into dance numbers»

Not exact matches

He's the French Guyanan goalkeeper who ran the length of the pitch with the ball, dancing around most of his opponents in the proecess before firing a low shot past his opposite number and into the back of the net!

Aside from budget issues, nothing's stopping them from making a zombie movie with a surprise dance number among the corpses, or a superhero film where the villain's master plan is to turn everyone into squirrels or something.

They [Sia and Greg Kurstin] bring effervescent energy to dance - minded tracks such as «Santa's Coming for us» and the Phil Spector - inspired «Candy Cane Lane» while investing real sincerity into more introspective numbers including «Snowflake» and «Underneath the Mistletoe.»

The film is hamstrung by the need to lead into the next song, most of which are accompanied by music video style dance numbers.

All you need to know is that the second the movie opens, we're thrown into a big song - and - dance number, where Barnum (Jackman) sashays and spins through a circus ring, adored by his also - dancing «freaks.»

The dancing numbers, which are so tame you wonder what all the heavy - breathing was about, are awkwardly shoehorned into the melodrama.

That glow, and one of those freeways, turn up in the opening number of Damien Chazelle «s «La La Land» — opening the Venice Film Festival tonight — an ambitious new musical that turns a very recognizable Los Angeles into a singing, dancing land of dreams.

Ali helps turn what once was a lip - sync club into a singing - and - dancing revue after she displays her vocal fireworks onstage in numbers like But I'm a Good Girl.

There will be some epic musical sequences — including a «singing into hairbrushes» scene, space dance number and one that looks inspired by Gene Kelly and Ginger Rogers.

may not have been many, but they were perfect — making the point and then moving on (from that first dig right into a stunning eight - minute song and dance number that dropped him into classic movie scenes).

Not only does it bounce and multiply energy, it's also capable of breaking into a full blown dance production number.

The plot never runs out of steam, but you'll soon see it as an excuse for dazzling bits of business: a spaghetti strand turned into a lasso, an excruciatingly funny piece of on - set dialogue direction (some cowpokes will never become urbane smoothies) and Channing Tatum in a screwy - sailor dance number that plays like a reason to make the film.

Damien Chazelle may have scripted one of the more inadvertently humorous titles in recent memory («The Last Exorcism II»), but his heart is clearly in musicals, not comedy: «Guy and Madeline on a Park Bench,» the fractured romance he wrote and directed in 2009, featured jazz trumpeter Jason Palmer, a buoyant score by Justin Hurwitz and cast members breaking into down - market dance numbers in the middle of a restaurant kitchen.

As expected, the dance sequences are once again the highlight, with a handful of show - stopping numbers that are so theatrical it could easily be turned into a traveling stage show.

It's everything the first film should have been and more, making up for its loose narrative structure by unabashedly pandering to the audience with show - stopping dance numbers that are so theatrical it could be turned into a traveling stage show.

With a massive number of people breaking into song and dance in its opening moments, La La Land proves that it knows how to capture the attention of its audience.

With its instantly classic musical numbers, hypnotizing colour scheme, ridiculously smooth choeography, and Gosling and Stone's palpable level of chemistry (there's a reason why these two have worked together three times now), the film dances its way into your heart with an almost stupid level of ease.

Then Colbert launched into his song - and - dance number that married escapism with serious headlines.

Their voices are unmodified and their dance sequences — like all the musical numbers — are shot in long takes rather than chopped and edited into fine shards of perfection.

As we walked around, we got to see Malone practice her dance and we also got to see how the dance number plays into the rest of the film.

Before delving into this project, Wolfe was already an award - winning music video director whose credits included The Shoes» «Time to Dance,» featuring a murderous Jake Gyllenhaal, as well as the intensely cinematic video for Paolo Nutini's «Iron Sky,» in which there are a number of aesthetic similarities to Catch Me Daddy.

His maladroit direction turns a few elementary sight gags into mysteries that the viewer is expected to solve, and does no favors to the apathetically choreographed dance numbers.

The musical numbers contain just the right blend of singing and dancing so that the people in the audience who enjoy watching a performer burst into song will find themselves completely satisfied, while the dance aficionados will also be much entertained.

That dance requires the pattern learning and twitchy muscle memory of a masocore game, but every time Wrong Number throws uncertainty into the mix, intentionally or otherwise, it frustrates attempts at mastery where it should encourage.

They started with a sudden dance number with three songs mashed into one medley.

Though his works are occasionally playful — for his work This Is So Contemporary he instructed a number of museum guards at the German pavilion of the 2005 Venice Biennale to break into a choreographed dance while calling out «This is so contemporary!»

The control data extracted from these rhythmic patterns are fed into a number of synthesizing systems to create disjunctive dance tracks.