Sentences with phrase «jump cuts»

And you repeatedly use jump cuts and black leader to interrupt what otherwise might have been smoothly flowing interviews.

Like, there were so many jump cuts in what should have been one continuous movement.

The scene then jump cut to a random apartment.

There is a heavy abundance of jump cuts as each man tries to recollect the night before, an idea that sounds viable on paper, but feels obnoxious and flashy rather than relevant.

And in the interest of keeping current, Peploe shoots in a jittery, modern style complete with jump cuts — but without forsaking the poetry of the movie.

Still, despite such stylistic perks as jump cuts, the film tends to lurch along without ever engaging the audience's interest.

To begin his voyage into the future, Kubrick visits our prehistoric ape - ancestry past, then leaps millennia (via one of the most mind - blowing jump cuts ever conceived) into colonized space, and ultimately whisks astronaut Bowman (Keir Dullea) into uncharted realms of space, perhaps even into immortality.

«Kubrick (who co-wrote the screenplay with Arthur C. Clarke) first visits our prehistoric ape - ancestry past, then leaps millennia (via one of the most mind - blowing jump cuts ever) into colonized space, and ultimately whisks astronaut Bowman (Keir Dullea) into uncharted space, perhaps even into immortality.»

The familiar Byington visual touches include jump cuts and voyeuristic peeks from around corners.

The awkward jump cuts, for example, occur mainly during key action scenes, as someone's arm is ripped off or a shotgun blast sends brains a-spraying.

Lush Life reads like a giant, sprawling episode of your favorite fast - talking police procedural, with type breaks and metaphors standing in for jump cuts and sweeping crane - mounted pans across the city skyline.

Occasionally, he tussles with Philistines, his punches sped up by jump cuts — a cheesy effect that goes back to the cowboy serials of the 1930s.

I think Perkins / Gallman have somewhat similiar style as runners being more start / stop and jump cut guys compared to Darkwa's straight ahead downhill style.

Dobbins has a filthy jump cut and accelerates well, while Weber is a strong, between - the - tackles runner.

What followed was a five - hour grind of a second round at the 2018 Masters, where Tiger ducked and jumped the cut line throughout the afternoon.

Whether it is his vision and patience to read and capitalize off of his blocks, or his subtle jump cuts, Johnson has the skill set of a starting running back at the next level.

That famous jump cut really is a truly remarkable moment, though, linking not only the past and future, but brilliantly symbolising the result of evolutionary progress kick - started by the arrival of the monolith at the dawn of man.

Matador isn't a comedy, but it has its moments of levity, which is smart — the show shouldn't take itself too seriously, and those very Rodriguez (who directed the pilot) touches of sudden jump cuts and cartoonish violence work perfectly with the overall aesthetic.

There are a number of other confounding jump cuts, too, that reveal Snyder and writers Chris Terrio and David S. Goyer may have been tweaking the story during filming.

But Baker has his own confidently off - kilter style, one that swings freely between micro-budget roughness — shot entirely on the iPhone 5s, Tangerine is full of casually composed shots and choppy jump cuts — and impressive technical sophistication.

At first, her jerky close - ups, frequent jump cuts and sudden reversals of perspective are jarring, as if someone had turned the Jean - Luc Godard of the mid-1960's loose on the stage of the Comédie Française.

At the moment of Moonwatcher's greatest triumph, he tosses his bone - weapon into the air, and 2001 pulls the first of many breath - taking moments as Kubrick jump cuts several million years.

Michael Powell beat Kubrick to the draw with his time - bridging jump cut between the distant past and the near future, but Kubrick's cut from man's first weapon to his latest killing tool is a stunner, an impressive cosmic joke.

Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis» point - of - view, where De Niro's now - famous «You talkin'to me» improv becomes one more sign of Travis» madness.

This palette, along with the New Wave - ish jump cuts and whimsically eclectic soundtrack — bopping from hip - hop to Victor Herbert's operetta «Babes in Toyland» to Beethoven's «Coriolan Overture» — transforms an unsavory world into a sweet and sour confection.

The weird jump cuts when intergalactic detective Lemmy Caution fights bad guys are hilarious.

