Sentences with phrase «opening of the film sets»

Not exact matches

The Disney film shattered box - office records over the weekend, edging past «Star Wars: The Force Awakens» to set the highest opening weekend of all time.

Analysts were forecasting weekend sales of $ 41 million to $ 47 million for the Spielberg film, a respectable opening for a movie with a production budget set at $ 150 million to $ 175 million by people with knowledge of the matter, and additional millions in marketing costs.

Set in 1959, the narrator reflects back on the events from the present, highlighting the novelty of the encounter in the film's opening line: «I was twelve going on thirteen the first time I saw a dead human being.»

Dietl was set to play the mayor of New York City in a movie scene being filmed Saturday afternoon, shortly after his appearance at Council Member Eric Ulrich's Howard Beach campaign office opening.

The South Africa - set action film, co-starring Olga Kurylenko, is set to be one of the years biggest flops after taking just 46 in the UK on its opening weekend.

After a lyrical introduction that layers wistfully reflective voiceover over a spun - sugar cloudscape, the film's opening stages are less concerned with setting a scene than they are with establishing a vivid and unshakable sense of trauma — zeroing in on isolated images of slaughter, human and otherwise, in disorienting darkness.

The film, which opens today, is a three - character story set in an unspecified South American country (standing in for Mr. Dorfman's native Chile) after the fall of a dictator.

There are a number of great set pieces littered throughout the film, each one very different than the next, although the opening attack on Philadelphia is probably the most exciting.

Of course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterOf course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopters.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

He can't help but toss Creedence Clearwater Revival under a portion of the film's ill - advised Vietnam - set opening.

The set - up of the film — 12 - year - old Zain sues his parents for being born — turned some critics off, but The Guardian's Peter Bradshaw sees a «much angrier, tougher — and sometimes funnier — film than you might imagine from its cloying opening premise.»

Like its predecessor, Inglourious Basterds, the film's opening sequence places Quentin Tarantino's loquacious script in the capable hands of Christoph Waltz to set up an elaborate deception, making purposeful use of Elmore Leonard-esque dialogues.

The film starts promisingly, opening with a foreboding shot of a girl wandering through Griffith Park, scored with ominous guitar squalls courtesy of Black Rebel Motorcycle Club, who composed the film's score, setting the tone for a film much weirder and more interesting than the one that follows.

It feels as if there are at least a couple of scenes missing, including some big set pieces that might have opened up the film's world beyond Planet Zero, the Fantastic Four, their dad (or at least Johnny and Sue's dad) and Doom.

Eddie Redmayne opened up regarding the upcoming release of Fantastic Beasts and Where To Find Them to EW at PopFest in Los Angeles, and addressed how the film sets itself apart from the Harry Potter franchise.

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.

From the very outset Resnais sets up the theatrical artifice of the film with opening scenes of repetition and staged production design.

Instead, Dredd is a small - scale introductory escapade — outside of an opening chase scene and the sequences set within the Grand Hall of Justice, the film confines itself within the concrete interiors of Peach Trees.

Yet for all the set - pieces he directs the hell out of — an opening hunt; a piranha attack — it's only in its elliptical final throes that the film eclipses its surface pleasures, as the eponymous city shifts from narrative goal to vaporous MacGuffin.

Del Toro's film starts off with an origin of sorts, set back in the waning days of World War II, where the Nazi army has taken to more desperate measures to keep their mission alive, which includes opening a portal to Hell to draw darker powers.

In this series of interviews, the actors - alongside director Rian Johnson - open up about their roles in this fantastic franchise, the extraordinary sets and scenaries they were placed in during filming, and just what it's like to be part of such a well - loved world.

Joshua Oppenheimer's The Look of Silence, a companion piece to Oppenheimer's own The Act of Killing, opened Doc / Fest and set a bar that the following 150 films couldn't touch.

The excitable adverbs in the film's opening text set the desperate, straining tone: «Based on irony free, wildly contradictory, totally true interviews with Tonya Harding and Jeff Gillooly,» the latter the skater's ex-husband, who would serve jail time for his plotting of the Kerrigan leg - clubbing.

Berg looks at the opening credits, cast and performances, sets and locations, music, story issues, camerawork, some history behind the film's subjects, and a few other bits of production trivia.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening April 10, 2009 BIG BUDGET FILMS Dragonball Evolution (PG for intense action and brief adult language) Sci - fi martial arts adventure, based on the Akira Toriyama novel about a young warrior (Justin Chatwin) who, with a handful of friends, sets out on a quest to save the planet from an evil king (James Marsters) bent on world domiOPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening April 10, 2009 BIG BUDGET FILMS Dragonball Evolution (PG for intense action and brief adult language) Sci - fi martial arts adventure, based on the Akira Toriyama novel about a young warrior (Justin Chatwin) who, with a handful of friends, sets out on a quest to save the planet from an evil king (James Marsters) bent on world domiopening April 10, 2009 BIG BUDGET FILMS Dragonball Evolution (PG for intense action and brief adult language) Sci - fi martial arts adventure, based on the Akira Toriyama novel about a young warrior (Justin Chatwin) who, with a handful of friends, sets out on a quest to save the planet from an evil king (James Marsters) bent on world domination.

