Sentences with phrase «like film frames»

Not exact matches

Given the painstaking frame - by - frame choreography of a film like this, it seems Anderson failed to entirely consider how this might come off to an even remotely skeptical viewership.»

In France, Henri Bergson noted that reality is a dynamic flux, like a cinema, from which abstractions, like single frames of the film, are made; for intelligibility the abstractions must be referred back to the élan vital from which they were originally drawn; intuition is more perceptive of reality than abstractions.

In a highlight film of his career that was shown at a testimonial dinner for him last year, Marino appears on camera, full frame, with a few earnest opening remarks about how he'd like to be remembered as a team man who worked as hard as he could, and as a team leader, etc..

As for video, we liked that it records 5 frames each second when you're filming continuously.

It's really good, deserves respect for its treatment of the subject matter, and is a great example of what I love about 70s cinema, but I just didn't get blown away by it, Maybe I just wasn't quite in the right frame of mind, or maybe I've just seen too many films like this already, but I don't think it's quite as good as everyone else does.

There's little doubt, too, that the film's hands - off vibe is perpetuated by Abdalla's sleepy, far - from - charismatic turn as the one - note central character, and it's clear that The Narrow Frame of Midnight's few moments of electricity are thanks entirely to Choutri's captivating, Vincent Cassel - like performance.

The film is framed by a letter that Caroline, afflicted with a mortal case of Scarlet Fever, is writing to her young «uns in 1775, a communication that tells the story of a woman who despite her beauty and charm is not particularly liked by her new husband.

Clooney's presence and the little bits of English are the only things that set Corbijn's film apart from the clear influences of Italian masters like Fellini and Antonioni in just about every frame.

I like the film's emphasis on a narrow time frame, and its lead actor greatly adds to its success.

Spicing up the obligatory deck of title cards that films like these invariably require for context — there's this new country called Israel, and the Palestinians are super pissed at them, and now everyone is going to stop being polite and start getting real — Padilha frames the introductory text against a rapturous performance by the Batsheva Dance Company.

Cinematographer Ryan Samul (2014's «Cold in July») holds a shot for maximum dread, whether it's on the smiley face spray - painted on a mailbox or the swing of a swing set, but also pleasingly employs technical flourishes, like zooms, that help differentiate it from the jittery style and often subtle framing in Bryan Bertino's original film.

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.

As usual, Maddin carefully makes each frame look like a battered old silent film, with jumps and scratches; there is some dialogue, but there are more titles.

Who Framed Roger Rabbit looks like a film, with a pleasant grain pattern and deep texture, thanks to its VistaVision roots, which bolster its old Hollywood appearance.

You have to be in a specific sort of mood, and in a peculiar frame of mind, to fully immerse yourself into a film like «The Fits» and walk away feeling like you've just seen something special.

Each frame of the film looks almost like a painting.

Anderson likes to frame his films as tall tales, placing viewers at a gentle remove from reality to a plane of existence more fantastic and charmed than our own.

Framed with documentary film — like interviews with the key players in what remains the most infamous story to come out of Olympic figure skating, his Tonya Harding script straddles a tricky tone of pitch - black humor, affecting pathos, and winking self - awareness.

He swears there was nothing he could too, but this event, which technically takes place before the film starts, will ripple from first frame to last like the water Dave pushed from the pool.

«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.

The elegiac use of the film's title, then, can inadvertently be the game administered as a test as concerns this portrayal of Turing — by the final frames, we have a mere gasp of understanding what his life was like, a rough, nobly hewn composite from a perspective either too ignorant or too uneasy to deal with the realities of those historically treated as sexual criminals.

Those like me accustomed to seeing the Indiana Jones films in the wonder of degraded pan-and-scan videocassettes should rejoice at the sight of these DVDs, which offer higher resolution and preserve the considerable frame width in anamorphic widescreen transfers nearer to 2.35:1 than the 2.20:1 aspect ratios widely cited.

If you see a moody pattern emerging on the type of films they've worked on, you'd be on the money; the pair, influenced by folks like Krzysztof Penderecki, Terry Bozzio and even later - day dark and doomy Scott Walker, traffic largely in droney and disquieting soundscapes, specializing in that sweet spot where discordant sounds subtly burn in the back of the frame rather than overpowering the narrative.

CGI, like live - action film, is delivered at 24 frames per second.

Like those other films, Gallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its audience.

It seems like Depp was never told «no» to any of his ideas, and the film has to indulge the actor's notion that audiences wouldn't be able to get enough of his character, so we're also forced to endure him in the useless framing device.

So, like «Garfield: A Tail of Two Kitties,» «Alvin and the Chipmunks» and «Yogi Bear» — films which tried to incorporate CGI with live action — The Smurfs 2 comes up woefully short, leaving «Who Framed Roger Rabbit» as the still clear - cut winner of the genre, and that particular production is more than 25 years old.

