Sentences with phrase «never seen on film»

Holmer and her lead capture the pure and astonishing power of a not - yet - feminine girl in a way that I had never seen on film before.

When he attempts to stop them, he gets shot, but we all know bullets don't do much to Wolverine, and it's minutes before his Adamantium claws are slicing through skull and bone in ways we've never seen on film before.

Not exact matches

But of course, at the end, that film could go on and make money for the next 20 years [through streaming] and we'll never see a statement.

When we watched films or documentaries about the Holocaust on TV, I never saw her get weepy - eyed.

A conversation on a film, TV show or book we have never seen will always have limited depth.

I came across this on a blog — for anyone who has never seen the film «Being There» this will make no sense — for those that have they may find it quite funny.

The film also promises «candid never - before - seen accounts of what really went on behind closed doors» and «legendary racing footage».

Working side - by - side in a small restaurant and collaborating as celebrities on something like a TV show, with handlers and layers upon layers of pre - and post-production people, are totally different worlds; they may never even see each other while the show's filming.

my initial comment on this post was about Dr Amy's post about a film she was never seen!

A 2005 film would focus on the fact that V, who - like Dredd, his opposite - is never seen without his mask, was a terrorist and used it to chime with the «war on terror» narrative of the day.

Then one day, Sawchenko and George found themselves staring at an X-ray film of a mouse's VTA when they suddenly spotted tiny black dots on the X-ray film — the CRF - producing neurons where they had never been seen before.

As the festive film season begins, your all time favourite Christmas movies makes a great conversation topic, and when they tell you they've never actually seen Miracle on 34th Street, that's your cue to invite them to your place!

On Any Sunday If you've never seen this film before, then you really need to watch it.

«Once You See It, You Can't Unsee It» is the slogan on the film's Tumblr page — one that features a never - ending stream of animated GIFs from the movie (as if the advertisers knew the film wasn't going to meme itself, so they created an illusion of online popularity).

I've never actually seen «Lady Windermere's Fan» performed, on stage or on film, but I'll guess that, given its numerous adaptations over the years, that it is generally delivered in a much funnier and respectable fashion than it is in A Good Woman.

The film is based on the Oscar Wilde play «Lady Windermere's Fan» which I have never seen.

This could be viewed as a stand alone film on it's own if you never saw any of the TV series (Really?!)

McAdams and Weisz are on fire in Disobedience showing sides to their talents that we've never seen before in this truly unique film.

When Hollywood tackles terrorism, it rarely offers the degree of ambiguity on display in In the Fade and I have never seen a studio - funded film opt for this kind of uncompromising ending.

Steven Spielberg's sturdy, gripping film is about the «Pentagon Papers,» a secret history of the Vietnam War which the government compiled, laying out the schemes, blunders and lies to cover all that up, and which that government never wanted to see the light of day — especially not while the national nightmare of Vietnam was still going on.

On the one hand, it's exciting to see the always envelope - pushing Lee working without a studio - or distributor - imposed safety net... But while the film never lacks for ambition, it fails to satisfy emotionally or intellectually in the ways Lee intends.

Filmgoers lucky enough to have seen James Marsh's deeply moving 2008 documentary «Man On Wire» may see «The Walk» as that film's shallower, less elegiac cousin — even if both Marsh and Zemeckis note the grim irony that Petit's free run of the towers would never be possible in the post-9 / 11 security state.

Everyone knows about different acting methods and a lot of people knew about what Carrey did on the set of Man on the Moon but obviously we never saw it, but that's what this documentary is and although it's not spectacular or anything, it gives another look at the work of the actor and it becomes an excellent companion to the film and especially serves as a testament of one of Jim Carrey's best acting jobs.

Sure, the main story is something you have seen done before, but the film puts a nice spin on it and you never feel bored.

The details are no long important, but after legal wrangles and creative fights, a 150 - minute cut was released in a few cities in 2011, and then it practically disappeared, resurfacing in early 2012 after a long campaign by fans, supporters, and folks like me who never had a chance to see the film on its original release.

Two of the main reasons to see this film are both newly implemented, for the Black Panther and Spider - Man bring so much energy to this title, and their time spent on screen is never wasted — as we now anticipate their own standalone productions.

Though he's been a regular Fantastic Fest guest since 2008, I have yet to see a film Nishimura has been involved with that I actually enjoyed on anything more than a «well... I've never seen that before» level.

On the feature commentary track, Mancini describes more scenes in a similar vein from the script (such as one with Nica bathing in a shower chair that's seen briefly in the film), but says they were never shot due to scheduling constraints.

Although the film presents key interviews with all the major players throughout the team's history, and is peppered with an abundance of never before seen footage, the array of vile exploits and sadomasochistic pranks on display could very well be seen as a The Best Worst Off Dirty Sanchez DVD.

