Sentences with phrase «night filming there»

We spent one night filming there, and on the balcony of the house I had an intimation of the novel I was about to write.

Not exact matches

He sure had a better vantage point and got to talk to guys who played against him and watch a ton of film... Yeah... I'm takin his opinion on a safety's skills over yours all week long and twice on Sundays... then there's Monday nights... and Thursdays... and Thanksgivings...

There is still time for Arsenal to rescue the campaign and lift the EPL trophy in May and I'm sure that all Gooners will be Geordies for the night when Newcastle take on Leicester tonight, but it will take an epic comeback like the one produced by the Arsenal side of the late 80s, the one in the film Fever Pitch that blew a promising position and then went on a late run that culminated in a title decider on the last day at Anfield.

«Unfortunately, they were doing inventory that night and there were tons of employees everywhere telling us not to film,» says Rubin, an independent consumer products advocate.

Without hashing out the original film's plot, it's safe to assume we can expect to see many of the elements from there enhanced in its sequel «Prey at Night».

Hi there I'm the type of person that would prefer staying indoors for a quiet night either playing games on my Pc, watching a film or reading a good book I'm hoping to meet someone that has similar hobbies to my own that I'd be able to connect with, and I am quite shy to begin with, but...

As Steve Martin's character Harris K. Telemacher says in the film «L.A. Story,» when it comes to love, «There's someone out there for everyone — even if you need a pickaxe, a compass and night goggles to find them.&rThere's someone out there for everyone — even if you need a pickaxe, a compass and night goggles to find them.&rthere for everyone — even if you need a pickaxe, a compass and night goggles to find them.»

Sugar Club is Dublin's most creative nightspot, where the very slick theatre - style venue hosts an array of events from music to comedy to classic film - themed nights and there's even some saucy cabaret and sexy burlesque dancing shows to heat up your evening.

With dinners or films, there's a decisive ending to the night out, which is uncomfortable, where as a bar the date is a great deal more flowing.

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Most of the film is on par with his usual output, but there are the occasional nuggets that harken back to his finer days on Saturday Night Live and Just Shoot Me.

There is footage in the film — of gunfights, of meth cooks, of night expeditions into the hills along the U.S. - Mexico border — that would not be possible with the cumbersome cameras and crews of the past, with Heineman essentially going on ride - alongs as heavily armed vigilantes go about their business.

Not to forget exploitative beginning the film starting on the night of her death hammering the message that there is no return.

It's Craig who provides his sister with the services of a night nanny, Tully (Mackenzie Davis), and once the young woman enters Marlo's life, the film's secondary characters fade into the background and remain there.

The Strangers: Prey At Night is a sequel to that film, though outside its masked killers (Dollface, Pin - Up Girl, and the Man in the Mask), there's no real connection between the two.

POMPEII is not a film to be taken seriously and makes a great, fun date night film as there is plenty of action for the guys and plenty of abs for the ladies.

There are nights when you look through your DVD collection and none of your favourite films float your boat — what you need is some serious Trash — the black sheep of your collection; something so bad that makes you feel good.

There is an attempt at some sort of twist ending, a la M. Night Shyamalan, but even this adds so very little to the story as a whole, and comes off like a gimmick just to give the film a «big reveal» even if it doesn't really merit one.

Unlike the small museum from the first film, the Smithsonian would surely be overrun with people, even in the middle of the night, so there's really no explanation as to why Larry seems to be the only one trying to keep the peace for such a major institution full of priceless art and historical artifacts.

Plot holes pop up here and there but I'm really trying to focus on the fact that I just saw an M. Night Shyamalan film and I wasn't completely upset afterwards.

But first, there was the big closing - night screening of his new film, Colossal (Grade: B), finally finished after a bumpy pre-production period thanks to star and executive producer Anne Hathaway, who Vigalondo says was instrumental in getting the film made.

The Sundance Film Festival is celebrating its 30th Anniversary this year and there was a lot riding on whether or not, the festival heads including Mr. Robert Redford himself found the perfect opening night film.

There's something weird going on one night in the Hollywood Hills and the whole film builds up to it, but to say...

There are also directors of fiction films that I admire, that spire me a lot and that illustrate my pronounced taste for marginal characters: Freaks by Tod Browning, The 400 Blows by François Truffaut, The Elephant Man by David Lynch, Wings of Desire by Wim Wenders, Dead Man by Jim Jarmusch, Dogville by Lars von Trier, Spider by David Cronenberg, Amores Perros by Alejandro G. Iñárritu, Time of the Wolf by Michael Haneke, The Host by Bong Joon - ho, Old Boy by Park Chan - wook, Children of Men by Alfonso Cuarón, Tomboy by Céline Sciamma, Two Days, One Night by the Dardenne brothers and the very recent and magnificent I, Daniel Blake by Ken Loach.

While the majority of the cast is working in costume for most of the film, it felt like Malin Akerman (Silk Spectre) and Patrick Wilson (Night Owl) would never get there.

WHY: There's been a renewed interest in the work of British spy novelist John le Carré over the last five years, with several of his books adapted into feature films («A Most Wanted Man») and TV miniseries («The Night Manager»).

Posters for the film promise a wild, drug - and - alcohol - fueled ride à la the recent Rough Night, but while there is plenty of drinking and a fair amount of drugs (just pot though, let's not go crazy), the overall effect is more akin to passing out on the couch at 9 p.m. than partying until dawn.

