Sentences with phrase «lighter after the film»

I promise you: you will travel lighter after the film!

Not exact matches

The term owes its origin to the play Gas Light and its film adaptations, after which it was coined popularly.

These Nucrel ® film configurations can be used in applications including vacuum lidding for use before and after cooking and high barrier / light tight / modified atmosphere packaging.

These days I use an HD camcorder, lighting, professional level editing software, and I dub the audio after filming for better sound.

So, like a movie studio that green lights two sequels after the success of the first film, I went into The Falling Star knowing how Police at the Funeral would end.

The new lighting technology will remain in Pixar's proprietary software toolbox for future films long after Cars 2 rolls over the horizon.

It wasn't until after the film when I saw her face lit up that she told me she'd been so busy that she had hardly listened to them.

More than twenty - five years after Shoah, Claude Lanzmann's new film reveals a little - known yet fundamental aspect of the Holocaust, and sheds light on the origins of the «Final Solution» like never before.

This film is much lighter, it based on a kid's book after all, and there's even some singing!

After a detour into lighter and more compassionate fare with Nurse Betty and Possession, Neil LaBute returns to the themes of his earlier films with this dark and corrosive look at male - female relationships.

The hotly anticipated project was slated to premiere during the closing night of the AFI Festival, however, Scott and the producers opted to pull the film after allegations against Spacey began to come to light in late October.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Escaping into the light only proved how profoundly trapped they actually are — they're still trapped in the same compositions, after all — and although the end of the film does provide an image of something resembling hope, claiming that the film manages to «avoid claustrophobia,» as Potemra did, should make any attentive student of film pause.

Like all of Kore - eda's films, After the Storm ends with a jolt; not in the filmmaking, but in the way you realize that you were completely lost in the lives of these people and that, as the lights go up, you'll miss them.

Jennie Livingston, who moved to New York after graduating from Yale to work in film, and who spent six years [4] making Paris Is Burning, concentrated on interviews with key figures in the ball world, many of whom contribute monologues that shed light on the ball culture as well as on their own personalities.

With the anticipation for Marvel's latest superhero movie Black Panther at an all time high, the soundtrack for the film looks set to be lit after Kendrick Lamar is announced as a curator and artist of the first single.

But Marvel, like most major studios with hundreds of millions of dollars on the line, is not known for calling an audible just prior to production of arguably the most massive tentpole film in their roster, any more than it's going to green - light a Black Widow film until well after Jennifer Lawrence has made one of her own.

For awhile after seeing «Lights Out» I wondered if my enjoyment of the film was for not entirely respectable reasons, if I enjoyed it for reasons closer to that of an MST3K film than that of a truly solid genre effort.

Barely 18 months later, and the franchise now seems like the sole ray of light on the Young Adult horizon, as adaptation after adaptation has subsequently tried and failed to spin its on - the - page popularity into a film franchise (a look at our 2012 rundown of the YA hopefuls is retrospectively sobering).

Other ’79 films remembered with more - than - average fondness include: Nicholas Meyer's Time after Time, Ettore Scola's Down and Dirty, John Hanson and Rob Nilsson's Northern Lights, Arthur Hiller's (and Andrew Bergman's) The In - Laws, Diane Kurys's Peppermint Soda, Sydney Pollack's The Electric Horseman, Oldrich Lipsky's Nick Carter in Prague, or Dinner for Adele, Jim Henson and James Frawley's The Muppet Movie, and Don Sharp's The Thirty - nine Steps.

After a number of archival film elements were scanned at 4K resolution at Warner Bros.» in - house Motion Picture Imaging lab in Burbank, the original camera negative of the film came to light, providing the basis for the majority of the restoration — that is, until the negative's inferior final reel necessitated dipping into another archive altogether.

If you're not enchanted by Refn's strange hang - ups, you're not likely to enjoy the film, but many of the haunting images and unexpected scenes linger long after the lights come up.

Morgan arrives a year after Ex Machina captivated both critics and audiences, making many top films of the year lists, and it's difficult not to make the comparison in light of so many similarities.

While M. Night Shyamalan's After Earth — which stars Will and his son Jaden — has performed below expectations, the sci - fi film has still managed to take in $ 172 million worldwide; meaning, the ex-Fresh Prince's ability to get projects green - lit probably won't take that big a hit (and it won't change his mind about not becoming the go - to guy for sequels).

It might come as a surprise that the film is pretty light in the kicking - ass - and - taking - names department after its explosive opening, but whenever there is action to be found, it's virtually impossible to look away.

The unrelenting mood of grief - stricken portentousness is suffocating after a while, and even the consciously lighter moments — Eckhart and Sandra Oh getting stoned before a group therapy session, Kidman's accusatory tone over Eckhart's music taste — are often ground down, leaving the film often feeling like an airless exercise.

Whether you're after a light - hearted romcom, a classic romance movie or the perfect film for date night, you're in luck.

Paul Thomas Anderson's seventh film feels like light relief after his sixth, the heavyweight melodrama The Master.

