Sentences with phrase «movie frame by frame»

Another variation of this exercise is to ask your teenager to picture herself in a given situation and imagine how she might react, as if watching herself in a movie frame by frame.

Not exact matches

He points out the Jumbotron frame for outdoor movies, the Nacho Royale taqueria, a bank branch with tellers standing by, an artist in residence.

«A single glance can capture a wealth of different emotions and ambiences, like a snapshot of pure life that builds up frame by frame into a movie, taking you on a trip to a fantasmagorical China.»

To achieve the high - definition needed for the big screen, Domino takes images which have been shot on movie film and converts them into a video format by breaking each of the 24 frames per second into a mosaic of 3000 × 2000 picture points.

The bottom row shows movie frames where a methane gas sample cell is moved by hand across the field - of - view.

For over 40 years now, fans have been entranced by the simple story framing the beginning of every Star Wars movie.

All movie frames, text, and computer codes are written, edited, and copyrighted by Robert J. Nemiroff in 1994 and 1995 unless noted otherwise.

This movie from NASA's Curiosity rover shows all the «thumbnail» (low - resolution) frames acquired by the Mars Descent Imager between the jettison of the heat shield and touchdown.

This movie from NASA's Curiosity rover shows most of the high - resolution frames acquired by the Mars Descent Imager between the jettison of the heat shield and touchdown.

The Rudderless star spices up a traditionally pretty Pamella Roland A-line silhouette with a cutout framed by pale blue piping for the movie's premiere at the Catalina Film Festival on Catalina Island, Calif..

Which yes, the movie 100 percent tugs on every ounce of nostalgia you have for the original film, even mirroring many of the scenes, frame by frame.

Inspired by the town of the same name from the movie Who Framed Roger Rabbit.

The movie could have been much improved by slicing a few frames from each shot, and reining in Rust's weirdness just a bit % u2014so as to not contribute to the lumbering, hallucinogenic feel of his initial characterization.

After some opening images — a shadowy blond figure, complete with trench coat and heels, dumping a corpse off a bridge — that immediately frame its tale of moneyed madness through the greasy lens of B - movie schlock, the film moves to an aging Durst (here renamed David Marks and played by Ryan Gosling) on the witness stand.

The movie's frequently stunning compositions (shot by Penn and Eric Gautier) reveal not only Chris» ruminations as he appears framed by windows on his bus, hiking through magnificent forests or kayaking a rambunctious river to Mexico — but also his inability to immerse himself in the wilderness he cherishes and respects.

This is a beautifully built, classically framed movie, shot with the unshowy natural expressiveness of a John Ford Western by Spielberg's great cinematographer, Janusz Kaminski.

Price's descriptions of these new beasties trigger accompanying vignettes far less entertaining than the framing story, which is rife with horror movie in - jokes, cheesy rubber monster masks, and music by pop - reggae band UB40 -LRB-!).

The setup of «The Lego Movie,» also directed by Lord and Miller, recalls both «Who Framed Roger Rabbit» and the recent «Wreck - It Ralph» in its mashup of familiar characters and imaginative worlds.

The movie has many more flaws than Renee does: It isn't as light on its feet as it should be, and Kohn and Silverstein frame some of the gags too broadly, particularly a boardwalk bikini - contest scene that's dragged down by some crude gross - outs.

In the past two weeks, Quentin Tarantino «s «The Hateful Eight» and the Will Ferrell - Mark Wahlberg comedy «Daddy's Home» have joined the already - crowded Christmas Day frame currently occupied by «Point Break,» a movie rumored to cost $ 100 million - plus that doesn't boast a single major movie star, no offense to the wildly talented Edgar Ramirez.

At the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gframes the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile GFrames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerima.

Relying on a combination of archival footage, the prison letters of the doomed dead men walking (as read by impersonators Tony Shahloub and John Turturro), the reflections of sympathetic lefties like Professor Howard Zinn, and the folksinging of Arlo Guthrie, the movie does a decent job of convincing any open - minded viewer that Sacco and Vanzetti were indeed framed.

