Sentences with phrase «longest scenes of the movie»

However, they are also the longest scenes of the movie.

Not exact matches

«On our first post-baby date, we went to see Zodiac, a creepy, close - to - three - hour - long movie that included a scene of a young child in danger.

Like movie audiences not so long ago, we had little idea of what went on behind the scenes.

The Gluten Free Museum reworked famous works of art and stills from famous movie scenes so that they no longer include bread, wheat, pasta, or grain.

In this movie's climactic scene, as Harry and Voldemort face off amid the rubble of war - torn Hogwarts, there are not one but two long moments in which we see Harry's powers, represented by a greenish bolt of light, do battle with Voldemort's, a yellowish bolt.

But The Hobbit: An Unexpected Journey is ultimately far too long and ungainly for its own good, more a collection of jammed - up scenes and ideas than anything you could call a movie.

Some of the fight scenes seemed to go on too long, but this is an action movie so maybe I'm off base.

It's kind of hard to know where to begin with what's wrong in Traffik, a movie where every scene takes about twice as long as it feels like it should, and the characters far too often make an escalating series of implausible and / or stupid decisions.

Uprising is long, has yawn - inducing action scenes, terrible dialogue, a contrived plot that makes ZERO sense, and commits that most hated crime of horror movie sequels - returning beloved characters from the original only to kill them or turn them into forgettable villains.

After a couple of brief but powerful action scenes and a long section where Louie and two pals, tail gunner Mac (Finn Wittrock) and pilot Phil (Domhnall Gleeson), are lost at sea (the movie's best bit, but more on that later), we're left with a long last section; a prison camp pic where our hero is locked into a battle of wills with Watanabe (Japanese pop star Miyavi aka Takamasa Ishihara).

Django Unchained, Tarantino's deliriously kicky and shameless (and also overly long and scattershot) racial - exploitation epic, is set in the slave days, and among other things, it's a low - down orgy of flamboyant cruelty and violence: whippings, a scene in which a man gets torn apart by dogs, plus the most promiscuous use of the N - word ever heard in a mainstream movie.

A laugh - out - loud - bad stinker of a movie in which * you * know what Eastwood's next «discovery» will be in the murder case a long time before does, and every potentially powerful scene is undermined by coarse acting, bad script and cheesy music.

The movie could have been — should have been — framed in a long fight scene between the two of them, flashbacks playing through.

The Aviator is a well made film, and one of the year's best, with enough great moments to make the three hours not seem so long, although some trimming down of certain characters and scenes could still be done (Jude Law's cameo as Errol Flynn seems to be just an excuse to get him in the movie for a few minutes).

Scene by scene, the movie is a bit uneven, but it's never long before it presents a moment of genuine glee, whether it be Mannix's presentation of the Hail, Caesar script to a group of religious luminaries for review («The Bible, of course, is terrific,» Mannix allows, sounding for an instant like Donald Trump); a marvelous exchange in which Fiennes's director tries to get through to his out - of - his - depth new star (respond to her «importuning,» he advises, with a «mirthless chuckle»); or an extended, gloriously homoerotic Tatum tap - dance number entitled «No Dames.&rScene by scene, the movie is a bit uneven, but it's never long before it presents a moment of genuine glee, whether it be Mannix's presentation of the Hail, Caesar script to a group of religious luminaries for review («The Bible, of course, is terrific,» Mannix allows, sounding for an instant like Donald Trump); a marvelous exchange in which Fiennes's director tries to get through to his out - of - his - depth new star (respond to her «importuning,» he advises, with a «mirthless chuckle»); or an extended, gloriously homoerotic Tatum tap - dance number entitled «No Dames.&rscene, the movie is a bit uneven, but it's never long before it presents a moment of genuine glee, whether it be Mannix's presentation of the Hail, Caesar script to a group of religious luminaries for review («The Bible, of course, is terrific,» Mannix allows, sounding for an instant like Donald Trump); a marvelous exchange in which Fiennes's director tries to get through to his out - of - his - depth new star (respond to her «importuning,» he advises, with a «mirthless chuckle»); or an extended, gloriously homoerotic Tatum tap - dance number entitled «No Dames.»

The movie had a few misfires — including a scene with Janette Tough in yellowface — but we'd been waiting so long for more AbFab that we'd have been happy if it was just 90 minutes of Patsy and Edina sitting on a couch drinking.

A too - long film buoyed by a few very good scenes, Winter Sleep is essentially a Woody Allen movie (a portrait of the artist as conflicted, self - absorbed, aging intellectual) with too few jokes.

Another Tarantino movie, another opportunity for a lot of violence, profanity, and the N - word... and a lot of scenes which go on a little too long.

Ridley shot and edited the movie with lots of long takes, overlapping dialogue, some challenging non-linear editing during certain scenes, and used historical footage and old photos from the period.

The Valley Girl of the title is Julie, played by Deborah Foreman (Waxwork, April Fool's Day), an early 80s star who seemingly dropped of the movie scene not too long after making this.

The movie is also a marvel of economical editing; not a single shot is superfluous here, nor does any scene drag even a moment too long.

Sometimes you can cut one scene and the scene plays out great, when you see that scene on its own, but when you see the scene strung together with the whole movie suddenly the scene feels ultra long or feels incomplete or you feel like you don't want that emotional payoff at that point of the film.

Video introductions from Shyamalan preface four full - frame deleted scenes — which, according to the cover art, «reveal clues to the movie's twists and turns» — totalling 11 minutes, the longest of which finds Brendan Gleeson giving his everything to a monologue that more than likely motivated him to accept the otherwise unmemorable role of August Nicholson in the first place.

