Sentences with phrase «montages ends»

Nolan hallmarks aside - montage ending, linear - shifting narrative (the story is told across three simultaneous viewpoints experienced across different timescales)- Dunkirk is perhaps the antithesis of what he's directed before (Inception, Interstellar, etc) but no less marvellous, a brisk, relentlessly - paced sensory experience that has no doubt planted those youngsters hoping to catch a glimpse of Harry Styles with a desire to pick up a camera.

On the particular morning that the montage ends, Michael is laid off from his job.

Not exact matches

After much wrangling, the film - maker's original cut made it into cinemas, but not before some radical new versions had been tested — including one that The New Yorker says featured a montage of religious images and ended with a Christian rock song.

This end of the playoffs montage that he put together is simply outstanding and a must - watch.

Perhaps a well edited montage might appear on my blog at the end of 2014!

Against a montage of state and city images — the Brooklyn Bridge, Nixon riding the L train — she lists off her platform, including improving health care, ending mass incarceration and «fixing our broken subway.»

Called «The Things That Connect Us», it's a montage of cosy objects and welling music, ending with a childlike voice - over: «The universe.

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.

After the Spanish Armada's crushing defeat — told in a rushed and choppy montage where everyone seems to die but the white horse that jumps from a burning ship — Elizabeth's reign should adopt a fairy tale ending.

I was probably overhyped about it but I didn't like the ending especially and I wish the Paris scene had been more than a montage.

Extras are, per Anderson's M.O., exasperatingly abstract: The cover copy refers to the bonus features as «special trailers,» but one is just a deleted scene of Shasta and Doc watching the waves lap against the shore at dusk (their lips are moving, but a dreamy Greenwood composition mutes everything they say), while the fourth and final, «Everything in this Dream,» is an artful 6 - minute montage of cutting - room scraps, including a few shots of Doc and Sauncho watching a schooner leave port that could be construed as the ending from Inherent Vice the novel.

As dumb - fun as many of the stunts are (and as oddly touching the RIP montage at the end), there's no earthly reason for this film to be 2 1/2 hours long.

It's tricky because using this device could end up heavy - handed, but because of some shrewd and evocative montage editing, McGehee and Siegel cover a lot of ground and character development in surprisingly subtle fashion.

Blair's not the first person to find existential enlightenment at the end of an amateur detective tale, but he might be the first to piece one together from cussing octogenarians, ninja stars, Google montages, gallons of Big Red soda, upper - deckers, friendly raccoons, exploding body parts, and the idiocy of humanity.

We start with the ending, liven up the slower beats with montages and, at times, treat the movie as if it was a music video for a metal band.

We watch, in a fast - paced montage, as a teenage King and his four friends stumble from pub to pub, living it up in one glorious bacchanal that — for King — never properly ended.

My favourite part was the picture montage at the end proving that sometimes truth is stranger than fiction!

The 95 minute film feels like one giant montage that never ends.

Each disc's main menu runs with an ethereal montage of flying, floating objects against a starry night sky, while an excerpt of the gibberish choral end credits theme plays.

When the film ends with a montage of roads around Le Vinatier cloaked in early morning mist, blue light, and more Desplat strings, what's it telling us?

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.

Documentary Joslyn Barnes — «The House I Live In,» «Trouble the Water» Danielle Renfrew Behrens — «Kurt Cobain: Montage of Heck,» «The Queen of Versailles» Joe Bini * — «Tales of the Grim Sleeper,» «Encounters at the End of the World» Douglas Blush — «The Hunting Ground,» «The Invisible War» Rachel Boynton — «Big Men,» «Our Brand Is Crisis» Irene Taylor Brodsky — «The Final Inch,» «Hear and Now» Margaret Brown — «The Great Invisible,» «The Order of Myths» Nancy Buirski — «Afternoon of a Faun: Tanaquil Le Clercq,» «The Loving Story» Maro Chermayeff — «Marina Abramovic The Artist Is Present,» «The Kindness of Strangers» Ramona S. Diaz — «Don't Stop Believin»: Everyman's Journey,» «Imelda» James Gay - Rees — «Amy,» «Senna» Haile Gerima — «Teza,» «Ashes and Embers» Laurens Grant — «The Black Panthers: Vanguard of the Revolution,» «Freedom Riders» Richard Hankin — «Art and Craft,» «God Loves Uganda» Kazuo Hara — «A Dedicated Life,» «The Emperor's Naked Army Marches On» Thomas Allen Harris — «Through a Lens Darkly: Black Photographers and the Emergence of a People,» «Twelve Disciples of Nelson Mandela» Matthew Heineman — «Cartel Land,» «Escape Fire: The Fight to Rescue American Healthcare» Judith Helfand — «The Barber of Birmingham: Foot Soldier of the Civil Rights Movement,» «Blue Vinyl» Amy Hobby — «What Happened, Miss Simone?

