Sentences with phrase «of film montage»

«Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.»

Not exact matches

Yesterday I saw two biopic films: «Amy» about the life of Jazz sensation Amy Winehouse who died of alcohol poisoning at the age of 27 and «Montage of Heck» about the life of Kurt Cobain, the grunge - rock generational voice who died of an overdose of heroin and valium at the age of... 27.

Meanwhile, Baloo and Mowgli's close relationship is mainly explored in a brief montage, but it is meant to be the heart of the film.

After much wrangling, the film - maker's original cut made it into cinemas, but not before some radical new versions had been tested — including one that The New Yorker says featured a montage of religious images and ended with a Christian rock song.

The short film begins with a montage of play highlights, interspersed with title cards like, «THE (insert opposing team here) HAVE ENTERED THE FORTRESS TO CHALLENGE OUR KNIGHTS,» and, «THIS IS OUR CITY, THIS IS OUR HOME.»

The film's essence is a montage of past interviews with the three protagonists of the iconic black power salute photograph: Tommie Smith (gold, USA), Peter Norman (silver, Australia), and John Carlos (bronze, USA).

But sustainable change doesn't usually happen in the span of a film training montage set to «Eye of the Tiger.»

In the spirit of a movie theme, the room even had a popcorn stand and giant projection screen with a montage of famous film clips.

Snyder was rightly criticized for Superman's lack of regard for saving human lives in the first film, so in this film he tries to rectify that with a montage early on showing Superman saving people from burning buildings, exploding rockets, deadly floods.».».

Since the film already knows that Damien is the devil's offspring, the montage of the boy's infancy is probably accompanied with the wrong music.

It was enjoyable but not a breakthrough composition in terms of the film, sort of just standard fare biopic montage of interviews and old photos with the main thread of the piece being the documentarian's footage of Toback's then newest adventure in film - making.

The most affecting moments in the film involve Snape, from his grisly death — which is obscured visually, but powerfully conveyed with sound — to a montage of memories that Harry (Daniel Radcliffe) witnesses showing the deep love Snape had for Harry's mother.

A brief audio montage at the beginning of the film has people discussing him with words like «egomaniac,» «radical,» and «reckless.»

In place of the emotional stage - setting another film might waste its time on, there is instead a lengthy getting - ready montage, with drooling close - ups of Anastasia (Dakota Johnson) slipping into her lacy gown while her husband - to - be Christian (Jamie Dornan) fastens his cufflinks, which look like two enormous platinum Chewits.

Most of the film is a huge stereotypical montage of standard scenarios you can see coming a mile away.

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

A moment or two between Richard Farnsworth and Wilford Brimley recall the verbal skills of Levinson's Diner; the rest of the film is bloatedly «visual»: blinding backlighting, grandiose slow motion, overstudied montage.

«Action Mash - Up» is a 30 - second montage of action clips from the film.

But the problem with the film is that Jerry experiences the biggest personality transformation in his life as part of a montage that facilitates the opening credits.

As for the film itself, though Waititi includes aspects that play like genre parody — a montage scored to Leonard Cohen's interpretation of the «Song of the French Partisan» unexpectedly recalling McCabe & Mrs. Miller; a Mad Max - like chase climax; Lukasz Buda, Samuel Scott and Conrad Wedde's 1980s - style synthesizer - laden score — Hunt for the Wilderpeople is ultimately disarming in its innocent sincerity.

There IS a connection between War and Sport, and I believe the film was not saying anything new by briefly liking the two together, and it only does so on two occasions... specifically, right before a particularly graphic montage of the Tet Offensive.

The main menu runs through a montage of emotionally charged clips from the film with a section of the score that crescendos in the background, fading in and out with the buildup of the images

He occasionally tries to bolster its sense of danger with montages of white - supremacist movements and imagery that plays like cheap tricks, this film's version of a jump scare.

In lieu of the earlier film's dreamlike expressive effects, Disobedience puts an uncommon faith in concisions of acting and editing (including a wordless, believable montage of grief), and in loaded moments and changes in point of view that would probably play differently on a second viewing.

Then the film reaches its conclusion, all in montage, of Padme's funeral (complete with Jar Jar and Boss Nass cameos), Leia going to Alderaan, and Luke being given to his aunt and uncle on Tatooine.

He has an affability and grace that makes him interesting to watch, but Silberling's film is the equivalent of a funny 20 - minute short that is dragged out to a full - length feature through music interludes and montages involving Paz Vega getting dressed, washing her car, or Freeman learning about Target (the department store).

As dumb - fun as many of the stunts are (and as oddly touching the RIP montage at the end), there's no earthly reason for this film to be 2 1/2 hours long.

Nothing special here: a theatrical trailer, a music video montage of the film's tabletops, a strange but funny Bill Murray outtake, a soundtrack plug, and an entertaining interview with the bitchy Taylor Mead.

