Sentences with phrase «moment of thriller»

But he had come to the attention of department brass for his performance as a street cop during a single moment of thriller - level drama.

Not exact matches

Amazon Editorial reviewsProduct Description A real - life thriller about the most tumultuous period in America's financial history by an acclaimed New York Times Reporter Andrew Ross Sorkin delivers the first true behind - the - scenes, moment - by - moment account of how the greatest financial crisis since...

It really was a thriller, especially the first half, and there were plenty of quirky, dramatic and exciting moments as Lewis Hamilton took victory.

Sure, it wasn't a proper thriller, but there were lots of epic moments and quite a bit of drama to keep us entertained.

Route Irish is a fast - paced thriller, with some genuinely disturbing moments, but leaves the vaguely unpleasant feeling that Fergus» final violent rampages should ultimately be viewed as the fault of his victims.

There's a lot of things I'm obsessed with at the moment: An afternoon green smoothie followed by an energizing yoga class Everything fall and everything pumpkin Wine - colored lipstick Reading creepy thrillers (I'm in the middle of this one right now and I can't put it down) Afternoon naps on Sundays Making apple cider vinegar and homemade candles (tutorials...

There are moments of a good movie buried amongst this over the top thriller.

It doesn't measure up to the best of the thriller films, but still provides a fair share of nail - biting moments and nifty double - crosses and twists.

On the whole, I was hardly interested in this snoozefest of a mystery «thriller», but there are moments in which I found myself genuinely invested in this layered and meditative drama, and for those moments, I give some credit to Refn for actually waking up, and even more credit to the real force behind this misguided character study.

Steven Spielberg's best thriller since Jaws, and his most «of the moment» movie ever, The Post is also an unexpected sort of «coming of age» tale.

A thriller like this can collapse under too much scrutiny, but in the moment, it does work as a nitty - gritty game of cat and mouse, especially when Shaun does break back into the house and outsmarts the numbskulled intruders.

There are several moments that are difficult to describe but I know Lanthimos is doing them on purpose as a critique of thrillers.

A vital moment in the career of one of cinema's most important directors and a searingly tense thriller in its own right.

It has its harrowing moments, but the psychological thriller Jasmine is an impenetrable mystery for most of its running time, and deliberately so.

Though it has all the crackling energy and wit of many a»70s political thriller (with an unusually mobile, roving camera for a Spielberg drama), the movie boils down to a single stately moment, one in which a woman asserts her authority in a way that even her male subordinates, who technically report to her, are unprepared for.

A highly schizophrenic movie that clearly wants to explore the lives of university students under stress their senior year but is forced to do so within a thriller format that requires spooky moments and malevolent ghosts.

Screenwriters William Nicholson and Michael Hirst care little about re-creating political history as it was, but relish shooting for the Barbie doll moments in the royal court and the occasional cloak - and - dagger thriller moment (the soon to be beheaded scheming Catholic Mary Stuart, Queen of the Scots (Samantha Morton), passing notes from her prison cell to approve the assassination attempt on cousin Elizabeth), and in keeping all the scenes with the athletic looking Raleigh intentionally playful and sexually inviting.

Interestingly Death Wish, the millennial - era remake of the gritty mid 70's crime thriller of the same name, notoriously arrives in theaters at an increasingly awkward moment in a divisive national climate (particularly in the aftermath of the most recent high school shooting) where the political stakes regarding gun violence in America are at an all - time high.

It has a marvelous ensemble cast and all the visceral impact and moment - to - moment tension of a fine thriller, together with the distinctive visual style of an art film.

Seemingly out of their elements, Cliff and Cydney make the classic mistake of befriending the wrong people, a thriller staple, but the filmmaker never goes on automatic pilot; he composes with soft focus photography to give a sense of ambiguity at key moments whenever both couples are within the same frame.

One of the most versatile actors in cinema at the moment, Tom Hardy has peppered his career with blockbusters like «The Dark Knight Rises», indie dramas like «Locke» and the gritty thrillers such as «The...

Combined with the naturalistic acting of the cast and the reserved hand by Marston, «Forgiveness» has an extremely grounded feeling that you don't generally get with dramas or thrillers — most feel put together in a petri dish, either a concoction with overly familiar elements or a collection of histrionic moments assembled to easily stir audience members.

Sure, it has its fair share of scary moments, but it seems much more preoccupied with being either a thriller, a comedy or even a murder mystery story.

Despite the gravity of the moment, even devoted fans of the ratings - challenged spy thriller may forget that the two characters haven't...

Click on the video player below to watch the opening moments of Steven Soderbergh's action - thriller, where Channing Tatum tries to get Gina Carano to join him.

Part of what makes German director Christian Petzold's pulp psychological thriller so special is the way it wrings complex shades of suspense and disquiet out of very basic techniques, and its finale — the most sublime gasp moment of the year in film — is a master class in simplicity of form, cut almost entirely from just two angles and carried by stars Nina Hoss and Ronald Zehrfeld, whose performances have been building to this one exchange of subtleties.

If anything, you wish for a few moments of camp or silliness to modulate the dynamics of this lean thriller.

All they've got left is sex in this and that ultra-luxurious location (more shelter porn than porn porn here) interspersed with some very random thriller moments as a figure from the past wants to destroy the perfect prettiness of the romance.

Fans of Jason Statham will no doubt have some fun with Killer Elite and there's one show - stopping moment in the first Statham / Owen brawl that will certainly get a reaction from audiences, but for anyone looking for either an over-the-top action flick or a smart - witted political thriller, the film fails to live up to the sum of its respective parts.