The latest from rising mumblegore (a term we might have just invented, but we think should stick) star Adam Wingard («A Horrible Way To Die,» the framing segment of «V / H / S «-RRB-, and featuring «Step Up 3D» lead Sharni Vinson as the lead, with Joe Swanberg and Ti West among the cast, it's by all accounts a neat, funny subversion of the slasher movie that sees a group of «Funny Games «- style home - invaders hitting a house that turns out to have one person who's more than prepared to fight back.

Though Nickerson is the one recounting the tale of the Essex's demise, the movie includes moments from Chase and Pollard's perspectives that Nickerson's 14 - year - old self (played by Tom Holland) simply wouldn't be privy to, which makes the whole framing device pointless.

By the way, I seem to be the only one, but what I liked the most in the movie were the close ups, I'm tired of seeing movies that look like tv, and use the close ups thinking in the little frame, here we had real, long, uncomfortable close ups for the big screen.

Set almost entirely aboard a red - eye JFK - to - Heathrow flight, the movie stars Neeson as Bill Marks, an Irish - born U.S. air marshal who is framed for hijacking the plane by an unknown criminal mastermind presumed to be lurking among the passengers.

A good chunk of the Marvel movie's opening weekend audience opted not to follow up for a second viewing this weekend since the movie suffered a 56.4 % drop in ticket sales from its first frame, but the massive turnout was still enough for Avengers: Infinity War to top its nearest competitor by almost $ 100 million.

To add some excitement to a movie driven by talking heads on phones, Reitman makes use of split screens in which characters poke out and pass through their allotted portion of the frame.

Framed in flashback, as captive Los Angeles private investigator Ned Cruz (Banderas) gets grilled by a trio of possibly dirty cops (Thomas Kretschmann, William Fichtner, Delroy Lindo), the movie centers on the labyrinthine business inquiries Ned conducts on behalf of a just - paroled Russian boxer, Anton Protopov (Robert Maillet, of Sherlock Holmes).

The movie is produced by Alexander Payne (The Savages, King of California), whose deft hand at subtle humor and ability to cast the dysfunctional loser as hero shows in nearly every frame.

I abhor a framing story that inserts Burroughs (Daryl Sabara) as a young, aspiring writer who inherits uncle John's journal; and I resent the movie's representation of holy fakers the Thurn — led by Matai Shang (Mark Strong)-- as omniscient idiots à la The Adjustment Bureau.

That's a good description of the final film — one in which you can see glimmers of the Shane Black script underneath (hardboiled characters, snappy dialogue, bursts of shocking violence, a Christmas setting) but surrounded by a lot of unnecessary bullshit to the point where you can almost feel the egos of the movie superheating the frame and melting away what was once originally there.

In his review for The Times, Justin Chang noted, «The threat of violence churns beneath nearly every frame of this poised and coolly disturbing movie, but Finley's diabolical sense of mischief is held in check — and in some ways amplified — by his discretion.

Yang's direction shifts seamlessly with the narrative, from the mural - like Hard Rock Cafe sequence, which introduces most of the characters and relationships (imperiously presided over by a framed portrait of Prince), to the increasingly stark and stylized staging of the movie's second half.

plotting to be any fun as camp, and too ponderous to be watchable as a purely bad movie, Diablo doesn't offer much beyond a reminder of other, better films and some choice Alberta scenery framed by a cinematographer who shot John Carpenter and Robert Zemeckis» best work, but is now doing this.

The winner of the Grand Jury Prize at this year's Full Frame Film Festival and part of the Summer Showcase section at the Los Angeles Film Festival, the movie — lent his name by executive producer Spike Lee — is an engrossing evocation of poverty in America, as well as a moving look at redemption and second chances.

Still, Hollywood has used this most American of holidays to frame several fine stories of redemption, be they Academy - Award - winning sports movies like Rocky, Woody Allen comedies like Hannah and Her Sisters or even a short horror movie by Eli Roth (which we had to include).

