Sentences with phrase «lost scenes of the film»

Not exact matches

This scene in the Kony 2012 video, between Jason Russell, a founding member of Invisible Children, and his son, Gavin, starkly symbolises the lost opportunity of the film as a consciousness raising tool.

Tarantulas, the hairy spiders that stole movie scenes and won hearts in popular films like «Home Alone,» «Raiders of the Lost Ark,» and «Dr. No,» take a starring role in a new study that reorganizes their group, reclassifying the majority of 55 known tarantula species and adding 14 new ones, including the creepy - crawly named for Cash.

J. Michael Straczynski's original script was jettisoned in favor of an unfinished one by political thriller specialist Matthew Michael Carnahan (State of Play, Lions for Lambs), with «LOST» - alum script doctors Drew Goddard (The Cabin in the Woods, Cloverfield) and Damon Lindelof (Star Trek Into Darkness, Prometheus) brought in later to write a host of reshoots, including a new climax and ending to the film (the repeated use and imbibing of Pepsi products during these scenes would indicate the source for much of the additional reshoot budget), that pushed the release date from a winter of 2012 release to the summer of 2013.

There are some good scenes and moments, mind you — the film coheres somewhat in the back half, and there's a good 30 - 40 minutes where you can happily lose yourself — but not enough to shake the idea that Jackson has gone back to Middle - earth out of habit.

The film lacks the budget to stage much of Salinger's service in Europe, instead subjecting us to rote flashbacks of battlefield chaos and a scene where he rails at Burnett about the friends he lost overseas.

It's as if Reybaud wants to put in every scene and character he has ever thought of in one film, and so his two main characters get lost.

Some of the banter between Ruth and the jaded cop named Det. William Bendix (Gary Anthony Williams, TMNT: Out of the Shadows — yes, William Bendix, like the classic film actor) on the case offer some insights on where the film could have found its comedic spark, but even those scenes lose flavor when we see that cop break down in anguish because of his own personal relationship issues bubbling up to the surface.

A disastrous film that wants to be more complex than it should be, coming up with more and more unnecessary details at the expense of simple concision, and so the obvious, predictable narrative gets lost amid contrivances, implausible scenes and plot holes the size of Africa.

But the film's ambitions and execution are on a par with those of Drew Peterson: Untouchable, as courtroom scenes actually shown in 1996's Paradise Lost are re-enacted with the urgency of high school theater.

From an opening scene in a prison fist fight to a staunchly bland climax finding him lost in an «unknown» realm when he's forced to shrink himself to fit between molecules (something resembling the resting place of Big Hero 6 mixed with the twilight hour of James Wan's «further»), Scott Lang is never a fully fashioned personality, some accidental prototype linked with schlocky zeal to the film's other do - gooder via a conflicted father / daughter bond.

Correlative footage for many of the trial scenes exists in the first Paradise Lost film; the waxworks reenactments are so robbed of immediacy that they seem almost trivializing.

As with many of Joel Schumacher's (The Lost Boys, Batman Forever) films, the lighting is dark, with emphasis on steam and neon colors, giving the «real life» scenes a kind of haunting, nightmarish, even melancholy texture that works well when life and afterlife collide.

A murder in the surf reminds so much of Mann's climactic sequences from Manhunter that it could be a lost scene from that film.

The film meanders from time to time as Simon finds his way around the City of Lights and his own skin, but Corbet's performance is a darkly rich one in every scene, not far from Matt Damon's sociopath - turned - psychopath turn in «The Talented Mr. Ripley» but distinctively unnerving in crafting an eventually hollow façade out of this nice, young, very lost man.

Yet the film remains true to McEwan's intellectual preoccupations with different kinds of love, and has lost none of the novel's most memorable elements: the plays on the ambiguity of the title, the arresting first scene, and the strange dynamics of the relationship between Joe and Jed.

There's so much happening in a vacuum here with deaths all over the place and a wealth of exposition shoved at the moviegoer — brush up on your Horcrux knowledge and character lists, people, else you'll be lost — the film doesn't sustain the real feeling it engenders brilliantly in the opening scenes.

Oscar clip: In a scene towards the second half of the film, she recalls the days when she lost her leg and was forced to be downsized.

Winging between deadly serious starts (this is a film that opens with an incinerated baby, for chrissakes), heartbreaking lost loves, kingdom - destroying action scenes and Blunt and Theron yelling at each other to the point of camp, the film never even comes close to striking a balance.

And still there's more, like a handful of MTV spots starring Jay and Silent Bob, original film auditions, an animated version of a «lost scene,» and a short film starring Dante and Randal that was made for «The Tonight Show.»

So once I witnessed the overt sexualisation on display in early scenes, the film had lost me completely with no chance of winning me back.

It was almost as though the film was impatient to get to the next song and I felt some of the scenes with Valjean as a free man for the first time in nineteen years was lost.

To think that the financial backers of the film originally demanded that the Black Knight scene — in which he loses his limbs in a duel («it's only a flesh wound!»)

To celebrate the film's digital release in the UK and Ireland on wearecolony.com on Friday 20 November, we've got hold of an exclusive deleted scene in which Schwartzman loses his rag in front of a nonplussed Elisabeth Moss and Jess Weixler.

A dense quilt of nested scenes that were allegedly pulled from the cinema's great abandoned films, The Forbidden Room never proves that Maddin is reanimating «real» lost projects, but how real can a film be if it was never shot?

While it is incumbent on the audience watching any Indiana Jones film to accept a degree of supernatural power and treasure hunting mystique, the degree to which credulity is stretched coupled with the loss of character at the hands of big action scene artificial imagery means the heart of the film is lost.

