Sentences with phrase «minutes out of the film»

After the premiere screening of The Unknown Girl in Cannes you decided to edit several minutes out of the film.

Fun fact: We cut 20 minutes out of the film, and we didn't put anything back before we locked it.

Cut 45 minutes out of the film, and this could be a masterpiece.

Not exact matches

From the Inside Out - «Making Avengers: Age of Ultron»: A 20 - minute video going back 18 months showing what it was like on set of the film in Italy and Seoul, Sourth Korea; a look at the Avengers Tower; some of the behind - the - scenes early visual effects of Ultron; early concept work for Quicksilver, the Hulk, and Vision; and more.

Roll out the cookie dough (easiest between two sheets of greaseproof paper or cling film) and refrigerate the rolled out cookie dough briefly, for about 5 minutes.

Then, we'll roll out the cookie dough (easiest between two sheets of greaseproof paper or cling film) and refrigerate the rolled out vegan cookie dough briefly, for about 5 minutes.

Continue stirring, slapping dough against sides of saucepan with spoon, until dough leaves a thick film on bottom of pan and pulls away from sides, about 3 minutes (the important thing here is to cook the flour and dry out the dough).

We shot 500 hours of film and had to condense it to 82 minutes, so you can imagine all that was left out.

At times the Labour leadership race has felt like one of those films where you work out the ending after just five minutes but still feel obliged to watch the rest.

Especially now that a number of junior doctors have now produced a six minute campaign film setting out why they are eyeing up industrial action - and featuring real - life stories.

Elsewhere in the city, incumbents largely were returned to office, though Manhattan District Attorney Cyrus Vance, Jr., running unopposed, faced a surprisingly strong, last minute write - in challenge from Marc Fliedner, an out gay ex-prosecutor prompted to jump in when revelations surfaced about the incumbent's failure to pursue fraud charges against Ivanka and Donald Trump, Jr., in their marketing of the Trump Soho and sexual assault charges against Harvey Weinstein brought by an Italian model who captured a partial admission from the former film mogul on tape.

At almost three hours long the film does feel overstretched, with a set - up period of at least 45 minutes which moves at a languorous pace as it doles out arguably unneeded exposition and character motivation.

The DVD also includes the 30 - minute «The Hidden Side of «Persepolis,»» which delves into how the comic book originally came about and how Satrapi set out to adapt it to film, and the 8.5 - minute «Behind the Scenes of «Persepolis,»» which gets up close and personal with the voice talent and animators.

Corbijn isn't making a stereotypical Hollywood thriller, with the stakes spelled out in neon and the loud fight scenes spaced every few minutes, but he doesn't seem to realize there is such a thing as being too vague, and in his efforts to make some kind of art - house / thriller hybrid, he goes too far the other direction and creates a nicely rendered film with no emotional hook.

So it turns out that it doesn't matter that all the promo material on the film — TV ads, trailers, everything — reveals the story's twist — Lincoln and Jordan and all their fellow citizens aren't survivors of a global disaster but rich people's insurance policies — because all that happens after the secret is revealed is that Bay can finally get down to doing what he loves to do: Stomp and crash and burn and destroy as Lincoln and Jordan escape into the real world — just 20 minutes into our future — and must be recaptured.

But the film softens the bouts of cruelty with an abiding sense of humane, if absurdist, comedy, smoothing out the tonal shifts that may have you gasping in horror one minute and laughing the next.

However, it was sort of a no - brainer to figure out their problem within the first few minutes of the film, but the part I was confused about was the lack of any resolution between the husband and wife, played by Kevin Kline and Diane Keaton.

The first thirty minutes of the film are enthralling: A series of courageous raids as the Autodefensas chase cartel gangs out of one town after another.

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

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.

Pellington and screenwriter Alex Ross Perry make their point within the film's first few minutes and keep making it — establishing that, yes, certain objects obviously do matter to us as harbingers of the narratives we assemble out of the incidents in our lives — as if they're the first artists to broach the subject.

It pulls the heartstrings 20 minutes longer than it should — after it runs out of story — but it's a much needed feel - good film.

It has its poignant moments but begins to get really irritating; about ten minutes from the end of the film, I actually asked myself out loud «How much longer do I have to deal with this guy?»

Running 131 minutes, this film of limited consequence still goes dragged out, with excess filler and material that, rather than livening things up, allows you to further meditate upon things like the natural shortcomings and sentimentality, through all of the genuinely strong aspects.

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.

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.