Problem is, Victor Frankenstein also looks like a glorified TV movie, when it regards the framing choices and camera setups used by McGuigan and cinematographer Fabian Wagner (whose background is primarily in television, as it were).

By the way, the last shot of «High Sierra,» with Ida Lupino walking toward the camera, framed by the mountains and the sky, is one of the great last moments in film noir and in all Hollywood movieBy the way, the last shot of «High Sierra,» with Ida Lupino walking toward the camera, framed by the mountains and the sky, is one of the great last moments in film noir and in all Hollywood movieby the mountains and the sky, is one of the great last moments in film noir and in all Hollywood movies.

As the movie grows more far - fetched it actually gets more predictable, in both plot twists and camera setups — you can actually see when Edgerton frames a shot so that a character can get «unexpectedly» slammed by a car.

Extras on The Transformers: The Movie (available for viewing in either widescreen or full frame) include audio commentary by director Nelson Shin, story consultant Flint Dille, and co-star Susan Blu; a retrospective making - of piece; storyboards; and TV spots.

Co-directors Dorota Kobiela and Hugh Welchman have put together a movie that is the first ever to be assembled entirely via oil paintings on canvas, with each frame of the animated feature brought to life by the efforts of 125 artists.

The prologue's Yank fighter pilot grows older and in the 1973 time frame of the movie, he's played by John C. Reilly, a delightful, scraggly asset to an already formidable ensemble.

Aside from one misjudged hallway run soaking, in which Winslet and DiCaprio's heads insufficiently replace those of stunt doubles, and some computer - generated extras in distant shots of the ship, the movie's countless illusions stand up to scrutiny, even the frame - by - frame high definition variety.

The threat of violence churns beneath nearly every frame of this poised and coolly disturbing movie, but Finley's diabolical sense of mischief is held in check — and in some ways amplified — by his discretion.

Danny Trejo (a Rodriguez favorite) is the former Mexican federalé who turns into a one - man strike force after his family is massacred by a drug lord (Steven Seagal — who can't keep his accent consistent, let alone convincing — as the pudgiest Mexican drug lord yet seen in the movies) and he's framed for the attempted assassination of a corrupt Senator (Robert De Niro) by his drug - dealing campaign manager (Jeff Fahey).

Noir expert Richard Fleischer specialized in true - crime movies («Compulsion,» «The Boston Strangler») and this is one of his best: a chilling realistic thriller modeled on the famous case of British serial killer Dr. John Christie (brilliantly underplayed by Richard Attenborough), and the hapless man he frames for one of his murders, (a brilliant job by John Hurt).

IMDB Link: Henry - Portrait of a Serial Kiler DVD Aspect Ratio: full frame DVD Extras: re-collections by the director, and a queasy feeling you get for free when you watch the movie

Keyboard Dock — $ 99.99 — Ergonomic, comfortable full - size keyboard with 7â $ ³ Galaxy Tab replaceable inserts that doubles as a charger for power and synchronization of media and data — Dock contains convenient stereo audio output jack for connecting to speakers or home stereo Desktop Dock — $ 49.99 — Doubles as a Galaxy Tab charger using the Micro USB wall adapter that comes with the Tab; allows users to view movies, display as a digital picture frame and listen to music — HDMI output to view HD content on HDTV enabled with 1080p resolution and provides HDTV connection to play content from the Galaxy Tab to a television Car / GPS Dock — $ 99.99 — Conveniently positions 7â $ ³ Galaxy Tab display screen inside car for turn - by - turn GPS navigation instructions and traffic updates — Attachable to either the windshield or car dashboard and rotates freely between landscape and portrait modes

The most widely - used solution, however, has proven to be electronic paper displays that show color by combining traditional black and white screens with different types of color filters; this is not unlike early film's Technicolor process, which simultaneously exposed two frames of a single strip of black and white film, one behind a green filter and one behind a red filter, to show a movie in color.