Sentences with phrase «only scenes of the movie»

I chuckled just twice, at random references to Harrison Ford and Orson Welles, which come in succession in one of the only scenes of the movie that has a good energy.

Not exact matches

This bread was the only thing that kept me from googling «what happens if I hit my head on the temple», because we all know Youtube would pop up and THAT scene from Simon Burch would pop up, and then I would cry, and then I would call my husband and freak out, and then I would probably eat the whole loaf of bread in the corner of my closet watching the movie... crying.

And make no mistake, Sunday's was the best Dinah Shore finish in memory, sort of like the final scene in one of those old Hercules movies in which everything comes crashing down around the hero and only he is left standing.

He will spend only two days on set, he doestnt care about the length of the story line, he won't allow you to shoot his scenes at night and he decides which actors and actresses you feature in the movie.

It should come as no surprise that nanotech hits many of the fear buttons in the psychometric paradigm: It is a man - made risk; much of it is difficult to see or imagine; and the only available images we can associate with it are frightening movie scenes, such as a cloud of robots eating the Eiffel Tower.

Tim Burton's direction is fantastic — the only scenes he doesn't wow with are the ones both he and the viewer are bored with — Danny Elfman's score makes the movie in a way no one's done since John Williams and the original Star Wars trilogy, Michael Keaton's mesmerizing and there's a whole lot of good stuff.

No recent movie about The Troubles gives the audience the emotions, the pure hatred between the two forces, with the impact of «' 71,» the credit going not only to Jack O'Connell, known to us mostly for his role as the rebellious prisoners in «Starred Up» (never mind that the dialogue was largely indecipherable), but also to director Yann Demanage for setting up realistic seeming fight scenes, a series of breathless chases, and a sense of neighborhood that Demange found not in present day Belfast but in the English town of Sheffield.

Note that most other awards organizations treated Damien Chazelle's Whiplash script as an original screenplay, but the Academy considered it to be an adapted screenplay for reasons known only to the Academy (Chazelle has previously released a single Whiplash scene as a short film to raise funds to complete the full movie, which is apparently the source of the problem).

The catalyst for the dancing ban — a tragic car accident that's only hinted at in the original movie — is heavily emphasized in the opening scenes of the remake.

I have no desire to see a movie of this type which includes male frontal nudity only, an NC - 17 picture at the end credits, and a «fondling» the baby scene.

If the guard is not precisely self - aware, he does make the act of torture (and murder, which becomes a natural extension) into a scene you might recognize, not only from other movies or stories about torturers, damaged souls in need of punishing or saving.

They spice it up once in a while with green and orange, but it's all very simplistic and i feel that if they had made it to a bigger scale it would have felt more like the movie, instead of showing us all the big set pieces in cut scenes only.

The old time dialogue only brings out the confusion this movie brings to the table, and between that and the nearly pitch black scenes, many parts of

Uprising is long, has yawn - inducing action scenes, terrible dialogue, a contrived plot that makes ZERO sense, and commits that most hated crime of horror movie sequels - returning beloved characters from the original only to kill them or turn them into forgettable villains.

In a handful of scenes he gives the movie the only real edge it has.

Relegated to the thankless role of Acerbic Sarcasm Machine, Zooey gets to play the best pal * to Sarah Jessica Parker and, with only a few small scenes, runs away with the entire tiresome movie.

Those who criticized Portman in GARDEN STATE will likely have a field day with Hudson's similarly saintly character, although Hudson's able to give her a bit of an edge, and has easily the movie's best scene where she comforts and confronts Patinkin's miserly dad, who earlier puts her down for only being half - Jewish, and encouraging her husband's idiotic dreams.

But Last Days works only when it deviates from this pattern, as it does in a hilarious scene depicting the rock star's friendly yet indifferent agreement to buy space in the yellow pages from a clueless door - to - door salesman (Thadeus A. Thomas, the movie's only perfectly cast actor), or when it focuses on other members of Blake's entourage, or when the camera retreats at a snail's pace from the mansion for what feels like eternity.

There is a lot wrong with this movie; the stunningly overt product placement, the diabetes causing levels of saccharin, the kid (Dakota Goyo) is so annoying that you start wishing one of the robots to accidentally collapse on him... But then theres the fantastically realised robot fight scenes, the walking charisma machine that is Hugh Jackman, the stunningly beautiful Evangeline Lilly as his only friend, and a final fight that will have you cheering louder than the end of Warrior.

With the news a couple of weeks ago that the main X-men franchise would be bringing back the main First Class team (Michael Fassbender, James McAvoy, Jennifer Lawrence and Nicholas Hoult) plus some of the younger mutants introduced in Apocalypse, for X-Men: Dark Phoenix, there's now word that another mutant, one only hinted at in a deleted scene from the latter movie, will debut.

In the film's best scene, M & M make love inside a car during a sandstorm: It's like Lawrence of Arabia as a date movie, or maybe The English Patient, only vehicular instead of aerial.

Like Carell, she is convincing in the tennis scenes — augmented by special effects, both actors create the illusion of playing at a high level — but, more importantly, she captures the fighting spirit of King, who, as the movie opens, is beginning to realize that she can be true to herself only if she does two things.

I bet the only scenes that made the actual cut of this movie was the ones the main actors manage to stay in character.

Last night, my wife, daughter and I took in Black Narcissus at the AFI Silver and enjoyed it as much as we always have (only more so because it was in the gorgeous main theater projected on a huge screen) and afterwards I started thinking about movies with very famous scenes, so famous that most casual film goers might know it (or have a vague sense of familiarity with it) even if they don't know the movie.

