Sentences with phrase «opening scene between»

The opening scene between Will and Henry (played by a Lewis McGowan) is touching and charts a promising course for the script.

The ultra-stilted, aggressively flirtatious opening scene between Noomi Rapace and Rachel McAdams immediately establishes that we're in a world as far removed from nuanced realism as possible, which makes sense given the cutthroat - corporate - advertising milieu in which the film takes place.

Things start out fresh and lively; the opening scenes between the Virgin Queen and the gallant Raleigh, laying down his cloak for the queen to cross a puddle, are played for a wink and a nod.

Not exact matches

In the basement of the Eugene O'Neill theater, between scene and costume changes, members of the cast and crew gathered around a TV set to watch the Australian Open final.

Behind - the - scenes negotiations between Barrington Park District officials and the owner of Thunderbird Country Club could lead to an agreement to keep the space open land.

The chief worry was - and remains - how to close the gap between a heavily armed gunman opening fire in a crowded place and the moment that an adequate response force can arrive on the scene.

The long - simmering, often nasty, behind - the - scenes antipathy between Assemblyman Kevin Cahill and County Executive Mike Hein erupted in open warfare last week over Cahill's blocking of a sales - tax extension that Hein says could cost Ulster County governments some $ 25.6 million in revenue.

David Seifman's column the other day brought into the open some behind - the - scenes sniping between Scott Stringer and Christine Quinn, Democratic mayoral candidates who are both counting on drawing significant support from voters in their home borough of Manhattan.

But the six - hour debate, in which Mrs May said she would use nuclear weapons if pushed, split Labour MPs three ways and sparked extraordinary scenes of open civil war between them.

The long - simmering, often nasty, behind - the - scenes antipathy between Assemblyman Kevin Cahill and County Executive Mike Hein erupted in open warfare

Writer - director Tadjedin smoothly dances back and forth between her characters during the opening party scene, capturing a sense of shifting relationships through graceful framing.

Except for the bookends (its opening and closing scenes) and two other brief shots (the little girl in a red coat and candles burning with orange flames), the entire film in - between is shot in crisp black and white.

From these subtle yet powerful opening scenes (it's the poor and the disenfranchised who fight for the wealthy and powerful), The Manchurian Candidate explores a multitude of political «issues» to a lesser or greater extent: the ill that is committed under the guise of defending a nation; the behind - the - scenes machinations of any country's political process; the unpalatable relationship between entertainment, money and politics, and most specifically, the enormous influence big business has on politics and politicians.

Aside from the opening and closing scenes which bookend things, the movie takes place in a single day in each of the time periods, alternating back and forth between them.

Certainly not during the opening sex scene between Annie (Kristen Wiig) and good - looking douchebag Ted (Jon Hamm).

From an opening scene in a prison fist fight to a staunchly bland climax finding him lost in an «unknown» realm when he's forced to shrink himself to fit between molecules (something resembling the resting place of Big Hero 6 mixed with the twilight hour of James Wan's «further»), Scott Lang is never a fully fashioned personality, some accidental prototype linked with schlocky zeal to the film's other do - gooder via a conflicted father / daughter bond.

Between the interesting opening dance number and the «behind - the - scenes» - ish video for the Assassin's Creed movie, there was some gameplay footage of Watch Dogs 2.

Between this violent scene in the opening moments, and the fight in the upscale communal bathhouse depicted later on, it would seem Wade Wilson's job may take him overseas.

After a hostage negotiation goes terribly wrong in the opening moments of the first episode (one of the few scenes where violence comes into play), Ford, a green agent obsessed with the connection between psychology and the increasing occurrences of violence in the country, pushes the FBI toward softening its typical understanding of serial killers.

A wry opening, with protagonist John Marston seated between fellow passengers of a very different social class, sets the scene nicely, with just a passing glimpse at what lies ahead as the train ride reaches its natural conclusion.

Winging between deadly serious starts (this is a film that opens with an incinerated baby, for chrissakes), heartbreaking lost loves, kingdom - destroying action scenes and Blunt and Theron yelling at each other to the point of camp, the film never even comes close to striking a balance.

Here, a meeting between Carol and Therese in a restaurant is rudely interrupted by a loud friend, prompting Carol's departure; the film then casts back to the start of their story, returning in due course to this opening scene and what appears to be the end.

