Sentences with phrase «opening credit sequence»
A good opening credit sequence can be more memorable than the TV program it introduces.
gizmodo.com
The terrific opening credit sequence perfectly captures the time period and is a work of art unto itself.
It's never a good sign when a movie strains to put together an engaging opening credit sequence.
It covers the innovative opening credits sequence made for the film.
THE CRESCENT Featuring the best opening credit sequence of the year, and the most risque playing with audience tolerance, The Crescent is nonetheless a triumph in hallucinogenic nightmares in the vein of bonafide classics such as The Shining, Carnival of Souls and The Babadook.
After an evocative opening credit sequence featuring warm, grainy 8 mm footage of old buildings in New York City that harkens back to the»70s «director's era», Fading Gigolo locks its gaze on
Evan's story begins with a fascinating opening credit sequence setting 1940s - era footage of nuclear testing, and a water - cloaked Godzilla, behind the names and titles of those involved with the production.
The well - done opening credit sequence shows him creating this weapon, but does not reveal Freddy himself on - screen.
However, by the time the film's wonderful animated opening credit sequence concludes it's crystal clear that In a Valley of Violence is a Ti West film through and through.
But for design nerds, the contributions of Pablo Ferro, who designed the film's iconic opening credit sequence, are just as notable.
While we get to see Conan himself in a fairly impressive opening credit sequence, nothing else is immediately recognizable to someone who is not familiar with the fairly niche brand.
with an in - his - prime George Lazenby, a beautiful Venice setting, and an incredible opening credit sequence with an eerie Morricone soundtrack featuring a children's choir.
There's a relatively long opening credit sequence involving images of an empty house accompanied by a soundtrack that gives you the impression that music will be as important to this movie as the images.
It's dimly lit with no color scheme, we have characters tell us what we're seeing as it's happening, and we even get a cheesy opening credits sequence that belongs in a 1990's sci - fi channel show.
There are a few occasional dark moments with the best being a brooding opening credits sequence.
During a well - choreographed opening credits sequence that favors time - hopping pans over quick cuts, writer - director David E. Talbert follows a young couple through the holiday seasons as they add four children to their family and, at some...
Even the clever opening credit sequence (which you've seen a lot of in the trailers and commercials) takes one of the most charming surprise gags from the first film and repeats and extends it to the point where it just isn't quite as charming.
There are a lot of dicey moves for M to make after the disaster of a mission in Turkey, which opens the film in fierce fashion (following another Bond touch, a particularly elegant graphic opening credit sequence accompanied by a sure - to - be-a-smash title song by Adele).
However, it is blatantly a student film, full of extended shots that don't know what a cut feels like, unnecessary camera showmanship, acting that more than not leaves a bad taste in the mouth, and even a totally wasted opening credit sequence.
An extraordinary opening credit sequence of a snake feasting on its young is impossibly bettered by a late, subtextually - weighted jaguar versus serpent attack.
Hyperbole aside, I am well aware that this tour - de-force opening credit sequence does not play nearly to the effect of seeing this on a massive screen, but for sheer insanity (and complete lack of practicality), I offer them to you in all their garish, electronic, spastic, GLORY!
After a gorgeous opening credit sequence, we meet Gordon Clark (Scoot McNairy).
This is more of an actual Impossible Missions Force team mission, in so doing making this the first of the movies to truly feel like the real Mission: Impossible of television that became such an enduring pop culture phenom in the first place, with an extended opening credits sequence to the full - length version of Lalo Schifrin's indelible M: I theme music plays as a back - to - basics mission statement (pun intended) of sorts.
There is for instance a fun opening credit sequence set to Bob Dylan's The Times They Are A-Changin» documenting the history of this alternate 1986 universe on the brink of nuclear destruction, showing costumed superheroes hanging out with Andy Warhol and one of them shooting JFK.
Although Black Panther is an origin story, it neatly avoids getting bogged down in establishing backstory, using an inventive opening credits sequence and just a few flashbacks to set the scene.
A car slams into her in easily the most heart - rending opening credits sequence I've seen in years.
