The in - depth featurette allows viewers to become virtual stunt coordinators and select from a variety of different
movie angle shots of dirtboard stunts.
Not exact matches
A heap of bad history, the
movie rewrites the one - sided feud between the early electric power moguls Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon) into a clumsy public - domain mockbuster of The Prestige; you can almost hear director Alfonso Gomez - Rejon (Me And Earl And The Dying Girl) trying to slap himself awake as he inserts overhead
shots, canted
angles, zooms, and wide -
angle Tom Hooper - isms into every scene.
On one hand, I didn't want to
shoot the whole
movie with wide -
angle lenses.
Featured prominently in the wide -
angle shots of Times Square is a huge billboard for the new «Sherlock Holmes»
movie — like «New Year's Eve,» a Warner Brothers production.
The blank gray offices at Langley, the anonymous stairwells and airports, the wide -
angle shots of impeccably clean hotel rooms — so much of the
movie's visual language suggests an emptiness begging to be filled.
The somber, eco-conscious first two - thirds of the
movie gives way to a wild and wooly final third featuring a guy in a bear suit running around on his hind legs,
shot at elongated
angles like a surreal, backwoods Godzilla.
Shot in stark black & white, the
movie makes effective use of shadows and
angles to add to the overall impending sense of dread.
Shot over the course of 18 days at the Savernam Estate's cavernous Tottenhouse House in the English countryside — a location that effectively doubles as an extra character in the otherwise spare, intimate psychological drama — the
movie unfolds in mostly long - take wide
shots, though Rumley also isn't afraid to stage a canted
angle for art's sake.
Instead, many sequences involve
shots (and the framing and
angles within these
shots) that are unconventional for a horror
movie.
How about Domino, the second - worst
movie of the year, in which Tony Scott (the director, not the critic) proves that you can
shoot a scene from 30 different
angles, never repeat a
shot, and still not once put the camera in the right place?
And while the
movie may think she's the worst, director Joe Lynch is still happy to offer a low -
angle shot of her ass as she leans over a desk.
From the spacious landscape
shots of the family's heavily fortified home and farmland surroundings to the tight camera
angles during the
movie's suspenseful sequences, A Quiet Place varies smoothly from tender to disturbing in tone thanks its its imagery.
The video installations of Jane and Louise Wilson, with their hovering steady - cam
shots, their weird, wonky -
angled explorations of atmospheric interiors, owe so much to the language of commercial film and to pop videos, that we feel we've already seen the
movie and heard the song, when we've really only seen the set - in this case the late, late hour gambling rooms of Las Vegas, and the doomy tunnels under the Hoover Dam.
Resembling
movie stills, her unnerving photographs — crisp, boldly colored,
shot from unexpected
angles, and dramatically lit — feature women disguised in wigs, dramatic makeup, and retro attire.
From a certain
angle and with a sympathetic camera positioned just right, a triumphant Marc Morano emerges from a stretch white limo and raises his hand to an out - of -
shot Paris crowd as he hits the red carpet for the world premiere of his new
movie Climate Hustle.