Extras include a six - minute behind - the - scenes featurette whose highlight is star Wilson suiting up for a pre-production supersonic flight; seven deleted or extended scenes — among them odd alternate opening and closing title sequences — with optional commentary from director Moore and editor Paul Martin Smith — these trims carry a viewer discretion warning, for they would've threatened the film's PG - 13 rating; a fantastic, largely CGI pre-visualization (with, again, optional Moore / Smith commentary) of the virtuoso ejection set piece that at times gives Final Fantasy a run for its money; the teaser trailer for Spielberg's upcoming Minority Report; and two engrossing full - length commentaries, one by Moore and Smith, the other producer John Davis and executive producer Wyck Godfrey.

Any scorn heaped upon this film on account of plot - holes (of which there are a handful) and character development (almost none) are justified but if you enter this film with the same entertainment bar set as when you flick open a Marvel comic you will genuinely not leave disappointed.

Stars James McAvoy, Michael Fassbender, Hugh Jackman, Patrick Stewart, Ellen Page and Peter Dinklage open up about their experiences working on set and explain the themes of time - travel and how it plays a major role in the film.

The film's whiz - bang opening sets the stage when art auctioneer Simon (James McAvoy) teams up with a group of criminals to steal Francisco Goya's 1798 masterpiece «Witches in the Air» during an auction in progress.

The film is set to open in Japan in the summer of 2017.

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.

The first is the opening shootout that sets the stage for the rest of the film.

As the film opens up with the title card, «Based on a True Story,» Coogler sets an expectation of honest storytelling that we are intended to not to ring false.

We are dropped into the heart of the action and visual splendour that one expects in the film from the very opening scene, set in (an unbelievably pristine) Ancient Egypt.

MGM / Lionsgate's release of Pantelion Fims» Overboard remake exceeded weekend estimates for second place and earned a record - setting total for Pantelion as the highest - grossing opening in their eight - year history on the strength of the film's A - CinemaScore and strong word of mouth.

Adapted from the novel by Chris Fuhrman, there's some funny dialogue and interesting insights delivered during the course of the film, and had the tone stayed within the bounds set during the opening scenes, this would have been an enjoyable slice of life film with humor and heart.

From the very beginning of the film Fincher sets the tone with a brilliant opening titles sequence that projects dark and twisted techno - punk imagery to an adrenaline fueled cover of Led Zeppelin's «Immigrant Song» produced by Trent Reznor and Atticus Ross with vocals from Karen O from the band the Yeah Yeah Yeah's.

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

In fact, during its opening stage - setting prologue, a card makes clear that the film's depiction of the conversation between Democratic Unionist leader Reverend Ian Paisley (Timothy Spall) and Sinn Féin politician Martin McGuinness (Colm Meaney) that led to a peaceful end in 2006 to Northern Ireland's Troubles conflict is director Nick Hamm and screenwriter Colin Bateman's fanciful imagining of historical record.

Despite an over-long, scene - setting opening and serious, set - piece conclusion, the film revels in the characters» enjoyable experimentation with their powers, with a sense of fun immediately apparent.

Its opening film is the British - produced mountaineering thriller Everest, featuring Anglo - American glamour in the shape of Jake Gyllenhaal, Keira Knightley and Josh Brolin; its competition strand has an impressive list of international auteurs, including Tom Hooper (The Danish Girl), Alexander Sokurov (Francofonia), Luca Guadagnino (A Bigger Splash) and Charlie Kaufman (Anomalisa); and a number of authentic coups, including the world premiere screening of Black Mass, the much - hyped gangster film featuring Johnny Depp as James «Whitey» Bulger, and a first look at Beasts of No Nation, the African - set war thriller that represents Netflix's most serious shot yet across Hollywood's bows.

The only moments of note are in the early portions of the film when they're trying to set things up in the opening act.

«The Hunger Games: Mockingjay - Part I,» which is the third installment in the acclaimed film adaptation series of the hit «Hunger Games» book trilogy, is set to open on November 21 in theaters nationwide.

The film, itself, is not always up to Patel's level, but it is mostly competently made, with beautiful cinematography courtesy of Greg Fraser (Zero Dark Thirty), whose opening shots of a little child playing in a cloud of butterflies sets a dreamscape tone for the innocence soon to be lost.

Set entirely during the course of one eventful day, the film opens with a very artificial - looking CGI deer invading the home of Lenny Feder (Sandler) and urinating all over him and his kids.

I didn't like the idea of flashing back to the rest of the Olympics after that stage was perfectly set in the opening scenes of the film, in fact they could have edited the film to have the entire hostage - drama portion before the credits, the flip over to Avner and company and not keep coming back to it.

My favorite shot of the film is the opening one in the psych ward — long continuous take, no audible dialog, set against disorienting synth music.

It would have been easy to poke fun at the crass kitsch of the Bollywood hit parade that opens the film, but James Ivory's socio - artistic commentary (narrated by director Anthony Korner) sets a detached, almost disinterested tone, lending the documentary a gloss of seriousness.

Instead of actually fulfilling the oh - my - God - this - is - awesome momentum set up right from the opening sequence (a delightful 5 minute short film in its own right) by hunkering down and making the story, ultimately, work, he relies almost entirely on smoke and mirrors: throwing whiz - bang - eveything - but - the - kitchen - sink - razzle - dazzle to keep us distracted.