In fact, there are parts where the film actually benefits from the crackling pace — the first being near the beginning, where we're treated to a montage that shows Arthur growing up on the streets of Londinium, after having been pushed down the river in a boat as a toddler by his soon - to - be-murdered father Uther (Eric Bana).

The campy opening credits montage depicts murderous women in film, as if Harris were continuing a long - honored tradition of lovers who were wronged taking action against former lovers when they try to get out of the relationship.

The movie nails Moore for taking a headline from a pro-Gore letter to the editor in a Florida newspaper («Gore Won Florida Recount»), enlarging it, changing the date, and using it as a graphic element in a brief montage, making it appear as though it were an actual news article — «all for one second of footage in the film,» according to Jason Clarke, who thus singlehandedly deflates the significance of his own finding.

In a sequence that vaguely echoes the storm scenes in the earlier films, their tryst is largely reduced to a reading of John Donne's «On His Mistress» (instead of a private piano recital) and a montage of the couple visiting various picturesque sites together.

I did spend the middle portion of the film hoping there wouldn't be a training montage... unfortunately as is usual with boxing movies there was.

Mancini is described by actors as «serious» and «gentle» as a lead - in to a quick montage of violent kills from the earlier films.

The film kicks off with a montage of 9/11 phone calls playing over black and the sequence is cut perfectly, rousing the heartache of that day through a sense of hysteria, but also by giving certain audio clips time to breathe, establishing a personal connection.

Owen has a great sense of the cinematic pleasures of mise - en - scene and montage, you see this in the Todd Haynes film as well.

Apatow's special edition supplements are always terrific and this is no exception, from the 75 - minute «Funny People Diaries» (a making - of documentary as a personal journey through the film guided by director Apatow) to the deleted / alternate scenes, montages of ad - libs and other goodies.

But I kept telling the studio, and I kept telling Ryan, I'm like, «No, the director's cut going to come in at like 2:12,»» Leitch explained about his rough cut of the film before elaborating that the extended version contains a montage of Deadpool attempting suicide, some extra material with Domino and alternate takes of existing scenes with different dialogue.

The reliability of the narrative is frequently challenged: While Gillooly denies the accusations of domestic assault that the film strings into uneasily comic montage, Harding pauses while firing a rifle at her husband, insisting the anecdote we're watching is «bullshit.»

«Fantastic 4: Comic Book to Film» (3:50) is an unnarrated montage that simply compares certain sequences of the film to their direct print inspirations, using split screens and cross-cutting.

This is a film with so much potential, but instead of fully committing to the moments where it seems to be challenging the representation of women in many indi films, it opts for a montage of Calvin and Ruby seeing zombie movies, going to a fun fair and then going to a dance party where she tells him she's taken her underwear off.

And then, the final whack of the cinematic riding crop, the utterly unnecessary remix montage featuring highlights of the films that we were hoping to have forgotten.

Still, it is a masterly film and one of the gems of Soviet Montage.

This year, we welcome the return to Park City of filmmakers Maxim Pozdorovkin (The Notorious Mr. Bout — 2014 — check out our interview) and Mor Loushy (Censored Voices — 2015), our accurately predicted and highly anticipated Shirkers by Sandi Tan (actress Maya Rudolph is a producer), and the infamous M.I.A. documentary film that was in montage hell and which officially goes by the title: MATANGI / MAYA / M.I.A..

And in a twist on the sorts of freewheeling montages in which Billy Crystal once specialised, a droll film montage showed what various Oscar hopefuls might have looked like with black performers added to the mix.

It's in their bonding that the film really gains steam and finds more energy in montages of brainstorming sessions and projects that are likely beyond most viewers comprehension.

Once the film shifts to Germany, however, the rapid - fire montages stop in favor of long, theatrical takes which emphasize the nuances of acting performances.

Additionally complementing a flawless, 2.35:1 anamorphic transfer and thudding Dolby and DTS 5.1 mixes (note that the DTS audio draws gratifying attention to the surrounds) on this Ultimate Mummy are a pair of wisely - deleted scenes; brief lessons in Egyptology and pharaoh lineage; full - motion split - screen storyboard - to - final film comparisons; an extraneous montage of production stills; what appears to be the Electronic Press Kit for this summer's The Mummy Returns; trailers for The Mummy and its upcoming sequel (in Dolby 5.1); cast and crew bios (plus notes); and the following DVD - ROM links to: a soon - to - be live webcast from the premiere of The Mummy Returns; Sommers's script; screen savers; The Mummy's PC game demo; and The Mummy Returns» official website.

A neat montage ties up the film, suggesting that religion has impacted very little on any of the supporting cast's character arcs.

At the time of the film's release, the closing montage of Luke's cheeky grin was an emotional climax to a fictional story.