In an early scene, after Nick has saved the life of a yakuza in prison and has been rewarded with his freedom, he encounters a corrupt and loudly racist American bureaucrat (Rory Cochrane) still in Japan after the War (have I mentioned that we're supposed to be only a handful of years post-Hiroshima in this movie, even though the aesthetics all scream contemporary?).

And Alan Rickman, back as Professor Severus Snape in only a handful of scenes, manages to steal great portions of the movie with his carefully metered, acid line readings, like a cloaked version of Meryl Streep's Miranda Priestly.

Not only do they talk about the filming of the movie, but Knightley really gets into the story of the film and she cheers for the characters as the scenes unfold.

The latter only has two real scenes in the movie, but Toah (who likely wrote most of his own dialogue) is simply hilarious.

And the script relies way too heavily on rude, tasteless humor (especially in the final half hour) and over-the-top /» shock - value» scenes, which come - off as desperate and absolutely ridiculous — including an insane brawl in the middle of a street between rival scout troops (that you'd ONLY see in the movies) and an awful climax involving a rival business mogul (Peter Dinklage).

However, I haven't seen the movie yet and as uninterested as I am and sure I am that it is a horrible movie I do think that the only thing I expect to be okay is Doris Roberts and the scene where they play a match of Street Fighter with two characters in the movie.

Lee Valmassy has a lot of fun letting loose as the gleefully farcical villain (a mohawked, golden - grilled gangster who only wears jumpsuits), and Art Hsu turns in a scene - stealing performance as the hero's duck - loving sidekick, but while fans of bad movies might appreciate what «The FP» has to offer, it's not exactly the ready - made cult classic that it's so desperately trying to be.

I laughed at the wordplay in the film but wasn't expecting the widespread tautological eruptions that followed the film's premiere as everyone bent themselves into self - affirming pretzels to debate its portrayal of torture in the film's opening scenes as if there were only one way to look at the damn movie... as if torture were the only thing worth discussing about the film!

But with these two movies — one set against the backdrop of the movie biz, the other in the music scene — shooting last year back - to - back, we can only imagine the unbelievable stack of footage Malick's teams of editors are sorting through, as they cut half the cast out and help him find the movie and tone he wants.

The only other scene worth the film it's printed on is Colin Farrell at the supermarket, accosting the pharmacist (a snippet of which you can see in the closing credits of the movie).

The mother and the 7 homeschooled children, 6 boys and 1 girl, are essential prisoners in their own home, where the boys» only relief and only window to an outside world lies in the access they are granted to recorded movies, which they constantly watch and then elaborately reconstruct, acting out scenes from the likes of Reservoir Dogs, Pulp Fiction, and Goodfellas.

He also said «There are only a couple of scenes on Earth in this movie; 80 to 90 percent takes place in the cosmos,» which is a reasonable explanation for why she doesn't fit in the story.

Crystal's one - scene cameo as a fairy inventor provides the film's only remotely amusing moments, and merely exists to highlight how fucking awful the rest of the movie is.

EXTRAS: The Blu - ray release includes both versions of the film (the 1986 theatrical cut and the 1991 special edition), as well as an audio commentary by director James Cameron and various cast and crew, the making - of documentary «Superior Firepower,» deleted scenes, pre-production galleries and an all - new featurette (only available online) about the movie's origins.

This is only because a good majority of the film is spent going back and forth between the situation facing Marty, Billy and Hans involving the ruthless Charlie who's after his dog, and the scenes Marty is setting up for his movie.

It could be argued, of course, that any movie that exposes in its first two scenes its abject dependency on another movie released only nine months earlier has to be in some kind of trouble, but only if freshness rather than box - office success is the issue.

In fact, the only real story in story mode is in the prerendered movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of scenes that show the next boss character preparing to try to destroy the heroes.

Playing the younger version of Michael B. Jordan's nuanced villain for only a few minutes, the young lad was only on screen briefly at the start of the movie, in a flashback scene and for a longer - speaking part in a poignant dialogue in the ancestral plain (trust us, it makes sense in the movie).

The race scenes, parked at the beginning and the end of the movie, exhibit an unprecedented level of textural detail (at times, only the giant windshield peepers and lolling hood tongues remind that you're not watching real NASCAR footage), while the animators capture the soft dusk glow of the rural heartland so invitingly that Cars 3 may inspire even more road trips than Toys «R» Us shopping sprees.

Only Michael Mann could make a damn good movie with the hacking of bit and bytes as some of the more intense and interestingly filmed scenes.

No trailers for this or anything else are found on a scored, static menu reproducing the Sunshiney cover art with only Play Movie, Subtitles, and Scene Selections in the way of options.

While it's a clever scene and does evoke laughs, it's the wrong kind of movie for it to have been introduced, and only serves to make things seem ridiculous as a result.

I still have at this point only heard bits of the real Wiseau speaking, and that's during the end credits of the movie, when they show the side - by - side scenes of the original film and The Disaster Artist's version.

Asquith's feature debut not only announced the arrival of a significant new director, it is an exuberant, joyful pastiche of the movie industry and is a fascinating behind - the - scenes glimpse and searing comment on the shallowness of the star system.

It's the kind of movie that can only be admired for its showmanship and presentation, rather than on its believability, and along these lines, Leterrier keeps the hi - tech eye - candy light and mirror displays dazzling, the sweeps and swoops of the camera simpatico with the mesmerizing music, and the action from scene to scene moving almost brisk enough to avoid enraging us from its perpetually smug attitude toward its audience.

It's a scene that evokes Hitchcock, only the Master usually presented it at the end of a good movie, and one in which we had an interest in by the time the climax occurred.