Sentences with phrase «much dialogue in a film»

To say there was too much dialogue in a film with what felt like only 100 words to begin with seems like a disservice.

Matt: There's not as much dialogue in the film as I was expecting.

One thing that has always struck me is the fact there isn't much dialogue in the film, which adds to the surreal, dream - like feel.

Not exact matches

With the much - discussed Hollywood film Won't Back Down making educational waves, Tough's book is not only timely but germane to the larger public dialogue about improving teaching and learning in all schools — public, private and independent.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

I love how much is said in this film with almost no dialogue.

The film too often puts too much trust in dialogue, as Marie and Boris's predicament is sometimes perfectly conveyed by the actors» facial expressions and body language.

Not quite the clean, elegant creation that his earlier films were, The Warriors admits to failures of conception (occasional) and dialogue (frequent), but there is much of value in Hill's visual elaboration of the material.

In comparison to other films that receive this rating and demonstrate far greater use of profanity, sexual and crude dialogue and often comic violence, this film is much milder and in comparison is a soft PG - 13 or perhaps PIn comparison to other films that receive this rating and demonstrate far greater use of profanity, sexual and crude dialogue and often comic violence, this film is much milder and in comparison is a soft PG - 13 or perhaps Pin comparison is a soft PG - 13 or perhaps PG.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

Similar to Drive, one of my favorite films of Cannes 2012, the power of The Rover is in its silence, and it uses that silence (and minimal dialogue) very effectively to convey so much, to speak loudly without being loud.

But upon further reflection, I'm not sure how much of that reaction was due to the fact that I could still recite almost all of the film in my head (much of the dialogue is the same), that I will always love its songs (except for the new ones, which added nothing), and that Condon knows his way around a lavish musical.

This is perfectly in keeping with the style of the Broadway production, which features much more of this style than the film does, with Condon beefing up the dramatic dialogue for purposes of an easier narrative and deeper characterizations.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iIn Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

Thornton, whose character in The Man Who Wasn't There was borderline mute, returns as a chatterbox this time around, spouting nearly as much dialogue in his first onscreen minute as he did in the entire previous film.

Luckily, there isn't much in dialogue, which I suppose is another element of the film that needed improving.

I like how Cronenberg pays so much attention to detail here, and there are always great characterisations and powerful dialogue sequences in his films.

The English soundtrack includes dialogue spoken in French for much of the French journalist segment of the film.

Having actors the caliber of Mirren, Clarke and Snook (appearing in her second Spierig production) also doesn't hurt, mostly so much of the film involves slower dialogue - heavy moments.

Body language says as much as dialogue in the film.

I won't spoil it, but the dialogue that Edgar does have in the film becomes so much more effective because there's so little of it.

There isn't much to the mix: the occasional bit of unidentifiable pop music and dialogue in which the filming location has more of a presence than most.

Indeed, Waititi previously revealed that much of the dialogue in the film was improvised, and Hemsworth explains in the clip below that this scene was originally just one line — what we see in the finished film is all improvisation.

It's hard to believe that any film that starts so promisingly, with Ryan Phillippe full - on punching Sarah Silverman in the mouth, can go so far downhill, but despite its gonzo and engaging opening half hour, the film soon sinks under its own weight, hampered by thin characterization, ludicrous overplotting and a director way, way too much in love with the prose on the page to bother trying to make it sound like dialogue from a human mouth.

In The Darjeeling Limited, the overt range of expression is much more tightly controlled, the gestures far more restrained, the dialogue more understatedly direct or quietly evasive, and — crucially — the material world far more eloquent in its elements of style and design than in Cassavetes» filIn The Darjeeling Limited, the overt range of expression is much more tightly controlled, the gestures far more restrained, the dialogue more understatedly direct or quietly evasive, and — crucially — the material world far more eloquent in its elements of style and design than in Cassavetes» filin its elements of style and design than in Cassavetes» filin Cassavetes» film.

TALKING: As the film works actively to cloud itself with mystery as much as possible, Stoker indulges in using winking dialogue that are important to the audience's impressions of characters as much as they are India's.

We knew the palette and the look couldn't overwhelm character and dialogue, but in terms of knowing when it was too much, we looked at films that bridged that divide well.

He talks about how this film is a fairytale and how he loves the little girl he cast and how honest she is in her complete inability to be anything other than herself (and, damnably, how much he let her ad lib her dialogue and thus alter his film).

