Sentences with phrase «opening frames of the film»

In many ways, they transcended the possibilities laid out for them with the follow - up, from the opening frames of the film to second scene in the end credits — which some are calling the best post-credits scene ever.

Not exact matches

In a highlight film of his career that was shown at a testimonial dinner for him last year, Marino appears on camera, full frame, with a few earnest opening remarks about how he'd like to be remembered as a team man who worked as hard as he could, and as a team leader, etc..

After some opening images — a shadowy blond figure, complete with trench coat and heels, dumping a corpse off a bridge — that immediately frame its tale of moneyed madness through the greasy lens of B - movie schlock, the film moves to an aging Durst (here renamed David Marks and played by Ryan Gosling) on the witness stand.

Yet Werwie also opened up about the framing device of the film, which he believes allows Kloepfer's perspective and beliefs to actually rule the story.

Without the emotional gut punch that seemed to come in every frame of Mungiu's masterpiece 4 Months, 3 Weeks And 2 Days, this picture truly opens up on multiple viewings, and with its eyes set to the heavens, the film seems Hell bent on questioning their existence entirely.

In what turned out to be one of the highlights at this year's CinemaCon was the stunning, 10 minute footage from Peter Jackson's new movie, the epic 3D film adaptation of Tolkien's The Hobbit (which opens December 14) that was shot at a frame rate of 48 per second achieving an unprecedented combination of uniformity and brightness.

Focused only slightly differently is «San Andreas: The Real Fault Line» (6 mins., HD), which spends its opening moments very superficially discussing the real threat of earthquakes in California before delving into the production tricks behind the film's earth - shaking scenes, like a restaurant set designed so that everything visible in the frame is shaking except the floor itself, since it was being prowled by a Steadicam operator.

Throughout the course of the film, there is open space at the top and bottom of the frame.

Bolstered by the $ 132.4 million that the film made domestically in its opening three - day frame, Deadpool made an additional $ 132.3 million in its debut in foreign territories, ending its weekend with a global cume of $ 264.7 million.

Consider a frankly gorgeous tableau late in the film as three people meet in Melbourne's National Gallery of Victoria: framed against an open space, Michôd allows an extra beat, then another, before continuing with his family gothic.

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.

The very first aerial shot of the film suggests this is an open - matte presentation, as fast - moving helicopter blades find their way into the top of the frame.

Extras include an alternate opening that recaps the events of The Exorcist through freeze - frames and Burton voiceover — a 2 - minute prologue whipped up for the TV version of the film; teaser and theatrical trailers for Exorcist II: The Heretic; and filmographies for Blair, Burton, Boorman, and screenwriter William Goodhart.

The central motif, played gently at first on a harp and then far more disconcertingly on a scratchy, Scandinavian hardanger fiddle, is the perfect accompaniment for the opening of the film: the snow - white screen, on which we gradually make out a bird in flight, and then the approaching car, framed by vertical telephone poles (another inverse nod to The Third Man)?

Tsui sets his avoidance dances in confined spaces (tiny apartments, backstage dressing rooms), but To's are set out in the open: a fountain in a public park, a street corner, a sidewalk (a similarly choreographed scene plays out as well early in Romancing in Thin Air, itself a kind of compendium of all of To's romantic comedies, where Sammi Cheng and Louis Koo wander outside the grounds of the hotel, oblivious to each others» presence despite occupying the same film frame).

From the opening frames of the trailer, it's clear the film features a fight to the death between man and machine.

From a screenplay by Josh Campbell, Michael Stuecken and Whiplash's Damien Chazelle, the film revolves around the character of Michelle (Mary Elizabeth Winstead), a young woman who, from the opening few frames, seems to be going through a messy break - up with her boyfriend, Ben (voiced by none other than Bradley Cooper).

The opening frames of Jackie lead one to believe they're about to see a horror film.

Most movies from the big U.S. studios would doubtlessly provide responses in short order, but «The American» is content to leave many things — including a clearer explanation of what unfolds in the film's opening frames — left unsaid and unanswered.

Nearly every shot in the film could be framed and hung on a wall as Lubezki makes maximum use of the wide frame and raw, open country.

Though the 1.85:1 anamorphic widescreen transfer of the film (full - frame version sold separately) starts out looking scuffed, the speckles clear up after the opening credits — but then edge - enhancement intrudes, and there's a bizarre lapse in quality during chapter 6, when intermittent shots lose so much definition as to suggest second - generation VHS.

Framed by the conceit that Cinderella's vermin - pals want to write a storybook about their favourite human, Cinderella II opens with a strange section aping Rebecca, continues with a strange section aping It's A Wonderful Life, and concludes with a misguided apologia of the original film's Disney - patented subtext of «beauty makes right.»

Eden was, to my mind, the finest film in the strongest collection of Seattle and Washington - born and - based filmmaking ever screened at SIFF, in a line - up that was framed by opening night film Your Sister's Sister (from hometown hero Lynn Shelton, whose recent work put independent Seattle filmmaking on the map) and closing night film Grassroots, shot in Seattle and based on the book by former Stranger political reporter Phil Campbell.

Nonetheless, framing issues were hard to spot, so it's either an open matte transfer, or a mild cropping of a not very wide film.

Growing pains in the form of broken hearts and drunken benders take on added import when the state of the union is involved, of course, but Whitaker wisely takes the edge off by framing his film like a fairytale, complete with «Once upon a time» opening and wise - old - storyteller closing.

There are in fact four time frames represented in the film, but like a pink cake box that falls open, perfectly flat, at the pull of a ribbon, it dispenses with the present - day shell quickly and efficiently and in maybe the least original way possible: with the opening and closing of a book, entitled «The Grand Budapest Hotel.»

As a director (Franco has directed more than a dozen films), Franco has a keen sense of storytelling, and frames «The Disaster Artist» with appreciation for «The Room,» opening with a host of famous faces talking about the film and closing with recreations of key scenes paired side - by - side with the originals.

It is a notably unsettled experience for the audience, as director Robert Greene chooses to anchor the film on a sort of framing device, opening the film on Kate in wardrobe on the day she will shoot her climactic scene, and then constantly revisiting it as she builds her character.

This isn't such a bad thing in itself but Black's hectic filmmaking style in the opening twenty minutes - a chaotic blend of flashbacks, freeze - frames, visual trickery and self - conscious quirks - almost sinks the film before it has begun.

Like the opening of the film, the trailer is framed by narration which is punctuated by the swish pans to each character, followed by a few lines of dialogue from them.

Lisa Hoke fills a gallery with colored film stretched on open frames, as if a kite had cloned itself until running out of space.

«Framed in an Open Window» presents a selection of five works — a sound piece and four 35 and 16 mm films — displayed across the South London Gallery's two newest spaces.