One of the more interesting conversations I had while covering the red carpet at the Saturn Awards in Los Angeles last night was with Dean Devlin (there to receive the Dr. Donald A. Reed Award for career achievement), the writer / producer who collaborated with director Roland Emmerich on three»90s films that enjoyed varying degrees of success: 1994's Stargate, a modest international hit; the 1996 mega-blockbuster Independence Day; and the critically - reviled / commercially under - performing (though still profitable) Godzilla in 1998.

Writer / director M. Night Shyamalan's penchant for a deliberate narrative is certainly in full effect with Unbreakable, as the movie, though consistently entertaining and occasionally engrossing, progresses at a lackadaisical pace that tends to prevent the viewer from wholeheartedly embracing the material - with the film ultimately faring better than, for example, The Sixth Sense due to its progressively absorbing narrative (ie there's a sense of forward momentum that was almost entirely absent from that earlier picture).

The rest of this weekend's top 10 is about what you'd expect: Diminishing returns for films like Game Night — which dropped from No. 2 to No. 4 in its second week — Peter Rabbit, and Annihilation, hanging in there alongside the unexpectedly long - lived Jumanji: Welcome To The Jungle and The Greatest Showman, both of which are currently in their eleventh week.

Dour notes aside, rest assured there are plenty of laughs to be had through the film as it continues it foray through all things R - rated, with everything from a sperm bank to night at the improv given the MacFarlane stamp to mostly hilarious results, certainly more that A Million Ways.

Although he became a star with three music - oriented films in quick succession — in addition to «Saturday Night Fever,» there were «Grease» and «Urban Cowboy» — Travolta was also quick to credit director Brian De Palma, who cast him in his first major film role in the Stephen King shocker «Carrie.»

In the kind of film that usually relies on the performances of its pop - in cameos — and there is quite a handful, including Anthony Anderson, Ethan Embry, Neil Patrick Harris, Luis Guzman, Ryan Reynolds and Fred Willard — Cho and Penn keep control of the wheel the whole way through, never missing a beat on their unadulterated wit as they continue to push the moral envelope in their search for a late - night snack.

Amongst the best of the laughs are kitten mittens (yes, mittens you put on cats), the gang stars in an M Night Shyamalan film, and then there's the professional wrestling episode which left me hurting I was laughing so hard.

We can't excuse The Scalphunters for being a product of its times, not only because we aren't living in 1968 anymore and such arguments transform film criticism into archaeology, but also because there is an entire bushel of films from that same year that needn't any apology, including George Romero's Night of the Living Dead, another pulp action picture with racial tensions bubbling beneath the surface.

Hartigan's film avoids clichés by always staying true to its characters, and the writer / director and Mr. Robinson will be there Opening Night to discuss the film with the CCFF audience.

There is a single shot in a film called The Mummy's Ghost, where the limping Egyptian creature carries a woman up a railroad trestle — in a long - shot, executed in terrible day - for - night — that I find existentially terrifying.

Although there is no reason you'd see this in the theatre (unless you're some kind of sicko or film critic or something), should you find it on TNT late night next month, give it a few minutes — it's the funniest American comedy since Graffiti Bridge.

There's something so much more substantial about a film like this (and last night I finally caught Jafar Panahi's Taxi which I thought was pretty damn insightful) than what you find on the docket for the annual awards ceremonies.

Visually impressive, the film relates the grim tales of the women who live and work there servicing their debauched punters by night and bonding with each other sharing their secrets and painful experiences by day — ultimately the only thing these women have is each other.

Fortunately, there are worse ways to end an 18 - hour serious - art - film binge than making it out to a late - night premiere of something disreputable.

Ok, sure, there are moments in which some of the kids make choices that most of their audience will be comfortable with, but for much of this film we follow a group of children as they drink and snog their way through a long Summer night.

Arrival's ideas about language prove to be related to the question of the reversibility of time; and there's a fundamental deception in the film's telling that makes the story not quite what it seems, resolving in a twist perhaps a little less wham - bam than, but certainly as sneaky as, one that M. Night Shyamalan might have attempted.

At the annual Telluride closing night party at the Steinbergs, Wright told me (and admiring Amazon Studios executive Ted Hope) that he stole the idea for the film's stunning out - the - window tracking shots from the Coens» «The Man Who Wasn't There.»

Yes, the film has drawn controversy, and there will be pickets at the Kodak Theater on Oscar night.

Aside from ’07 and» 08, they haven't had more than two films per year to receive Oscar nominations in the top eight categories: 2004 (Vera Drake), 2005 (Good Night, and Good Luck, Brokeback Mountain), 2006 (The Queen, Children of Men), 2007 (Assassination of Jesse James, Michael Clayton, In the Valley of Elah, I'm Not There, Atonement), 2008 (The Hurt Locker, Rachel Getting Married, The Wrestler), 2009 (A Single Man), 2010 (Black Swan), 2011 (The Ides of March, Tinker Tailor Soldier Spy), 2012 (The Master), 2013 (Gravity, Philomena).

Nevertheless, since there was no promotion for the film, there haven't been any assets except for the trailer and poster released last night.

That said, even minor Loach films often walk away with something on awards night, so if the film is well - liked enough (and it certainly seems amiable), perhaps there could be something for star Steve Evets or previously awarded screenwriter Paul Laverty.

There's no mystery to solve, like in the first two films when the guys try to piece the previous night together.

You'll recall the film ultimately spews up an «After Hours» soup, as Shue and her charges head into the city and spend the night there embroiled in a seriously dangerous but delightfully audience friendly time.