He doesn't» have a lot of dialogue for a good majority of the film (getting your tongue cut out and your femurs filed down into Walrus tusks will do that to you), but he conveys so much through his emotions and body movement that it is impossible to become invested in his arc.

In his commentary, Altman explains that he committed their unvarnished musical performances to film, just like much of the movie's improvised dialogue.

Add in Raquel Welch as one of the Seven Deadly Sins (Lust, naturally), a lot of great dialogue, and an authentic 1960s London vibe, and you've got a film that ought to be touted much more than it is.

Dialogue is sparse and the proceedings are simple, but Cujo emerges as one of cinema's most imposing villains in a horror film that's much more interested in audience fear than in gore or any of the supernaturalness commonly found in King's books.

Perhaps the most explicitly in dialogue with film history of all his works thus far, the film will read as a much - needed strike of lightning to wu xia for connoisseurs of the genre and a feature - length TV spot for others.

Alchemist's Cookbook: Setting a film in the woods with a hermit does not lend itself to much dialogue.

We learn via expository dialogue that Mike's old boss and mentor Dallas (Matthew McConaughey) left the group (which I guess is code for, «McConaughey wanted too much money»), and that Mike retired from stripping three years ago and poured his energy into his furniture business and proposed to what's - her - name in the first film and was rejected.

Restoring a few of these cut - scenes would put much - needed flesh back on this skeletal film, though it's worth noting that many of them still suffer from Haythe's insecure shoehorning of subtext into the dialogue, as in a moment where Frank tells a story to guests Shep and Millie they've obviously heard before, only to have April come right out and confirm it.

Memorable Dialogue: Writer Yolanda Ramke (who co-directed the film with Ben Howling) kept Cargo's script uncluttered, meaning there isn't much in the way of laugh lines or even zingers.

Working with a smaller budget, it's basically a four - character film which wouldn't suffer too much from being staged in a theatre — featuring unusually long dialogue scenes in diners, restaurants and motel rooms, with staccato rhythms and masculine posturing borrowed from David Mamet, another of Anderson's key, acknowledged influences.

For much of the film, the dialogue was mixed low in comparison to the score and sound effects and as a result, it was often tough to hear.

In fact, dialogue is kept to a minumun throughout the film's 94 - minute run time, which moves along at break - neck speed that however, doesn't grants us much time to engage with any character.

Tati's style is already in place, at least visually (fairly long takes chronicling the slow buildups op the sight gags) and in terms of dialogue (there isn't much), but the film doesn't play with sound as much as his later Hulot films do (especially Playtime).

Note: Though the film's main character is 13 years old, parents should be aware that much of the film's score features hip - hop with extremely explicit language, language that is echoed at various passages in the dialogue.

The incidents and dialogue in Cosmopolis come practically verbatim from Don DeLillo's slim 2003 novel about a young asset manager's surreal, Ulysses - like car ride across Manhattan — so much so that the film at times feels like an experiment, an exploration of how prose translates to film.

Fallen Angels Though Fallen Angels certainly has a dialogue in both narrative and production with Chungking Express, it's important to stress just how exaggerated, how forceful so much of this film feels in comparison to even the glorious excesses of its predecessor.

Showgirls (1995) This much - reviled film got new life as a midnight movie in 1996: Audience choreography and mimicry of the camp dialogue ensued.

Nixon didn't begin the infamous recordings of all his Oval Office conversations until a few months later, so it's unclear how much of the dialogue in this film was actually said.

As it happens, Meyers had a strong connection to His Girl Friday, as Dr. Jermyn explained — having found much in the film to emulate in her own filmmaking, perhaps most importantly the emphasis placed on dialogue.

It also affords Haynes another opportunity to reveal his mastery of intricate mise - en - scène: Much of «Wonderstruck» plays like a silent film, with Carter Burwell's lilting, surging score filling in the occasional long pauses between audible dialogue.

But, in achieving his realism sans much dialogue, McQueen also shows that he is, in a sense, the anti-Cassavetes, for where Cassavetes achieved such realism with dialogue, in great films like Faces and The Killing of a Chinese Bookie, by letting characters speak as in real life, McQueen allows characters to react and brood, as in real life.

Much like Best Picture, this was a two horse race, and while Shaun the Sheep Movie was a lot of fun in its Buster Keaton - y approach, with no discernible dialogue in the whole film, it didn't speak to me the way its betters did.