Sentences with phrase «montage sequences»

The plot seems sporadic and the montage sequences are more associative than logical.

The basic Dolby 2.0 soundtrack contains a few shock sound cuts and effective ambient effects, but for the most part is pretty tame, and Giorgio Moroder's thumping score shines during key montage sequences.

There's so much going on in the movie already: the fantastic soundtrack, the montage sequences, all the subplots, the party scenes, a lesbian love story that is actually incredibly sincere and heartfelt.

Molly runs an adorable candy shop, while Joel is a «not too handsome or too Jewish» corporate raider sent to shut her down, but they hit it off, engage in a wildly energetic first sexual encounter, then go through the usual montage sequences on their way to the usual rough patches («Your dreams don't pay the rent!»)

«Lacking a fresh sensibility or any hint of an edge, Radnor dutifully unfurls the indie - rock montage sequences, wrapping up all his storylines with neat, predictable little bows and not even the slightest acknowledgement of a world outside these beautiful people's solipsistic navel - gazing.»

For several montage sequences where we see various audience reactions to Edtv, Corenblith built such set pieces as a prison cell block, a New York City deli, a bus depot, a fraternity house and a replica of the Oval Office (originally designed for the recent movie comedy, Dave).

Despite the fact that these comedies have been built almost entirely around boorish body fluid jokes and a very few bawdy gems («This one time, at band camp...»), in «American Wedding» director Jesse Dylan jumps so impetuously from dog - doo - mistaken - for - chocolate gags to trite tender - moment montage sequences to sex scenes involving invalid grandmothers that none of it — the jokes or the sentiment — comes across with any conviction.

Like any boxing film, Southpaw has the usual training montage sequences aplenty.

You'd think Raymond would be relatively easy to spot, given his predilection for making all his phone calls from the same Redondo Beach pay phone; but lo, this particular pay phone has so many customers (in 2014) that it takes Roger an entire montage sequence (and a can of mace in the face) before he finally ferrets out his man (a nicely rumpled Tom Berenger, giving the only thing remotely close to a low - key performance here).

The Notebook is so singularly focused on cheap romantic melodrama that the entirety of World War II is reduced a montage sequence in which, of course, Noah's best friend dies in his arms on the battlefield.

A montage sequence of father and son pulling off small - town bank robberies is a good case in point.

In key scenes (Sahmi's meeting with the General, the montage sequence showing Houshang's attempts to raise money using repetitive framing devices, and several of Parviz's key scenes, which often function like dramatic monologues) the performances appear often to be slightly stylized and theatrical, offering, I believe, a degree of distanciation (in the Brechtian sense), somewhat in the manner of, say, Rainer Werner Fassbinder.

Thus paves the way for the requisite montage sequence in which talentless pretenders parade through in rapid - fire fashion, putting their meagre talents on display for our bemusement.

But once the film does settle on a trajectory, it loses its way, paying off its investment in its characters with a whopper of a contrivance, a montage sequence long enough to train Rocky twice, and a conclusion that tidies up all that carefully cultivated chaos much too neatly.

The montage sequence in which Hannah and Jacob slowly fall for each other is one of the best such sequences I've seen in an American movie.

Yeun stars as Derek Cho, once a bright - eyed young lawyer who, over the course of still more voiceover and an elevator - set montage sequence, becomes a jaded douchebag who helps murderers and corporations escape consequences.

Look in my face; my name is Might - have - been; I am also called No - more, Too - late, Farewell,, 2013 Computer generated algorithmic montage sequence

Geoffrey Farmer, installation view of «Look in my face; my name is Might - have - been; I am also called No - more, Too - late, Farewell», 2010 — , algorithmic computer software for montage sequence, generative composition in collaboration with Brady Marks,

After collecting the first few Muppets, the characters decide to speed things up by using a montage sequence.

Not exact matches

There's the montage set to an independent pop song, a halt - grinding conclusion that's overly confident of its poignancy, the requisite action sequences, and brushes with drama.

The movie's most sublime sequence has Deadpool putting together a superhero team of his own, a quick - cut job - interview montage that allows Zazie Beetz's Domino, Terry Crews» Bedlam, Bill Skarsgård's Zeitgeist, and Lewis Tan's Shatterstar to cycle through in short order, along with Rob Delaney's Peter — a nonsuperpowered fellow who just liked the sound of the want ad — and the Vanisher, whose invisibility powers prevent him from needing to be played by anyone at all.

Especially Valerie's story and the domino montage towards the end are spine - chilling sequences that make this movie unforgettable.

There's an extraordinary sequence, just after the birth, a montage of night after night of sleep deprivation and of her entire existence, just about, given over to the insistent and never - ending demands of the squalling infant.

Yet the filmmaking of this sequence is disappointingly flat and functional, less a fluid display of combat mastery than a stitched - together montage of self - consciously cool displays of Cable's strength and superior weaponry.

