Sentences with phrase «lit second film»

Not exact matches

She says the lighting in her second film, Middle of Nowhere was «a deliberate decision to find the beauty of black people in dark spaces.»

Mix ground pork, scallions, garlic, soy sauce, salt, wine, sugar, oil, ginger, and pepper with chopsticks in a medium bowl, stirring in one direction until it all comes together and a light film forms on the sides of bowl, about 20 seconds.

The film sheds light on one of the most private royals of recent years who overcame great personal struggles, reluctantly accepting his place as King and uniting his country, providing faith and hope through one of the darkest periods of modern history, the Second World War.

Often used for children's enjoyment and artistic performances, soap bubbles are delicate, light - reflecting films that typically last just a few seconds before bursting.

The cinematography, editing, sound, lighting, and acting are all carried out so perfectly that it is hard to believe that this is only his second film.

The smooth jazz score which punctuates the film gives certain sections the feeling of a silent movie, while the long awkward silences in the second act are like a lighter, less absurdist variant on the work of Samuel Beckett or Harold Pinter.

The AV Club's Noel Murray also sees «a beautiful and rewarding film,» while Slant admits, «This may be a feather - light doodle, but it's a ravishingly beautiful one by a great artist in second gear.»

It will also require Oldman playing second fiddle to the film's leading lights Hopkins and Julianne Moore (who co-stars as FBI agent Clarice Starling).

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

Before you roll your eyes, rest assured that the approach is miles away from Nolan's deconstruction of the Caped Crusader — this is still Iron Man, and Jon Favreau's initial mix of humor, light drama, and thrilling visuals (which unraveled a bit with the massive info dumps / multiple storylines of the second film, «Iron Man 2») is adhered to and even elevated.

Aside from an unexpectedly downbeat second half, the film is a «huge Rube Goldberg machine, full of lights and buzzers and levers that ping and whistle endearingly, but are connected to nothing and serve no greater function in the larger apparatus.

Unfortunately for us as viewers, while some may welcome the lighter tone, Witt should have tried harder to make the story work, rather than give up, which might have been too tall an order for the longtime second unit director (Apocalypse remains his only film as the man at the helm).

Perhaps the most useful and instructive function of film festivals, especially in light of the «Star Wars» affair, is that they offer an arena where filmmakers are allowed to fail — and, just as importantly, where filmmakers who have failed before are given a second, third or fourth chance.

While the second film often felt like a rehash of the original, this one puts the main characters in a different environment and sheds a needed light on some of the supporting characters.

Blade Runner was named the second most visually influential film of all time by the Visual Effects Society and I am very curious to see how much the 12 - time Oscar nominated cinematographer nods to the look of the original (DoP: Jordan Cronenweth), «consisting of deep shadows and vibrant colors and shafts of light so strong that you can't help but get pulled into them.»

Cinematography from Sean McElwee seems sloppily lit — some indoors shots are especially second - rate — giving the film a kind of home video look at times.

Not differentiating between films seen for the first or the second time: ``...» Reels 1 - 5 (1988), A Child's Garden and the Serious Sea (1991), Crack Glass Eulogy (1992), Creation (1979), Faust 1 - 4 (1987 - 88), Passage Through a Ritual (1990), Sexual Meditations (1971 - 73), Star Garden (1974), The Governor (1977), The Horseman, The Woman, and the Moth (1968), Trip to Door - Jane and the Kids go to Town (1971), Stan Brakhage 17 Reasons Why (1987), Triste (1978 - 1996), Nathaniel Dorsky 1857 (Fool's Gold)(1981), Illuminated Texts (1982), Permutations and Combinations (1976), She Is Away (1976), The Art of Worldly Wisdom (1979), R. Bruce Elder A Distant Echo (George Clark, 2016) A Film by Charles Baudelaire (1970), Au - delà de cette limite (1971), Berlin oder ein Traum mit Sahne (1974), La Bataille de Waterloo (1975), La Clef de l'horloge (1957), La Lune (1970), La Pipe Satire (1969), Monsieur Teste (1974), Projet pour un Poisson (1971), Un jardin d'hiver (1974), Un seconde d'éternité (1970), Marcel Broodthaers A Ilha dos Amores (1982), Mudar de Vida (1966), Paulo Rocha A Menina Maria (1972), As Três Graças (1972), Casa sobre Casa (1972), «Coisas» (1972 - 73), D. Jaime ou a Noite Portuguesa (1974) Manuela (1972), Murnau (1972), O Construtor de Anjos (1978), Padres (1975), Sem Título I (1972), Sem Título II (1973), Luís Noronha da Costa Ai - Yé (1950), Jazz of Lights (1954), Ian Hugo Ana (1982), Jaime (António Reis, 1974), Rosa de Areia (1989), Trás - os - Montes (1976), António Reis, Margarida Cordeiro Anselmo and the Women (1986), Cosas de mi vida (1976), Señora con flores (1995/2011), Chick Strand Domestic Blue (2005), Door # 2 - 37 (1997), Fancy (2006), Meat Dry 02 (1999), Nice Biscuit # 1 (2005), Red Rooster (1987), Sodom (1989), Luther Price As Above, so Below (1973), Larry Clark Ausländer: Teil 1 (1976), Die Donau rauf (1969), Dürfen sie wiederkommen?

Derek Cianfrance is actually a three - time feature director, but his first movie Brother Tied is so unobtainable (it played at festivals in 1998 but hasn't seen the light of day since, the print now collecting dust in Cianfrance's father's basement) that we only have his second and third films, Blue Valentine and The Place Beyond the Pines, to judge him by.

In light of the recent underperformance of various sequels this year, do you think studios will start to take more of a second look as to whether audiences will want a sequel to a particular film?

A surprisingly definitive interpretation of the film's ending caps the second piece, the lighter of the two on production info.

Installation view, Power Distributor Door, Hotel Door, Safari Bar Door and Temporary Construction Door designed by Anna Viebrock, 2017; Floor Runner from the stage design of Riesenbutzbach Eine Dauerkolonie, by Anna Viebrock, 2009; and Alexander Kluge, The Soft Makeup of Light, 65 mm film transferred to digital projection, 13 minutes 34 seconds.

They are completely different films — the first a light romantic comedy and the second a dark Oscar - winning film — and yet they depict women lawyers similarly.