Sentences with phrase «little dialogue in the film»

There is very little dialogue in the film and Tsai uses long takes with minimal camera movement to emphasize the boredom and unhappiness of the characters.

There's little dialogue in the film, and what's there can't even define the people we see, let alone give them names outside of the credits.

There's very little dialogue in the film.

There is very little dialogue in the film, with long stretches playing out in the relative quiet of sound effects and sparse music that made every cough and seat shift in the theater a part of the building tension.

Her performance is particularly remarkable given that there is little dialogue in the film.

Not exact matches

In this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlIn this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin the modern world.

In the end, the movie is still a musical, entirely sung through with little or no spoken dialogue scenes, filmed on a big theatrical set.

The actual sound design of the film is a little less impressive; while wholly clean and clear in presentation, dialogue is a bit flat and the use of the surrounds is a little erratic.

Hannah was given too little to do in the first film, and she does her very best to make Tarantino's samey, show - off, adolescent dialogue feel as though it could have come from her character's mouth.

A fast - paced, dialogue - driven, well - constructed little film about the immorality of our times, specifically playboy Roger (Campbell Scott) and how he decides to give his 16 - year old nephew (Jesse Eisenberg) in town a crash course in how to get laid after his nephew asks for his help.

Affirmative.This is not your ordinary western.Long dialogue and stretching events, alongside with a political agenda of misdemeanors.And Willie in the middle.The goat.Furthermore, the finale seems a little bit of propaganda whether it be over a justified «party» or not, it still is considered a non-argumentative propaganda without evidence.The whole physical hunting is more than satisfying.Polonsky knew he wasn't fully charged but it's an entertaining film all in all.

The plot really takes a while to pick up with very little in the way of dialogue; by the time the lead characters reveal a portion of themselves, it is already deep into the film and it seems late, granted the run time is just under 90 minutes.

Two films came out this year that had brilliant cinematography and very little dialogue, the difference is mad max didn't put me to sleep and it had action scenes that pushed the story forward rather than happen in the background and force the audience to squint to even make out what's happening.

There is almost no music in the film (and when there is, it's little more than an ambient throb), and there are long stretches devoid of dialogue.

In the film's instant - classic opening, Spielberg uses little dialogue as he follows Rudolf Abel (Mark Rylance) through what looks like a routine but also includes a tiny, crucial bit of spy - craft as he picks up a coin containing a coded message on a park bench.

I won't spoil it, but the dialogue that Edgar does have in the film becomes so much more effective because there's so little of it.

Because its plot is that simple, it gives director Robert Eggers room to play with the film's atmosphere, and sow fear in ways that require little dialogue.

In the tradition of Tati, the film has very little dialogue.

A 5.1 Dolby Digital track is somewhat underutilized and a little quiet, but there is also a lack of any real need for bombastic five - channel audio pyrotechnics in the film; all that you need know is the dialogue sounds clear and the indie soundtrack is appropriately evocative of the Chelsea underground nightlife.

He talks about how this film is a fairytale and how he loves the little girl he cast and how honest she is in her complete inability to be anything other than herself (and, damnably, how much he let her ad lib her dialogue and thus alter his film).

It's the little touches that culminate to create an atmosphere of horror, and a prime example in this film is the subtle, yet almost constant, rumbling noise in the distance, under the character's dialogue.

He even sets Return to Waterloo's narrative to the album's music, incorporating very little dialogue in the process, and as such the film suggests a visual LP.

There's true wisdom in the available option to watch the film with not only an intermittent little - red - pill icon that branches the viewer to different portions of a 30 - minute interview with Murch (wherein he discusses the specific tricks and techniques), but also his genius work (along with Lalo Schifrin's score) isolated from the dialogue track — in 5.1, to boot.

The comic highlight is a wonderfully cheeky display of solidarity when one of the friends is diagnosed with dementia but there are many little laughs along the way and each ensemble member finds a way to shine in a dialogue heavy film.

Prior to that, there's some good stuff going on, and Cody generally restrains herself from her tendency in prior films to show off with dialogue and references (I'm OK with her slipping in a little Ladies and Gentlemen, The Fabulous Stains just»cause I like it - but you couldn't resist, could you, Cody?).

Although he mostly shows it with snippy dialogue and rigidly controlled schedules, Daniel Day - Lewis» Reynolds Woodcock is a fussy little dude, something made especially clear in a deleted scene that Anderson recently released to promote the film's upcoming home release, showing the Woodcock siblings descend from prodding at each other into a full - on food fight.

I liked Iron Man enough to be a little nervous about the sequel, especially after seeing the film's star, Robert Downey Jr., marooned in Sherlock Holmes, which reached for that same mix of cool special effects, kinetic camerawork, clever dialogue, and mildly kinky characters and missed by a mile.

Appropriately titled To the Wonder, the film has Malick's stamp written all over it: Philosophical voice - overs uttered in hushed tones to a haunting orchestral soundtrack, panoramic displays of the physical beauty of nature, a story that features little dialogue, and an untranslatable feeling for the spiritual.

Also, the vulgar dialogue that appears in the novels as well as the film that serve little purpose in moving the story forward, and generate a creepy tone.

But while there are some genuine insights and well - pitched performances (Eric Stoltz and Annabella Sciorra are appealing as the central pair, but Carlos Jacott and Chris Eigeman steal the film in supporting roles), the prickly dialogue that marked out «Kicking and Screaming» only spikes intermittently, and so the film overall goes down just a little too easily, a little too unremarkably.

From the little bit I'd seen and read about «20th Century Women», I felt heading in that this film was going to be a dialogue - driven, light melodrama about characters dealing with the meaning of their lives.

Just like the first film, Before Sunset is driven by its dialogue and locales, and for those with little tolerance for films that don't showcase a chase scene or an explosion at five minute intervals, you may find it talky and inconsequential, but at least it's only 80 minutes in length.

Oldroyd, in his film debut, shows a remarkable confidence: There's no background music and little dialogue; instead, we hear the wind whipping through the fields like an angry banshee, and the click of Katherine's teeth as she clamps her mouth shut, presumably in order to make a sound in the endless silence of her new home.

The visually - captivating movie marks the directorial debut of Tokyo's Kana Tomoko, who mostly lets the pictures do the talking in a film featuring precious little in terms of dialogue.

In the film, which has little dialogue, the director uses sound to convey the disorienting feeling of Peter Greene's schizophrenia... and here's the obligatory clip.

This is partly thanks to the brilliant craft of cinematographer Caleb Deschanel, who worked closely with director Carroll Ballard so that they could tell a story largely in images, especially in the first half of the film, which has little dialogue.

In advance of its worldwide release on Netflix, I spoke to Mike Flanagan and Kate Siegel about why the film's production was so secretive, the challenges of doing a film with little dialogue, and why we should all be excited for Ouija 2.

Clocking in at a shade under an hour and a half, with very little dialogue, the film has about the consistency and depth of a comic book, albeit a very well - drawn one.

This disc's Dolby Digital 2.0 Stereo track does a capable job with the film's workmanlike audio design - dialogue is clear and natural, «Death and the Maiden» sounds nice as a result of accurate fidelity, and although there's very little in the way of exciting audio moments, the few gun shots and loud crashes come through smashingly.