A James Bond - type opening credit sequence sets the tone as we abruptly shift to watching Jeff and Karen Gaffney (Zach Galifianakis, Isla Fisher) sending off their two sons to summer camp before returning home to their idealistic cul - de-sac suburban home.
After a charming opening credit sequence (albeit reminiscent of «Catch Me If You Can»), things begin to fade.
Before a highly - stylized opening credit sequences sets out to lampoon James Bond films, complete with a Celine Dion power ballad, The Merc with a Mouth and Artist Formerly Known as Green Lantern begins where he left off, breaking the fourth wall and clinging to his main squeeze Vanessa (Morena Baccarin) as an unreliable narrator proclaiming Deadpool 2 to be a family film.
Deadpool 2 continues the tradition, established in the original, of the self - deprecating opening credit sequence — billing itself as a movie starring «God's perfect idiot,» cinematography by «Blind Al,» directed by the guy who was a stuntman in Jupiter Ascending.
The film is at its best in the early going, during which the acting - technique - obsessed Arthur and Maurice attempt to con their way to free food; a wordless opening credits sequence harkens back to the best silent comedy, and one hilarious scene in a bakery is, as it turns out, the film's premature highlight.
The irreverent opening credit sequence sets up the tongue - in - cheek film that is to follow perfectly; the somewhat sentimental Cooper font, bubbly in appearance and forever associated with the Beach Boys» Pet Sounds — how's that for nostalgic?
The washed - up superheroes of Alan Moore's alternate early 80s are introduced in a prolonged faux comic book opening credit sequence that ends up being the most effective of the film.
With an almost Kubrickian opening credit sequence, it then cuts to a very realistically shot, written and acted scene.
The movie bends over backwards to connect itself to the unofficial trilogy it follows, teasing a sequel - uniting retcon in the passable opening credits sequence.
As the blood swirls in the backdrop like a nightmarish version of those cheesy silk sheet opening credit sequences of the days of old, an opening narration tells us, «Movies are full of shit.»
The tone is firmly set in the funny opening credits sequence which, instead of sprawling filmmaker Tim Miller «s name across the screen, cites the director as «Some Hack» and the writers as «The Real Heroes Here.»
From start to finish, «In a Valley of Violence» is just great entertainment with real stakes, big laughs, exceptional performances, thrilling shootouts, a great opening credits sequence and a score with the kind of quirky, bold and electric personality that suits Ti West's style.
There are a few rough spots that can not be overcome; I was never a fan of the animated opening credit sequence nor of the Barry Gibb - penned, Frankie Valli - sung title tune that accompanies it; and while the too - old - for - high - school appearances of the cast are generally forgivable, there is one huge exception — Annette Charles, who plays sexpot dancer Cha Cha, looks downright elderly.
Fleischer was able to put his stamp on the movie by giving it a terrific opening credit sequence and some top notch scenes marrying both humor and a great depth of characterization.
Stephanie Merry of the Washington Post describes some Oscar categories the Academy should have included, like best opening credit sequence, best motion - capture performance, best fight scenes, and best performance by a child.
Since The Sopranos first aired, fans have been quick to grab a piece of the action, and where better to do that than through the show's iconic opening credit sequence.
While we get to see Conan himself in a fairly impressive opening credit sequence, nothing else is immediately recognizable to someone who is not familiar with the fairly niche brand.
Indeed it's the first thing you hear post a particularly lengthy (almost five minutes) opening credit sequence set to a familiar minuet by Luigi Boccherini that has come to stand for arch European elegance.
Fincher, in particular, he's very close with because he did the opening credits sequence for «Girl with the Dragon Tattoo,»» explained Reese.
The Cosby Show was famous for changing its opening credits sequence every season.
The opening credits sequence, accompanied by a rendering of Camille Saint - Saens «Carnival of the Animals,» provides sepia - toned historical period photographs (from the Library of Congress, various museums and photographic archives, and the NY Public Library) of turn - of - the - century city and tenement life (portraits, closeups, slices of life including play, marriage, work, politics, friendships, transportation, domesticity, and leisure time).