Focused only slightly differently is «San Andreas: The Real Fault Line» (6 mins., HD), which spends its opening moments very superficially discussing the real threat of earthquakes in California before delving into the production tricks behind the film's earth - shaking scenes, like a restaurant set designed so that everything visible in the frame is shaking except the floor itself, since it was being prowled by a Steadicam operator.

Every frame in the film feels like it could be made into a painting, then showcased in an art museum, and be admired by the very same people that are portrayed in the film.

The idea of a Scientology - like «religion» is used only as a narrative framing device — the film itself poses much more thought - provoking questions.

Starting with Carlito's assassination and flashing back to the events that lead up to it, Carlito's Way is structured like a classic film noir and filmed with such palpable claustrophobia, encroaching camera angles and skittish framing, it gives even classics like Detour and The Set - Up a run for its money in the visual entrapment department.

Driven by their bold, assured performances, the film washes over you like the Miami waves depicted in it; you could freeze practically any frame of «Moonlight» and catch a moment of gripping honesty.

By far the biggest disappointment of the festival is Abbas Kiarostami's posthumous film 24 Frames which frankly does not feel anything like a Kiarostami feature.

Like Fiennes, more famous faces (Channing Tatum, Tilda Swinton, Jonah Hill) come and go quickly, all beautifully framed by esteemed cinematographer Roger Deakins, but the parade of glorified cameos only makes the film's eccentricities seem more disconnected.

Things like this have been done before using 2 - D techniques — Cool World, Who Framed Roger Rabbit, The Lady and the Duke, and Anchors Aweigh swim to mind — but Sky Captain and the World of Tomorrow represents that great leap forward for machine technology where an advancement in science has finally made it possible to make the spectacle film that would have been made in the 1940s were it possible.

For example, he notes, True Romance is inspired by Badlands, but Badlands was inspired by earlier films like Gun Crazy, They Drive by Night, and You Only Live Once, creating a «double frame of reference.»

David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using framing markers and calculatingly phony distancing devices (like, for example, the black - and - white process shots in Pulp Fiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simulation.

Or was it an attempt to get ahead of what's looking like an incredibly crowded Christmas frame, where audiences will have to choose between two Steven Spielberg films, David Fincher's «The Girl With the Dragon Tattoo» remake, Tom Cruise's latest «Mission: Impossible,» and the doomsday thriller «The Darkest Hour.»

Like the film's bike, with its bright green frame and yellow handlebar streamers, Wadjda is an object of stark beauty, an oasis of free - spirited cinema emerging from the desert.

In recent years, films like «Brokeback Mountain,» «Juno,» «Slumdog Millionaire» and «The King's Speech» have bubbled up in this frame as real contenders to take the lead in the Best Picture field.

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.

I like to have a frame of reference when it comes to the bard but in this case, I capitulated and couldn't resist putting the film off any longer.

As polarizing as Tom Hooper has been in his choices to shoot and frame his films like «The King's Speech» and «Les Miserables,» two films that are still delightfully poignant years after, «The Danish Girl» is by far his most alluring film to date.

Rather like an extremely damped - down There Will Be Blood, Reichardt's film — based on historical events — depicts one group's journey through the Oregon Trail in 1845 as a trek through a hauntingly empty and alien landscape, with cinematographer Christopher Blauvelt exquisitely taking in the natural beauties of the settings while framing the increasingly desperate wanderers in wide shots to emphasize, in part, their ultimate smallness within the wild west.

With its sparse dialogue and strikingly beautiful, color - saturated imagery — almost all of it framed in boxy, anachronistic Academy ratio — the movie doesn't really look or sound like any martial arts flick ever made, offering an original and idiosyncratic take on one of film history's most durable genres.

This feeling is only heightened by the film's framing device, the conversation between FBI agent Wesley Doyle (the late Powers Boothe) and Fenton, the killer's son (played by Matthew McConaughey) who narrates much of the film, with it feeling like it's going to also double as a serial killer origin story, albeit one with a big twist that we think we can see coming a mile off.

I Used to Live Here, like all great neo-realist films, bears a very poignant, deliberate message that culminates in the closing moments, and is crucially told depicted via the more ardent elements of filmmaking, i.e. — script - structure, editing, framing and acting.

This much, at least, we know: Who Framed Roger Rabbit belongs to that category of slick and ironic and star - studded Hollywood film that takes as its subject Hollywood and moviemaking and life in Los Angeles, like A Star Is Born or Sunset Boulevard or Singin» in the Rain, like Barton Fink or Boogie Nights or The Player.

Larry writes: Just like film bloggers who parse every frame of «No Country For Old Men,» these font fanatics have obsessed about every curve and dimension of Helvetica.