The effects team at Industrial Light and Magic came to Ant - Man well after filming was completed, called in to create the effects for two of the film's most iconic scenes: the battle between Ant - Man (Paul Rudd) and Falcon (Anthony Mackie), and the trippy «Quantum Realm» scene, which was an exciting prospect for veteran Russell Earl.

It is certainly one of the most courageous and passionate portraits of the American underbelly ever put on film, a movie bathed in blood as much as in light, and revisiting the film on its Blu - ray debut, mastered from the brand new digital restoration currently making the rounds on the festival and repertory cinema circuit, only confirms the power of the film to, after all these years, sink the audience into the mind and filthy, fetid world of Travis Bickle.

To counter the common rap that he makes the same film over and over, The Day After, which competed for the Palme d'Or, is one of his most melancholic works, filmed in moody black and white, while Claire's Camera, shown out of competition, is its tonal opposite, a light and sunny divertissement shot on the fly during last year's Cannes.

After all, a swords»n' sorcery saga takes a lot of work, and I found myself fretting about all the hours Jason Momoa must have spent in the gym to get those muscles, all the expense that must gone into the ridiculous costumes and sets, all that effort that must gone into lugging lights and cameras to the Bulgarian hills and caves where the film was shot... all to make such a noisy, bombastic load of nonsense.

In light of the fact that Nanni Moretti's Mia madre — a relatively undistinguished addition to his corpus — also roped in an American actor (John Turturro) and had substantial amounts of dialogue in English, pandering to the forces of globalised cultural homogeneity seems to now be the Italian film industry's main strategy for resurrecting its fortunes after its historic collapse in the 1980s.

After establishing the film's premise — foxy Toronto Maple Leafs owner Jessica Alba recruits neo-Eastern spiritualist Myers to fix the broken marriage of hockey star Romany Malco, so his team can make the Stanley Cup — Myers indulges in an endless, joke - light rendition of «9 To 5» that establishes a tone of insufferable self - indulgence.

Indeed, this duality between darkness and light informs all of the Coen Brothers» work: even their most disturbing film, No Country for Old Men (2007), has its share of humourous moments; and their zanier, more comedic works — from Raising Arizona (1987) to The Big Lebowski (1998) and Burn After Reading (2008)-- are haunted by nightmares, kidnappings, and even murder.

I used to be darker / Then I got lighter / Then I got dark again — «Jim Cain» (Bill Callahan) SPENCER: After collaborating on his masterful 2010 film Putty Hill, writer / director Matt Porterfield re-teamed...

«First Reformed,» which played at the Venice and Telluride film festivals before arriving in Toronto, is an exceptional return to form for Schrader after several much - maligned disappointments («The Canyons,» «Dying of the Light»).

Within minutes after the lights went up, speculations about awards prospects for the film, which opens Nov. 10, were bouncing across social media.

(As to questions of whether Friday Night Lights exaggerates state racism, I thought of the dragging death of James Byrd in the tiny Texas burg of Jasper that took place ten years after the events of this film.)

I'm not sure why exorcism films are still being green - lit, because after all, there have been a slew of them in the last couple of years and they've all bombed.

The film was shot with Kevin Spacey in the role, buried under makeup and prosthetics — Spacey is 58 to Plummer's 88 — but after sexual assault allegations against Spacey came to light, director Ridley Scott made an eleven - and - three - quarters - hour decision to reshoot Spacey's scenes with Plummer in the role.

With Steve Kloves (Wonder Boys, The Fabulous Baker Boys) returning as the screenwriter after skipping the last film, the more serious tone is interspersed with the lighter moments of teen romance, though these soap opera antics may seem tedious to those who don't care much about the dalliances of the Hogwarts students, particularly in how much screen time is given to it in place of the larger storyline that could have used a greater sense of build up.

It moves so fast and drives so hard that it's not till after it's all over, and we stagger out with a backbeat hangover, that it seems like some very important questions the film raises have gone entirely unanswered in the glow of the circus lights.

«The experience of watching the film remains intensely transportive, resonating long after the credits roll and the lights come up.»

April 26, 2018 • In this disjointed and bewildering French film, Isabelle Huppert plays a mousy schoolteacher who gains a more assertive — and occasionally lethal — persona after being struck by lighting.

While the film was conceived as a star vehicle for Lana Turner — seeking rehabilitation after the violent end to her relationship with Johnny Stompanato — the real drama exists in the relationship between two supporting characters, black maid Annie (Juanita Moore) and her light - skinned daughter Sarah Jane (Susan Kohner).

Light on imagination and heavy on its one central moral, the film spins one predicament after another without creativity, advancement, or humor.

Keira, who was wearing a navy dress by Michael van der Ham, admitted the comedy had been a bit of light relief for her after heavy roles in films like Anna Karenina and A Dangerous Method.

For a film filled with broken promises, dead dreams, conniving duplicity and desperation, «After the Storm» has a surprisingly light touch and odd charm.

In A Quiet Passion, it's the way the white light streams through the windows and onto Emily Dickinson (Cynthia Nixon), who became more and more of a recluse as she grew older, never experiencing that light except through a window (windows, after all, are key images in all of Davies» films).