Playing the younger version of Michael B. Jordan's nuanced villain for only a few minutes, the young lad was only on screen briefly at the start of the movie, in a flashback scene and for a longer - speaking part in a poignant dialogue in the ancestral plain (trust us, it makes sense in the movie).

That scene between Joseph Gordon - Levitt and Julianne Moore in her living room is one of the most erotic moments to show up in an American movie in a long time.

Take away the love it or hate it score (it's jarring, but in its own way, it almost feels like it's a character itself) and the long stretches of dialogue - free footage (again, the praise for these scenes reeks of movie snobbery to me — five minutes is good, twenty minutes is puffed - up filler), and what you're left with is a film that showcases the downward descent of one man.

No character better exemplifies the movie's out - there visual sense than the shapeshifting witch (a scene - stealing Rinko Kikuchi) with heterochromatic eyes who uses her long, tentacle - like hair as an extra set of limbs and occasionally disappears into a swirl of colorful fabrics.

The first sex scene in «Blue Is the Warmest Color,» Abdellatif Kechiche's French coming - of - age drama about a young lesbian couple, lasts longer than any other sequence in the movie.

And at 127 minutes, the movie is long, with extended fight scenes that feel like they could be easily trimmed without losing the impact of the action.

The extended scene of Shoshana's lunch with Goebbels and Zoeller is mostly presented in a single long take, while a brief sequence celebrates the mechanics and showmanship of a presenting a movie in a movie palace of old.

«The Hateful Eight» has the things audiences expect from a Quentin Tarantino movie - long scenes, superb dialogue, an imaginative take on a classic genre (this time it's the Western) and the casting of neglected actors worthy of rediscovery.

However, he didn't depart before sharing some behind - the - scenes photos of himself and co-star Chris Hemsworth, revealing that Hemsworth has in fact chopped off his long locks for this particular Thor movie:

Why it Could Succeed: One of the biggest female movie stars in the world, Angelina Jolie can disappear from the movie scene for a long period of time and come back with as much salivating support from fans as when she left.

Director of all the Mad Max movies, George Miller, comes to stage and tells us that he considers chase scenes to be the purest form of cinema, and so he wanted to make a film that was one long chase scene.

During my extended interview Reeves, we talked about what he learned from early screenings, how the first people to see the film were J.J. Abrams and Drew Goddard, Andy Serkis» amazing work as Caesar, how Woody Harrelson contributed a lot to his character, how his first cut of the film was a lot longer and he ended up with fifteen to twenty minutes of deleted scenes, future Apes movies, and so much more.

The movie's lengthy run time means occasional long periods without laughs, and the sweet perfection of Akeem and Lisa guarantee that the romantic scenes never exceed lukewarm.

Ford abandons the reality part of the movie for long periods at a time to solely focus on the scenes at play here.

Warner's newest release of the film offers a behind - the - scenes featurette shot during the making of the movie, along with a longer documentary complete with comments from the Wonka kids as adults.

The movie will only have three long scenes, each before the launch of important Apple products, including the debut of the Macintosh in 1984 and the first iPod in 2001.

▪ Two $ 60,000 bids — for a total of $ 120,000 — for a «Marvelous opportunity» to join Rudd on a tour of the Atlanta set of his next movie, «Ant - Man and the Wasp,» attend the premiere next summer, meet Rudd's fellow Avengers (as in Chris Hemsworth and Robert Downey Jr.) and possibly appear in a crowd scene, as long as the producer approves.

A few scenes here and there do feel a bit longer than necessary, and the movie does constantly come back to various jokes about George Michael and other things to the point where it's beating a dead horse, but chances are you will still be laughing, and that's of the utmost importance for a comedy.

Most scenes drag on far too long — often having the feel of an improv stage show than a movie.

Soderbergh shot the major dance sequences in long takes, using only a few camera setups, just as he did the fight scenes of his recent action movie Haywire.

It may not be as iconic or as acclaimed as the tale of Thanos and his Infinity Gauntlet, but it does involve most of Marvel's main players - and the first hint at Captain Marvel long before the movie's post-credits scene.

I think Joss Whedon already did a magnificent job compressing all those plot points into 142 minutes, but I think the movie would have been a lot better fleshed - out if it were 3 and a half hours long (impossible for the sake of profit - maximisation, though it'd make a lot of sense if extra scenes were put in DVD / Blu - ray for an extended, complete version).

Rounding out the platter: the movie's theatrical trailer, plus an animated «Stills Gallery» (HD) composed of half - to minute - long scored slideshows sorted by their emphasis on Robbins, Freeman, the supporting cast, «Tim & Morgan,» or «Behind the Scenes» (the sole gallery cracking the one - minute mark at a staggering 3 minutes).

The Blu - ray and DVD include the 38 minute documentary «Jackie Brown: How It Went Down,» a nearly hour - long «Look Back at Jackie Brown» interview with Quentin Tarantino, 12 minutes of deleted and alternate scenes (including an alternate opening credit sequence with Grier «surfing» down the moving sidewalk to «Pipeline»), the complete «Chicks With Guns» video, Siskel & Ebert's original Jackie Brown review from At the Movies, «Jackie Brown on MTV,» a trivia track and galleries, the Jackie Brown promotional contest, a stills galleries of art, stills and promotional materials.

I would be shocked to learn this movie had been story - boarded, because it felt like the last half hour of an action - light movie is just one long, repetitive chase - fight scene between Reacher and the Hunter.

Ultimately, though, Baumbach runs out of things to do with these characters, and after a very long and unnecessary scene of vomiting (something both generations do equally well), the movie good - naturedly loses its way.

Expecting any more insight into a Terrence Malick movie is unreasonable, although it is easy imagine there being hours and hours of deleted scenes on such a long, ambitious production perhaps to be unearthed one day in the Criterion Collection where this would feel entirely at home.