I suspect that the Farrellys really had to work to get their film down to the 110 minute mark, where it is now, and a lot of jokes went out the back door.

After all of the interesting and fun effects of the preceding 110 minutes, the final effects make you wonder if the CGI folks pulled an all - nighter to rush this film out — like a cram session before a final exam.

After a last minute leading man change (Ryan Gosling dropped out before filming, stating creative differences) and a delayed release to coincide with the awards season, Peter Jackson's film adaptation of Alice Sebold's bestselling novel is finally here.

Filing off what little edge there was from the first film's supervillainy, introducing a host of mostly forgettable new characters (Al Pacino was initially down to voice the bad guy, but dropped out at the last minute), and doubling down on the adored - by - kids, annoying - to - adults Minions, the film has occasional moments of wit and invention, but it's mostly a bland retread without the heart of its predecessor.

«The exhibitors went out of their minds when they saw Jackie,» he said, according to the Nancy Griggin and Kim Masters book Hit & Run: How Jon Peters and Peter Guber Took Sony for a Ride in Hollywood, recalling a screening of the first ten minutes of the film for theatre owners.

He has an affability and grace that makes him interesting to watch, but Silberling's film is the equivalent of a funny 20 - minute short that is dragged out to a full - length feature through music interludes and montages involving Paz Vega getting dressed, washing her car, or Freeman learning about Target (the department store).

I should point out that it is a minor gripe, as it still delivers one's money's worth, but the weakest portion of the film is the final 20 - 25 minutes when Alison goes into labor and can't seem to locate her doctor.

Outside of a brief and flat - out awful narration tactic at the start of the film, star George Clooney is missing for the first 45 minutes.

This is also where the voices in my head began speaking to me, saying things like, «This film is terrible,» «Get out of the theater» and «Don't stay here another minute.»

Still, MURDER does suffer from a slower second act than it should, suddenly pulling out yet another suspect who's been hidden since the first 15 minutes of the film.

Putting a lid on the package are a theatrical trailer in HD (and running close to three minutes) plus a 12 - page foldout, designed in the distinctive style of a mid-1980s cigarette advertisement, featuring «The $ 100,000 Box,» a new essay by film critic Scott Tobias that includes this gem: «They can't drop out of society.

At 93 minutes, the story doesn't stay longer than warranted, but still, the rest of the film clicks well enough that a bit more fleshing out would have turned a good action flick into a must - see for genre fans and even some non-fans alike.

Clocking in just under two hours, the Deadpool sequel runs shorter than most big - budget superhero films, with Leitch estimating twelve minutes were edited out of his initial «director's cut.»

I thought the film consistently amusing from start to finish â $ «in particular I howled with laughter over Oliverâ $ ™ s attempts to woo Jordana with the gift of a box of her favourite matches, and his typically teenage dazed / smug / disbelieving look minutes after he and Jordana had made out for the first time.

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).

In the end, the only real suspense comes from seeing whether the film can stretch its wafer - thin premise and paucity of ideas out to a full 90 minutes — and at 88 minutes with credits, even there it comes up short.

Proving the old adage from The Incredibles that if everybody's special nobody is, the film pig - piles some twenty - six or so of your favorite Marvel characters from the past eighteen films into a numbingly repetitive 160 minutes of unimaginative, intergalactic punch - outs during which Earth's Mightiest Heroes take turns getting their asses kicked by Josh Brolin's glowering Grape Ape.

She almost convinces us that the heroine would avoid an amniotic needle rather than get a DNA test that would end the film after 30 minutes and put us all out of our misery.

On top of that, the last twenty minutes or so is completely pointless: instead of stopping at a high point in this action - adventure film, the filmmakers decide to let the action subside (giving me another reason to check my watch) and drag out the trappings of a sentimental ending.

The zombie genre will (un) live on beyond Life After Beth, a film that feels like a Halloween entry of a Saturday Night Live routine that may have been funny in a short sketch, but can't survive being stretched out over 90 minutes.

Instead of a tightly - wound action adventure film with a bit of added political intrigue or compelling character relationships, Killer Elite lumbers along for 105 minutes - saddled with too much time spent as Statham stares out airplane windows (cue flashbacks) and Owen converses with greying bureaucrats.

At least 45 minutes of the film (which never really goes anywhere, or has any sort of plot) could be cut out and the same message will still be gleaned.

It's one of the best horror films that doesn't have just blood and guts spilling out of it for ninety minutes the have been released in the last two decades.