Sentences with phrase «minutes out of a movie»

Not exact matches

In fact, Sen. Dianne Feinstein, then the chair of the intelligence committee, was so incensed by «Zero Dark Thirty's» depiction of torture's effectiveness that she walked out of an advance screening of the movie after only 15 to 20 minutes.

You wouldn't walk out of that movie thinking it was 30 minutes too long.

You can watch eight minutes of the Luke Perry movie 8 Seconds, including the last eight - second scene that's stretched out to eight minutes.

Make each coupon good for things like no chores for the day, family trip for ice cream, stay up 30 minutes past bedtime, movie outing and movie of your choice, a special outing with mom or dad, game night or extra 30 minutes of screen time.

We went to the park, went to «coffee» each day, had a play date with a friend a few months younger than him (which he LOVED — someone who played WITH him, not telling him what to do every minute like his sister does), watched a movie of his choosing, ate what he asked for at dinner, built space stations and launch pads out of Legos for his Space Shuttle, and read lots of books together.

combined with (and I can't believe this is in the movie, though I haven't seen the movie) «As one doctor says in the movie, a woman can hemorrhage and bleed out in a matter of minutes.»

Mirror Online feels it's our civic duty to point out that the complete running time of all of the Star Wars movies, including The Force Awakens, is 15 hours and 40 minutes.

Track after track made me feel like I had to fight my way out of a horror movie, and I loved every minute.

Once I worked up the courage to actually close the door of the tank, I fought my own mind for a few minutes until I managed to calm down and start to relax (and get flashbacks of a terrible movie my husband made me watch, The Cave, out of my head).

We met and probably watched five minutes of the movie between making out.

It's filled with dark humor, a burst of Patton Oswalt, people wearing their special - occasion clothes doing habit - forming drugs, and Carell being the «lovable nerd who turns out to be really cool if you just give him a minute» that he usually is in his movies.

It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the movie's less - than - consistent vibe paving the way for a second half that could hardly be less interesting or anti-climactic - which does, in the end, confirm the film's place as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.

The movie turns us all into victims and Friedkin makes this point most demonstrably during a courtroom sequence in which he points out to the jurors that it took each of the victims three minutes to die.

I figured the whole story out 30 minutes into it and was exhausted and stun afterwards I only sat through it because of my kids and I explained to them that this movie was a farce, it should have never been made.

Out of time and overbudget, the movie previewed badly and was eventually sliced down to an abrupt 88 minutes (by, among others, editor Robert Wise, who would go on to direct such films as West Side Story and The Sound of Music).

Under The Skin is very much a film critic movie; while it has an oblique nature that provides a barrier to entry for the general public (six walk outs in the first 40 minutes of my screening, all people presumably brought in by the promise of Scarlett Johansson naked.

You know one of the biggest problems with horror movies is nowadays, and perhaps this has even gone farther than, say, the last 5 years, and that is the fact that some of these movies do not have enough interesting material in the script to fill out one hour of screen time, much less 90 minutes of it.

Even more problematic: there's a narrator's voice - over that continues for the entirety of the movie, literally telling us everything we're seeing (at least for the first hour and forty minutes; I walked out with 20 minutes left).

It's a kickass movie when you've got the surround sound on and the volume up to about 8 out of 10 and its boomin» up there on the big screen Sony... especially the first 5 minutes.

I swear to Xenu that if you take out all of what I thought was filler, this movie would be, at the very least, 45 minutes long.

Into The Wild, based on the true story of young McCandless, is a road movie stretched out over a too - brief 148 - minute running time.

I just remember walking out of the movie theater and getting into my car, and then screaming out loud for about a minute.

It turns out that Depardieu is Denis, a psychic, who spends the final stretch of the movie — perhaps 15 minutes?

Aqua Teen Hunger Force Colon The Movie Film (ltd) expands the Comedy Central [adultswim] series into an 87 minute swath of foul language, lousy animation and an impossible to follow story fit only for those who are stoned out of their minds.

It is pretty predictable, and once the case of mistaken identity narrative device settles down, you can pretty much figure how the next forty minutes of the movie are going to play out.

Darwyn Cooke's Eisner Award - winning mini-series, «DC: The New Frontier», gets the direct - to - DVD animated movie treatment, which will likely please fans of DC comics in general, even though its revisionist nature may irk some «Justice League» fans, while those who love the comic might feel like too much was left out to call this a truly successful adaptation (400 + densely presented comic book pages squeezed into a mere 75 minutes).

Unfortunately, even the hottest past - their - prime stars of 1976 can't save a movie that plods along for two hours to tell a story that savvy viewers will be able to figure out in the first fifteen minutes.

Cianfrance and Bobbitt shot the movie in a kind of coldly sunny blur of metallic speed and near - constant movement that starts out with a five - minute - long tracking shot.

The victim is the kindly old mail carrier, Wits (Dern), but as we find out in the movie's first few minutes, he's not really dead; instead he is a willing participant in Dwayne's scheme to collect a $ 100,000 reward from the U.S. Postal Service for information leading to an arrest in the harming or killing of one of its employees.