Without giving too much away about the ending, I can say that Slide disappears much too abruptly from the story — unless I blinked and missed it, he's entirely absent from the epilogue montage.

Shelton incorporates lazy montages and odd dead - ends.

Noteable High Profile Omissions Though these films made a name for themselves at the box office or with honors from various organizations none of them made it to the finals: The Black Panthers: Vanguard of the Revolution, Dark Horse, Deli Man, Dior and I, Iris, Janis: Little Girl Blue, Kurt Cobain: Montage of Heck, Meet the Patels, Only the Dead See the End of War, Stray Dog, Sunshine Superman, The Russian Woodpecker, and The Wolfpack

Director David Gordon Green leaves the indie world for this studio film and excels in making a very vulgar comedy full of stylish montages and exciting chases — while Rogen and co-writer Evan Goldberg (also co-writer of This Is the End) construct a movie with a stupidly simple enough premise to knock off a slew of action cliche parodies, but also allow for a lot of improvisation along the way.

However, the extended end credits montage is much cooler now because instead of seeing characters you saw a year ago, you saw them just a few hours ago in the same sitting.

If the year in film is as big as this Clark Zhu video montage illustrates, how then do we end up with such a small, selective pile?

At no point do the filmmakers seem to evince any real interest in the emotional misery they inflict on their characters; trauma here is just the quickest means to an uplifting end, or in this case, a montage's worth of wretched epiphanies.

«The Worlds End» opens with a nostalgic 40 - something Gary King (Pegg) reflecting on the best time of his life from rehab told using an excellent 1990s inspired montage.

Perhaps the oddest thing about Straight Outta Compton, an otherwise enjoyable cinematic novelty about the 1980s rap group Niggaz with Attitude (NWA), is the bizarrely schlocky and self - serving montage right at the end.

Director Macon Blair's not the first person to find existential enlightenment at the end of an amateur detective tale, but he might be the first to piece one together from cussing octogenarians, ninja stars, Google montages, gallons of Big Red soda, upper - deckers, friendly raccoons, exploding body parts, and the idiocy of humanity.

Though ending the montage with notorious misogynist Jerry Lewis was maybe not the right choice.

Suicide montage, that didn't end up in this one either.

From the retro opening credits to the end montage, Chazelle is on fire with the musical numbers and emotional moments.

The main menu plays a montage of highlights in full 16:9 with the listings, handwritten title, and reprised end credits song (Marcus Foster's «I Don't Mind») overlaid.

The slow slide into anarchy, seemingly precipitated in part by the disconcerting dancing of Luke Evans, is rather appreciated, and the flatness of the ending teased in the beginning flash - forward is greatly mitigated by the extraordinary montage set to a Portishead cover of ABBA's «SOS» and the climactic murders seen through a dazzling kaleidoscope.

There's no training montage, nor even a climactic fight at the end.

And a rushed ending montage about the eventual passage of the Voting Rights Act threatens to slip into the tone of nonspecific historical uplift that the film otherwise so successfully avoids.

A video started, and to begin with it was a slick enough montage showing the origins of most of the major Avengers, ending with Thanos slipping his hand into the Infinity Gauntlet, from the post-credits scene of Age of Ultron.

While it's nice to see such bands as The Police and Talking Heads portrayed in the film, these appearances could have been relegated to an end - of - movie montage without stopping the story momentum every two minutes.

The montage continues through three different church services, ending with a humble tableau of wheelchaired Barbara Jean in the hospital chapel, singing, «He walks with me and He talks with me...»

For B - movie buffs, exploitation film aficionados, and midnight movie cultists, the grand finale of «Corman's World: Exploits of a Hollywood Rebel,» will be every bit as exhilarating as that montage of forbidden kisses at the end of «Cinema Paradiso.»

Apart from the fact that a filmmaker is entitled to address whichever audience she chooses, a montage of Ghibli films is shown near the end of the documentary as Miyazaki speaks from his imagination.

Of course, the style of action comedy has to end with a montage letting us know the fate of each and every person, which is where this conclusion is fully reached; good luck caring about any of them, protagonists or antagonists.

Now McConaughey and Temple can have a cosy candlelit dinner, realise that true love can cross all manner of social boundaries and get married in a montage at the end of the film to the strains of This Will Be an Everlasting Love by Natalie Cole.

We get not one, not two, but three veeeeery long sex scenes in the first 20 minutes, featuring plenty of Wiseau on display (in case you were wondering whether the film was a vanity project) alongside elaborate candelabra and water features that mysteriously disappear when the montages finally end.

At 84 minutes, if you were to remove al instances of scenes that serve no story purpose, as well as the opening titles montage and the end credits, you'd have film that barely stretched into an hour's worth of entertainment.

She ends up in Camp Pendleton, California, for the usual training montage, but after graduation and a disastrous reunion with her mother (who asks if she'll get compensation if her daughter is killed), a nighttime trip to a bar leads to an act of public urination.