Scorsese is never on autopilot, never panders, never sells out, always goes for broke; to watch his films is to see a man risking his talent, not simply exercising it.

The film will also entertain fans who have never seen the original films because the jokes and story completely stand on their own merits, and the nods to the old film do not feel forced or distract from the narrative.

Fox announces their distrust of critics with this title by splaying «Property of 20th Century Fox Publicity Department» in huge letters across the screen for the duration of the film on both sides of the disc (the first time a major studio has done so since DreamWorks sent out advanced copies of the Gladiator Signature Selection in 2000 — which is why you never saw a review of it at FILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the imfilm on both sides of the disc (the first time a major studio has done so since DreamWorks sent out advanced copies of the Gladiator Signature Selection in 2000 — which is why you never saw a review of it at FILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the imFILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the image.

Extract is one of those little films that I never got around to seeing — even though I wanted to, the Blu - ray version recently showed up on my doorstep.

With echoes of Don McKellar's Last Night (a brilliant little film if you've never seen it) blending with a Steve Carell comedy and American indie sensibilities, Seeking A Friend For The End Of The World promises two things: a road trip with Keira Knightley and a title that most cinemas will have trouble fitting on their marquees.

Some of these movies include «Popstar: Never Stop Never Stopping,» a comedy film starring Andy Samberg, which is now in theaters and the longevity of which at the box office remains to be seen; «Central Intelligence,» another comedy which stars Kevin Hart and Dwayne Johnson and which will be released on June 17; and «The Shallows,» a movie about a woman trying to escape a shark which stars Blake Lively.

I guess that Portugal is rapidly becoming the country du jour of cinema, with Tabu being the finest new fiction film I saw in 2012, while I finally got to see the 4 1/2 hour version of Raúl Ruiz's amazing Mysteries of Lisbon (on Blu - ray discs): it has still never had a theatrical screening in Montreal!

Combining penetrating on - camera interviews and never - before - seen still and archival motion picture footage with the testimony of Warhol's bewilderingly vast body of work itself, the film will be the first to exploit in depth the immense Warhol archives at the Andy Warhol Museum in Pittsburgh.

And while you can almost see the checklist that he's working from, dutifully crossing off items like «insane set - piece stunt that Cruise does himself», «tense infiltration hinging on a disguise powered by spotty tech» and «lovely, leggy woman in a tight evening gown», the result never quite gels the way it did in the previous films.

For example, prior to digital distribution, horror films from filmmakers working in countries like Japan, Spain, and Italy were traded on VHS and DVDs by American fans of the genre, including movies that never saw an official theatrical release in the United States.

The Accountant has somewhat of an original premise as I've never quite seen an action film centered on an autistic assassin / accountant.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

Home Video Notes: The Breakfast Club Release Date: 2 January 2018 Criterion releases The Breakfast Club on home video (Blu - ray) with the following extras: - Audio commentary from 2015 featuring actors Anthony Michael Hall and Judd Nelson - New interviews with actors Molly Ringwald and Ally Sheedy - New video essay featuring director John Hughes's production notes, read by Nelson - Documentary from 2015 featuring interviews with cast and crew - 50 minutes of never - before - seen deleted and extended scenes - Rare promotional and archival interviews and footage - Excerpts from a 1985 American Film Institute seminar with Hughes 1999 radio interview with Hughes - Segment from a 1985 episode of NBC's Today show featuring the film's cast - Audio interview with Molly Ringwald from a 2014 episode of This American Life - Trailer - PLUS: An essay by critic David Kamp

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

«The Art of Oz The Great and Powerful» focuses mostly on the production of the film and features some never - before - seen film stills, a little bit of concept art, all tied up with some nice interviews with the cast and crew.

Though it was never going to be a sunny ride, the sheer desperation, violence and madness on display throughout Snowpiercer's 125 minutes make it one of the most dystopian films we've seen in quite some time.

Verdict: The second directorial feature from «Eastern Promises» writer Steven Knight after so - so Jason Statham vehicle «Hummingbird,» «Locke» was both more stripped down and more ambitious: a film set entirely within a moving car, shot in real time, with only one actor on screen (the rest of the cast are heard over the phone, but never seen).

He has never got top billing in the kind of career - defining film that absolutely everybody on the planet saw: Top Gun, Thelma and Louise, Forrest Gump, The Matrix, Rocky, The Hunger Games.

I didn't mind this, but I can see people anticipating this massive finale, egged on by the fact that this film seems to be carefully building up to a terrific ending and that never really comes.

We may see Earl listening to Martin Scorsese's audio commentary on The Red Shoes, but we never buy him as an art film lover or as someone with anything in common with Greg.

I've never seen Morton (Minority Report, Morvern Caller, In America) put on a bad performance, so I was bound to see this film sooner or later.