Sentences with phrase «musical dance number»

With a musical dance number, amazing volunteers, and adorable animals, how could anyone not consider adopting after watching this fantastic video?

As in all Ninja Gaiden games, moving between enemies — dispensing a slash for one, a boot to the face for the next — leaves players feeling like the leads in a Broadway - musical dance number.

Frequent mentions of the global recession were echoed by a Depression - era style musical dance number, which saw a top - hatted Jackman, alongside Beyoncé and the young stars of Mamma Mia!

Not exact matches

And while it may be wrong to ironize a song - and - dance number that seems intended as a nice send - off for a venerable actor and a semi-venerable character — still one notes that the whole tradition of the musical spectacular is a tradition of lavishly bankrolled excess.

Extras: The Blu - ray includes quite a few extra features, including a detailed, if at times kind of lethargic commentary by director Lloyd; three interlocked featurettes detailing the stage genesis of the property, the vocal training of the actors (including a laugh out loud segment showing the largely incompetent Firth attempting «dance moves»), as well as the source ABBA music; another featurette detailing the making of «Lay Your Love on Me,» a duet between Seyfried and Dominic Cooper that becomes a bit of a production number; deleted scenes (including the cut musical number «The Name of the Game») and a music video of «Gim me!

Critic Consensus: While Stomp the Yard contains impressive musical and dance numbers, it loses its momentum during the intervening soap opera - style subplots.

Great songs, great musical direction, great dance numbers all highlight this film, often touted as the best of the Astaire / Rogers collaborations.

«I decided to use a playback system,» he explained, «the same kind of system a director would use on a musical during the song or dance numbers.

With the exception of «Coffee Time», most of the film's musical numbers are forgettable; Astaire and Lucille Bremer dance well together, but generate none of the charisma necessary to sustain a whimsical tale of this nature.

«Of course, we were able to design it completely for the choreography, and having never done a musical and big dancing numbers, there was a steep learning curve to make it work completely,» the production designer said — «but it was great fun.»

As a song - and - dance number unfurls over the end credits, it occurs, too late, that Down with Love would have been markedly better as a cheesy musical.

A friend once idly fantasized about a movie musical in which sex acts took the place of the song and dance numbers.

And for the musical numbers you're basically dancing with the camera, you know the camera is as choreographed as the people in front of the camera.

Brewer, in conjunction with choreographer Jamal Sims, stage some spirited musical numbers, especially a line - dance scene in a Western club and the comic montage in which Willard learns his dance moves.

I liked all the musical performances, and enjoyed how each dance number felt natural and spontaneous.

With musicals, you expect there to be plenty of moments of songs and impromptu dance numbers breaking out and taking over anything that's seen.

I long for the days when dancing like this is again valued in Hollywood filmmaking, when the Rob Marshalls of the world are no longer allowed to pass off quick cuts of incompetent body parts as musical numbers.

The Lure isn't just a luscious sci - fi mindfuck, but a musical unafraid of its own ridiculousness, with knowingly cheesy lyrics and dance numbers.

Daisy von Scherler Mayer invokes the breezy cheer and vibrant palette of Bollywood musicals in the film's dance numbers.

A hallway tap dance, a sofa - bound soft shoe shuffle, a glorious song & dance number... these are all moments within it that hark back, sometimes unexpectedly, to the glorious days of MGM musicals.

The movie set - pieces are stunning - the Gene Kelly-esque musical number «No Dames» (with Channing Tatum tap - dancing away admirably) in particular is a total delight and easily as good as anything from the best 50s musicals - but the rest of the film feels like an excuse to film these short love - letters to classic Hollywood.

That glow, and one of those freeways, turn up in the opening number of Damien Chazelle «s «La La Land» — opening the Venice Film Festival tonight — an ambitious new musical that turns a very recognizable Los Angeles into a singing, dancing land of dreams.

A climactic dance number in which he shimmies down a staircase wearing pink chiffon flares suggests the team here might have a wonderful MGM musical movie in them.

Lloyd Bacon directs the dramatic sequences while dance choreographer Busby Berkeley took this opportunity to completely reimagine the musical production number for the possibilities of cinema.

features two classic - in - the - making musical numbers: an aquatic spectacle featuring Scarlett Johansson and a rousing tap dance from Channing Tatum.

The movie explores the lack of empathy for one another, while at the same time operates on many levels including as a suspense thriller, a character - driven piece, a musical (there's a even great dance number) and finally a story of love, grief and loss.

Among other Oscar lowlights were Sean Penn's mumbling presentation of the Best Actress award, a sleep - inducing, interpretative dance number choreographed to musical selections from the Best Score nominees, and Tom Hanks» failure to introduce the 10 nominees before opening the envelope to announce the Best Picture.

It's also a musical, like the original Muppet Movie from 1979, so fans of song - and dance numbers, some inspired and some forgettable, should find many things to smile about.