They are the cinematic representation of what you would get if you stretched out my Independence Day homage to 90 minutes; it is a home movie of a child playing with his or her action figures and play set.

When a franchise descends to having its own characters wink at the audience with jokes about how it's run out of ideas, and resorts to just (literally) setting things on fire, not once but twice in it's 90ish minute runtime, it's one movie past time to stop.

While 140 minutes long, the movie zips along at a fast pace, literally keeping you on the edge of your seat as you try to figure out where they are going next.

It's the sort of set - up that would seem to lend itself naturally to a briskly - paced, unapologetically violent B movie, and while there are certainly a number of enthralling sequences peppered throughout, Outlander's oppressively bloated sensibilities play an instrumental role in diminishing its overall impact (ie the film should've topped out at 80 minutes, max).

Basically, the first two - thirds of this 111 - minute movie deals with a lot of technological intrigue and skullduggery, leading you down a garden path, trying to figure out who's the real villain and what's the bad guys endgame.

Ryan Engle's slack screenplay tries to build in further tension through a ludicrous conceit that gives the bad guys just 90 minutes to carry out their plan (hey, that's almost the exact length of this movie!)

The nervy fatalism of its climax might actually count for something if you didn't know in your bones that the «Avengers» movie coming out a year from now will very likely undo what and who we're left with, at the end of these two hours and 40 minutes.

Then, in a twist that wouldn't feel out of place in a Two Ronnies sketch, Padilha and screenwriter Gregory Burke torpedo the emotional centre of their movie by having a kindly airport security guard inform Pike's character that the telephone she's using — the one she's just poured her heart out into for two straight minutes — is out of service, but she's welcome to try again from the bank of phones over in that corner.

Assuming you've carved out 85 minutes of your life for this film, which isn't much in the average existence, but is far more than this dull, stupid movie deserves.

In what turned out to be one of the highlights at this year's CinemaCon was the stunning, 10 minute footage from Peter Jackson's new movie, the epic 3D film adaptation of Tolkien's The Hobbit (which opens December 14) that was shot at a frame rate of 48 per second achieving an unprecedented combination of uniformity and brightness.

Instead of doing the usual «Previously On...» here (Eli won last week's Let the Right One In contest though) I want to keep aboard the Melanie Lynskey Express for a minute since we're here and she's wonderful and we all love her so - she's got a new movie coming out this weekend!

The movie's actually pretty good until the last 20 minutes or so, when Coppola cops out and turns the movie into some kind of tragic romance.

A second commentary with cinematographer Peter Pau digs into the technical aspects of the look and feel of the movie, and a 13 - minute interview with Michelle Yeoh and a photo gallery round out the legacy bonus materials.

In both «types» of movies, Assayas displays the same gaze: the camera always glides over people, never letting you believe that you can get «inside» them, what they think, what they feel; and, whether big (the kidnapping of the OPEC delegates in Carlos) or small (the decision of which heirloom to give to a deceased mother's old retainer in Summer Hours), «events» are shot in the same way, as an accretion of minute, yet complex decisions; of out - of - sync bodies competing for leg room in a claustrophobic space.

More like a 91 - minute thrill - ride than an astronaut adventure movie, this tour de force throws us out into space without a safety line then thrills us with a series of near misses that take our...

The Taking of Deborah Logan showed some promise for about fifteen minutes before its found footage design grew tiresome and its plot came to resemble every other horror movie out there without a creative angle to distinguish it.

The effect, which carries through to the movie itself, is like scrolling through a Reddit or Imgur gallery of photos, where after wasting fifteen or twenty minutes mindlessly checking out other people's momentary misery, you've barely managed a smirk, and wonder why you clicked through in the first place.

Though deceptive advertising is nothing new in movies, the DVD cover art of Coming & Going takes the practice far, keeping the wheelchair out of the picture (save for the title logo's odd twist on the familiar handicap symbol), portraying the leads as young and hip in their jeans and tall boots respectively, and, most egregiously, placing a chihuahua poodle hybrid that features in a single 1 - minute scene front, center, and large.

Rounding out the special features are twelve «webisodes» — «Production Design,» «Wardrobe,» «Stunt Work,» «Lena Headey,» «Adapting the Graphic Novel,» «Gerard Butler,» «Rodrigo Santoro,» «Training Actors,» «A Glimpse from the Set: Making 300 the Movie,» «Scene Studies from 300,» «Fantastic Characters of 300» — totalling 38 minutes.

But Warner sold the movie as all - out horror, announcing in a preposterous but extremely effective advertising campaign that «during the last eight minutes of this picture the theatre will be darkened to the legal limit to heighten the terror of the breathtaking climax... If there are sections where smoking is permitted those patrons are respectfully requested not to jar the effect by lighting up during this sequence.»

If you're surprised by the highly unlikely happy ending where all is made well (missing only Reynolds rising from his wheelchair in a Dr. Strangelove homage), Driven is the first movie that you've ever seen; and if Driven is the first movie you've ever seen, you probably won't think twice about a rescue set - piece involving two drivers helping a third out of an exploding pond while the track's medical staff is inexplicably fifteen minutes away.