A good example of Duke's editing rhythm is his use of staccato jump cuts, including what appear to be forward zooms broken up by skip framing, or eliminating every other frame — a rhythm that suggests a needle skipping across a record and that perfectly captures the panicky Los Angeles drug milieu the hero penetrates.

Formally it's a precise complement to the earlier jump cuts, as slow and meditative as those were rapid and breathless, each locating a protagonist in a wider world that's metaphysical as well as physical, standing on the brink of inconsolable grief.

All of it is done in shaky jump cuts, with the soundtrack blaring.

Baumbach and Editor Jennifer Lame do allow the story to run free at times (resorting to showing mini-sections that are unrelated to others and having some occasional jump cuts), but Baumbach keeps Frances and key aspects of her life (namely the relationship with Sophie) in focus.

Other moments also hark back to Butterfly Kiss, such as a sequence in which Sue is viewed through a series of rapid jump cuts.

You know they are weaving in and out of traffic, there are near misses, and flying bullets; but there are only quick glimpses of that on the screen in the midst of the unsteady camera work and split - second jump cuts.

The means to this end is an expertly poised scene as mother and son dance in each other's arms to Soft Cell's «Tainted Love» before a clever jump cut leads us towards a harrowing confession that really pushes the prowess of the proceedings, especially Reynor and Collette's quietly chaotic heart to heart, a world away from the dish throwing teeth baring savagery of prior scenes and yet all the more powerful.

Playfully approaching the grand canyons of personal trauma and the emotional ruptures of global adoption politics through popping aural ellipses and jarring jump cuts, Jensen deftly handles a sensitive issue, based on her own experience as a Danish adoptee returning to South Korea to find her birth mother.

Mashing - up different film stock, lenses, video and in - camera effects with quick jump cuts and forced continuity, both directors seemed hell - bent on ignoring the source material as much as possible in favor of creating over-cranked «ecstasy trips» on screen.

Sadly, hurricane Hooper begins to ravage the good ship «Les Misérables» with direction that works to put the audience in the most awkward position to view the film, with odd camera angles, extreme jump cutting and swift passages through time.

The most maddening aspect of «Man on Fire» is the excessive treatment Scott applies to the film, inserting numerous jump cuts and overlapping frames while flashing random phrases of dialogue on the screen like a hip - hop video.

Casting rakish rising star Jean - Paul Belmondo as a hoodlum on the run from the law and American ingenue Jean Seberg as the sly, pixieish girlfriend who ultimately betrays him, Godard was riffing on the American gangster picture, but with its revelatory handheld camerawork and frenetic jump cuts, Breathless is clearly more than homage: it launched a New Wave, rewrote the rules of cinema, and along the way became the definition of cool.

What seems most significant about the camera and editing styles is the way they play against one another (as in Godard's Breathless, which also features jump cuts and a mobile, hand - held camera kept close to the characters).

And so what feels like a home movie goof between Baumbach and some friends was haphazardly slapped together — the incoherent editing appears to have been done by a high school student as mistakes, unintentional jump cuts and missing frames litter the movie — and released as «Highball.»

Best - case scenario: The movie remembers what made the first one (and its Japanese inspiration) so damn scary, and director F. Javier Gutierrez emphasizes tension over jump cuts and jarring sound cues.

They are abrupt jump cuts that becoming maddening for anyone invested in trying to figure out the mysteries of the story.

This is an energetic film in its Scorsese - inspired stylistic flourishes — disorienting jump cuts, nearly nonstop contemporary music cues, free - flowing camerawork, etc. — and winding plot of corruption, but the real momentum here is in the fact that we have no idea how these damaged, desperate characters will react at any given moment.

The unscripted LSD scene involves jump cuts, displaced, fear - filled and remorseful dialogue, and a mix of distorted imagery, such as the use of a fish - eye lense and close - ups of the sun.

Editing is marked by hasty jump cuts.

I don't think Greengrass is needed and his handheld jump cut approach is done to death at this stage.

Baumbach & Paltrow jump cut through De Palma's responses in a way that maintains a speedy pace.

On the editing side, there are too many transitions made via a static - filled jump cut, as if the camera is intermittently malfunctioning.

Scenes were shorter, jump cuts became okay, action grew faster and more complicated.