Opening with a dance number set in a traffic jam and a gag lifted from The Girl Can't Help It, La La Land (Grade: A - / B +) announces itself as a film both energized and limited by its commitment to movie musical tradition.

At their peak in the»30s,»40s, and»50s, movie musicals became popular when some of the first «talkies» (Hollywood films made with sound) included musical numbers and dance routines.

The «Be Our Guest» musical number scrupulously revives the dancing - plate surreal exuberance of the original, but there the frenetic nuttiness was exquisite.

There will be some epic musical sequences — including a «singing into hairbrushes» scene, space dance number and one that looks inspired by Gene Kelly and Ginger Rogers.

The scenes of visual excitement in the film (the bar entrances of Charlie and then Johnny Boy, the pool fight, Charlie's drunk scene, Johnny Boy's run through the city) make heavy use of non-diegetic music and are similar to Hollywood musical song and dance numbers.

Not to mention that voice and those dance numbers (Cellblock tango, still one of the great musical numbers in movies).

Flamenco, Flamenco achieves something akin to pure form in movement, opting to abandon conventional narrative in favor of an unchained camera that engages kinetic dancing and performing not as a musical number or set piece, but as a degree of storytelling in and of itself.

Damien Chazelle may have scripted one of the more inadvertently humorous titles in recent memory («The Last Exorcism II»), but his heart is clearly in musicals, not comedy: «Guy and Madeline on a Park Bench,» the fractured romance he wrote and directed in 2009, featured jazz trumpeter Jason Palmer, a buoyant score by Justin Hurwitz and cast members breaking into down - market dance numbers in the middle of a restaurant kitchen.

For a film that stresses its musical numbers and how dancing can rejuvenate lives, there's funnily enough not that much of either.

What we said: «The Coens give us scene after scene of transcendent screen craft, whether it's Channing Tatum executing an era - perfect sailor - themed dance number in the apocryphal MGM - like musical, Swingin» Dinghy, Ehrenreich's Hobie Doyle practicing his lasso skills in the street, or Clooney intoning a floorboard - rattling speech for the climactic reel of Hail, Caesar!»

With its instantly classic musical numbers, hypnotizing colour scheme, ridiculously smooth choeography, and Gosling and Stone's palpable level of chemistry (there's a reason why these two have worked together three times now), the film dances its way into your heart with an almost stupid level of ease.

The Umbrellas of Cherbourg isn't a typical musical, without big dance numbers or musical setpieces set apart from dialogue, but it is as emotionally satisfying and purely entertaining as any of the bigger films of the genre.

Baby Driver, the musical that substituted car cashes for dance numbers, is about to unleash a whole new set of songs for your listening pleasure.

To fill in the gaps whenever a certain thread runs out of steam, there are musical numbers of varying success (The in - flight dance to celebrate Jewel's return home is a highlight), so yes, there are plenty of songs.

Billed as a musical, the script is punctuated with many song and dance numbers featuring music from decades past, which will amuse the parents even more than the target audience.

Their voices are unmodified and their dance sequences — like all the musical numbers — are shot in long takes rather than chopped and edited into fine shards of perfection.

The musical numbers contain just the right blend of singing and dancing so that the people in the audience who enjoy watching a performer burst into song will find themselves completely satisfied, while the dance aficionados will also be much entertained.

«La La Land» isn't the most original story — it borrows from all the classics, like «Singin» in the Rain,» «An American in Paris» and «A Star is Born» — but while the film treads very familiar ground, Chazelle freshens it up with some delightful song - and - dance numbers that attempt to redefine the movie musical, including one where the two lovers literally dance among the stars that toes the line between fantasy and reality.

On the flip side, the Coens give us scene after scene of transcendent screen craft, whether it's Channing Tatum executing an era - perfect sailor - themed dance number in the apocryphal MGM - like musical, Swingin» Dinghy, Ehrenreich's Hobie Doyle practicing his lasso skills in the street, or Clooney intoning a floorboard - rattling speech for the climactic reel of Hail, Caesar!

But «Fright Night's» musical centerpiece belongs to its club seduction scene as Jerry puts the Studio 54 moves on Brewster's ammorata Amanda, her dance with an invisible man given burning cool new wave licks with Ian Hunter's «Good Man in a Bad Time,» a sort of more accessible Bauhaus - styled, if way peppier Goth - rock number, brilliantly cut to Dandridge's dance moves.

It established a unified system of recording movement using numbers and a minimal alphabet of symbols in a grid format, offering dancers and choreographers a systematized tool to compose and notate dance in a fashion similar to the way a composer writes a musical score.

A number of Center - supported performances take the stage this summer, including seven new musical commissions by The Crossing and the world premiere of Pablo Batista's music and dance production * El Viaje (The Journey) *.