Give me less of Ingrid's relationship with the Batman fanboy Dan (O'Shea Jackson Jr.) and more of the psycho thriller / dark comedy moments.

Suffice to say that, although as a genre piece it's nothing new, it's still tightly and cleverly handled and unravels as a satisfying psychological thriller that's worthy of some attention.There's a strong cinematic output from our Antipodean friends at the moment, of which, Edgerton seems to be spearheading and this will no doubt convince studios to invest further in his directorial endeavours.Mark Walker

But perhaps the best moment for a female nominee went unnoticed when during last night's biggest award - Best Picture - Vanessa Taylor won alongside Best Director winner Guillermo del Toro for co-writing the fantasy thriller The Shape of Water.

A key moment in Not Quite Hollywood is a segment with Tarantino devoted to Fair Game (Mario Andreacchio, 1986), a thriller featuring Cassandra Delaney as a woman in the Australian outback who is terrorised by a group of men driving a menacing truck, eventually fighting back against her tormenters.

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

From the moment you see the opening credits, the look of this thriller, which should have looked and sounded like Cellular or The Negotiator, instead emulates darker, more somber thrillers, like Cape Fear.

Francis Lawrence marshals moments of genuine tension throughout, including a tense trade - off at a London hotel, but it never truly grips like the best conspiracy thrillers.

This is less dark looking than his films usually are and it has this lovely way of mixing horror thriller and comic moments, sometimes in the same scene.

Aimed at adults, this thriller has dead birds, suspenseful music, eerie moments of d0xE9j0xE0 vu and unexplained details that all add up to a creepy week for Linda Hanson who has a premonition her husband is about to die.

Moments into American Assassin, the franchise starter wannabe based on Vince Flynn's throwback pulp action - thriller series directed with competent anonymity by Michael Cuesta (Kill the Messenger, Roadie), Mitch Rapp (Dylan O'Brien, Teen Wolf, The Maze Runner series), a privileged, twenty - something vacationing on the island paradise of Ibiza with his girlfriend - turned - fiancée, Katrina (Charlotte Vega), loses everything to a jihadi terrorist attack.

Filmed in Ireland by cinematographer Vilmos Zsigmond with an atmospheric score by John Williams, the film is artfully made, yet features a few thriller - style shock moments to emphasize Cathryn's descent into madness as she begins to have distorted visions of former lover Rene (Marcel Bozzuffi), who was killed years earlier in a plane crash.

Making a mark with a thriller, Intacto (you could argue that both Intacto and 28 Weeks Later deal with the ugliness of predestination), that boasts one of the most perfect scenes in cinema from 2001, Fresnadillo adopts the handheld ethic of Boyle's picture and injects it with the energy of the vertiginous opening moments of Narc.

Instead, it's a film that understands exactly what it is and what space it occupies, and at the end it's not merely an extraordinary character piece (Blair's turn would be star - making in a just universe), it's also a nimble thriller full of outrageous fortune and stunning reversals meted out perfectly between its breathless moments and the moments where it breathes.

Co-written by estimable Frownland director Ronald Bronstein, it's inspired by the experiences of street kid Arielle Holmes, who plays a fictional version of herself alongside actor Caleb Landry Jones in what's described as «a tumultuous drama about a New York City couple battling addiction in the midst of a love affair»... And finally, the prize for oddest remake of the week: French thriller specialist Jean - François Richet is changing gear rather alarmingly with his, er, «reboot» is the word I'm looking for, of Claude Berri's 1977 comedy Un moment d'égarement, in which two fathers take their sexy adolescent daughters on vacation — and one of them is seduced by the other's jeune fille.

• Wim Wenders's Der amerikanische Freund — notthe masterpiece some have claimed, but a first - rate thriller nonetheless, full of superb moments and boasting a dazzling performance by Bruno Ganz.

It had more pizzazz than anything else that seems like a Best Film of the season, it managed to be explicitly about movies without violating its trajectories as a first - rate genre film (thriller), it was rife with the best, least slavish sort of hommages, and it tapped into the moods and mannerisms of other cinéastes like Nick Ray, Hitchcock, and Hopper without for a moment ceasing to be Ein Film von Wim Wenders.

In the opening moments of writer / director Trey Edward Shults» mysterious horror / thriller, we are presented with such a symbol, a warning sign right from the off that this one is going to take us down some dark, ominous alleys, figuratively, before our time with it is up.

Throughout the film, there are moments that could have made this into a melodramatic thriller, much like some of Almodóvar's earlier films Matador and The Law of Desire.

The man of the moment, and already of the year it seems, Benedict Cumberbatch has signed on to thriller BLOOD MOUNTAIN which will see...

As in his most effective thriller, «The Hand that Rocks the Cradle,» director Curtis Hanson provides some good, creepy moments in the process of slowly revealing to Streep and her family that the somewhat appealing stranger in their midst is, in fact, a psychopath.

A bit lengthy run time for a thriller, but absorbing throughout nonetheless, this murder mystery, somewhat loosely based on the dense best - selling novel by the late Stieg Larsson (which in its native Swedish literally translates to «Men Who Hate Women», the first in his «Millennium» trilogy), is dark, and more than a little sensationalized (involving perverts, murderers, rapists, Nazis, and literal Biblical interpretations) to be believable, but, like most good thrillers, it's riveting in a way that you won't be able to turn away from it, even during some of the film's most brutal moments.