The film is more a series of adventures that culminate in a scene that feels like something out of Raiders of the Lost Ark..

But the film never loses sight of the significance of Ali's command of the media, particularly in scenes between Ali and Cosell, the old «strange looking white man» who becomes the boxer's on - air verbal sparring partner and off - screen confidante.

Scenes from the film (first kisses, gossiping about neighbors) are sinewy in nature and seem lifted from the pages of a lost photo album.

He's dutifully sincere and in awe of the efforts that crafted the film's striking look, but with zero info on the novel, script adaptation, lead actors, memorable character actors, and Mamoulian's obvious style and use of heavy subtext in so many scenes (including the heavy religious iconography that goes bonkers in the final reel), it's a huge lost opportunity for film fans.

I was more than happy to enjoy the film on a scene - by - scene basis and lose myself in the weirdness, comedy and sometimes darkness of every moment.

I really enjoyed segments of the film and got nostalgic as the first couple of scenes unfolded, but when the duo started looking for Harry's long - lost daughter Penny (Rachael Melvin), I couldn't stop thinking about Mary Swanson, Sampson» ¦ Samsonite.

A scene in which Milo's vaguely hilarious food allergy comes into play is curiously never resolved, two of Milo's hacker pals from the old days are so similar in appearance and voice to one another that I was abstractedly surprised to see them on the screen together at the end of the film, the reveal of a secret molestation is abused in an insulting and clumsy way, and a stock blue - collar cop character is introduced as the worst kind of deus ex machina: the late - in - the - game triumph of a heretofore marginalized comic foil (see: Barnard Hughes in The Lost Boys).

Originally to have been helmed by Carol Reed, and finally directed by veteran filmmaker Lewis Milestone, who had little truck with Brando's exploratory method, the film was blighted by appalling weather and even tragedy: one of the Tahitians in the film lost his life shooting one arduous sea scene.

SIGHTS: Though the film's scene of terrorism on Washington D.C. is a moment to behold, the urgency of it is lost by phony visual effects.

James Purefoy is okay for most of the film, only losing the accent at the end, but I think he's quiet for a lot of his scenes.

Despite the powerfulness of these scenes, however, Yates returns far too quickly to the disorienting storyline and the film loses its magic just as quickly as it rediscovers it.

The runaway performance of the film comes from Blanchard, who, within a fantastic introductory scene, is able to demonstrate the dangerous nature of a mother who has lost focus of everything outside herself.

There's plenty to draw from in the film, just like in the previous two Pegg / Frost / Wright efforts; there's the «blank» robots who stand in for Thatcheresque conformism and «Starbucking» of local flavor, the Star Trek / Doctor Who-esque climax, complete with a «Kirk talks the computer into defeat» scene, the sadness of lost potential in our lives, and so much more.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

The result, in the case of The Dark Knight Rises, is a movie so rich in lushly cinematic images — with lustrous colors and richly textured night scenes — that it should be displayed side by side with the likes of The Avengers and The Amazing Spider - Man in public forums devoted to educating the audience about what is being lost as the making and exhibiting of films on actual film becomes a museum art — the latest, but surely not the last, casualty of Hollywood's relentless focus on the bottom line.

I think that a lot of the battle scenes went on a bit too long and lost momentum in the film.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening December 14, 2012 BIG BUDGET FILMS The Hobbit: An Unexpected Journey (PG - 13 for epic battle scenes and scary images) Peter Jackson (The Lord of the Rings trilogy) directed this adaptation of J.R.R. Tolkien's fantasy novel about a human - like creature with furry feet (Martin Freeman) who is prompted by a wizard (Ian McKellen) to embark on an epic with 13 dwarfs to wrest control of a lost kingdom from the clutches of a fearsome dragon.

Not enough of the film's 2 - hour running time is given over to its stage sequences, and once George overcomes his youthful indiscretion and becomes a star, the filler scenes lose their bite.

Carried over from the previous disc releases are two commentary tracks (one production - focused track by Terry Gilliam and Terry Jones, and other with general complaints and back - biting by John Cleese, Eric Idle and Michael Palin), featurettes («The Quest for the Holy Grail Locations» hosted by Michael Palin and Terry Jones, the 18 - minute 1974 BBC report «On Location with The Pythons,» «How To Use Your Coconuts»), «Lost Animations» (a 12 - minute collection of unused animated bits prepared for the film with an introduction by Terry Gilliam) nearly 20 minutes of outtakes and extended scenes with an introduction by Terry Jones, three sing - alongs, clips from the film in Japanese with English subtitles, and the all - interlocking «Monty Python and the Holy Grail In Lego.»

Guns, violence, bloody deaths... all the elements of a brilliant film were there but somehow they were lost among the tedious monotony and dragging scenes.

However, so much time is spent on battle scenes and numerous other characters that you soon lose touch of where the story is going, which is a shame as I thought it had great graphics and this was a creative idea for a film.

These scenes keep in the film's spirit of holding science above drama, but something is lost.

Ciudad Perdida Like a scene torn from an Indiana Jones film, the trek to Colombia's «Lost City» is a challenging four - day (return) journey to the overgrown ruins of a large pre-Columbian town.

He has filmed artists such as Andy Warhol and Allen Ginsberg, and his movies include «The Brig» (1963)-- which won him the Grand Prize at the Venice Film Festival the same year — , «Walden» (1969), «Lost Lost Lost» (1976), «Scenes from the Life of Andy Warhol» (1990), «As I was Moving Ahead I Saw Brief Glimpses of Beauty» (2000) and «Sleepless Night Stories» (2011).