One of the most hilarious sequences finds Marjane bouncing back from the depths of suicidal despair and facing her life with a newfound determination, a cheeky inspirational montage accompanied by her rendition of Survivor's Rocky III anthem «Eye of the Tiger,» sung loudly off - key in heavily - accented English.

The opening sequences of Lucy feature lots of arty montages that show us natural predators devouring their natural prey.

This new clip from Robert Rodriguez's Machete Kills shows a very grown up Alexa Vega in a montage of action sequences...

This is when Spring Breakers finally lives up to the insanity of its premise, with a sequence involving Alien getting emasculated (in a way I won't begin to describe here) followed by a montage with Britney Spears» «Everytime» that'll become one of the year's most memorable scenes.

From the staging to the style to specific sequences, Ratner has clearly modelled his vision of swords and sandals in the Game of Thrones fashion — the heightened narrative of tragic backstories and double crossing, the repetitive imagery of montages of training and fighting, and the multiple instances of royal infighting among them.

In a sequence that vaguely echoes the storm scenes in the earlier films, their tryst is largely reduced to a reading of John Donne's «On His Mistress» (instead of a private piano recital) and a montage of the couple visiting various picturesque sites together.

The film kicks off with a montage of 9/11 phone calls playing over black and the sequence is cut perfectly, rousing the heartache of that day through a sense of hysteria, but also by giving certain audio clips time to breathe, establishing a personal connection.

ntricate montage and subtle colours, accommodated by a peculiar score, in the opening credit sequence, emphasise the tone for the entire movie: phoniness.

«Fantastic 4: Comic Book to Film» (3:50) is an unnarrated montage that simply compares certain sequences of the film to their direct print inspirations, using split screens and cross-cutting.

Intricate montage and subtle colours, accommodated by a peculiar score, in the opening credit sequence, emphasise the tone for the entire movie: phoniness.

Ritchie condenses this potentially exciting sequence into a lackluster montage without any drama or spectacle.

Soon, Samantha is slicing and dicing vegetables like a professional chef (in a musical montage from Alan Silvestri that appropriately sounds straight out of a Miller - Boyett credits sequence).

The opening sequence shows a montage of a whirlwind relationship between Josh (Rafe Spall) and Nat (Rose Byrne).

Director Neil Burger uses visual effects as shorthand in montages supposed to illuminate Morra's experience of his newfound mental powers, and although these sequences are certainly in no way original or particularly inspired, they perform the task asked of them with dexterity.

Regular montages feature rapid fire edited sequences that perfectly capture the idiotic bravado and self importance of the average Hollywood action blockbuster.

Rosi uses the same montage style from the «baptism murder» sequence in Coppola's film, cutting from a lavish dinner held in Luciano's honour to scenes of bosses being shot to death in various locations, mostly in Peckinpah-esque slow - motion.

The full - body introduction of the creature is a little disappointing in its offhandedness, and the montage - reliant bridge sequences detailing Elisa and the creature's early dates are a bit perfunctory.

And soon enough we're back to the explosions, chases, battle sequences, kickin» - ass montages, and pointless romantic subplots that we've come to expect from these movies, the latter of which comes in the form of Phillips's right - hand woman, Peggy Carter (Hayley Atwell).

Although other films might've depicted a fun - filled female - bonding sequence as a throwaway montage backed by an En Vogue song, Story transformed it into a full - fledged music video set to Bell Biv DeVoe's 1990 mega-hit «Poison,» complete with MTV - and BET - style corner - screen end credits, resulting in one of Think Like a Man Too's most memorable scenes.

The Academy's editing team were on point this year, linking together the whole show with superbly cut montages of the nominees, past winners and — in one spellbinding sequence — just the 90 - year history of the Academy itself.

Intercut action sequences, tough, machismo - fueled training montages, and a cop - out climax all play out as you'd expect, with the only difference being that the setting here is the U.S. Coast Guard.

It's one of the best sequences in the series to date, kicked - off with an incredible tracking shot before all hell breaks loose; alas, that energy dissipates during a bizarre title sequence that combines a Roger Moore - era naked lady montage with a touch of almost Lovecraftian soft - core tentacle scored to Sam Smith's tepid theme song, «Writing's on the Wall».

There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer as well as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely transferred anamorphic widescreen one.

It consists of a cycling montage of what seems to be every single sequence of Raccoons running and frolicking from the film - overlaid with cheerful score music.

Each Blade composer has had to balance his scoring chores with songs cemented to key scenes and montages: Mark Isham went for a brooding synth and orchestral blend that managed to smoothly weave in and out of the pumping songs laid over the main battle sequences; and Marco Beltrami's large orchestral score was tweaked by Danny Saber and buoyed by a similar number of songs.

Testimony has one great dramatic center, some bravura Steadycam sequences, effective newsreel - styled black and white cinematography, and a greater diversity of music to offset a weak script, clumsy montages, and surprisingly banal performances from supporting players (except Ronald Pickup, who also played Nietzsche in Wagner).