In fact, her fate is apparently the topic of the discussion between N'Jobu (Sterling K. Brown) and a young Zuri (Denzel Whitaker) in the movie's opening scene; they were supposedly planning on breaking her out of prison when N'Jobu's brother T'Chaka shows up to spoil the plot.

Opening with a fight scene, followed by the interaction between the brothers, then the incident that puts Gosling in the shit is crammed into what felt like about 7 minutes.

The concept may sound a little strange at first (and trust me, it is), but that only opens the door for some truly comedic scenes between the two lead actors.

However, this just means that the film opens shakily, spending too long developing the relationship between Irving and Sydney, something that would have been better suited to sharper scenes.

He infuses many obvious metaphors into the mix, most notably in the opening scene which reveals the match between the father and mother while the boys take up their sides.

The Safdie Brothers match Pattinson and Duress» individual and collective performances with visual pyrotechnics of their own, swapping out an early reliance on claustrophobic close - ups, beginning with the notably disorientating scene between Nick and the social worker that opens Good Time, for a cinema vérité - inspired, often exhilarating mix of location shooting, hyper - active editing, and dense, propulsive plotting.

Hill and Tatum are very funny together (e.g., the opening scene, in which Schmidt disguises himself as a Hispanic gang member and Jenko tries and fails to play along) and funny enough on their own (e.g., Schmidt's take on slam poetry and Jenko's delayed, childlike reaction to discovering the identity of his partner's romantic interest), which is vital because the film's questioning of itself extends to the relationship between these characters.

The opening scene as mom is driving Christine sets up what is to come beautifully and with supreme comic timing between both stars who manage to keep it funny and real.

Snyder knows that, after a certain point, all the speechifying in the world can not deliver the same heartbreaking blow as a scene between two parents — one the apologetic father of a survivor, the other a mother of the deceased — who engage in a strained but sympathetic catch - up, each unsure what should be said or how much emotion should be shown and yet still listening to the other with an open ear and heart.

Apart from its opening scenes, which show the terrorists praying on the morning of September 11, United 93 plays out in real time, alternating between airplane's terrified, heroic passengers and the workers and government officials on the ground trying to divert disaster.

Taking the classic Shakespeare play and setting it in modern times does make for some very awkward moments, especially during the artificial opening scenes depicting the confrontation between the Montague and Capulet boys.

The opening shot of Son Hayes (Shannon) putting on a shirt, where we see his back peppered with old wounds from shotgun pellets, says far more than any of the fight scenes that break out between the rival siblings.

Between The Witch, The Neon Demon, Swiss Army Man and even the bizarre opening credits of Nocturnal Animals, a new wave of idiosyncratic and provoking releases exploded onto the scene.

02 «Value,» the sixth episode of Donald Glover's extraordinary first season of Atlanta, opens with an extended showcase scene of friendly rivalry between the luminous Zazie Beetz (as long - suffering public school teacher Van) and one - episode wonder Aubin Wise (as her childhood pal, now an «Instagram escort»).

In the film's opening scenes, Jack makes an audacious escape from the clutches of King George before smacking blades with the imposter in a tightly choreographed scene reminiscent of the swordplay between Jack and Will Turner (Orlando Bloom) in the original Pirates» movie.

The opening scene, in which all the mecha - aliens transform back and forth between giant robots and various makes of automobiles and heavy trucks, becomes so abstract it looks like a Jackson Pollock canvas in motion screeching through the middle of a Hollywood action movie.

Two scenes in particular, are as overwhelming as the opening to the film: the hand - to - hand combat between a German soldier and Private Mellish (played by Adam Goldberg) and the deeply emotional and ironic injuries of T - 4 Medic Wade (played by Giovanni Ribisi).

There are some good scenes between Myron and Abbie, especially when Myron opens up about his own marriage.

We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.

It has an open and neutral exploratory quality, though there's an interesting disparity between the cops, in the brightly lit precinct scenes, enacting their own miserable S&M punishments on suspects, and the guys in the violet - hued underground bars playing out their rapturous rituals of pain and desire with one another.

The contrast between the 8 mm home - movie footage that opens the film and the subsequent scene showing Murray's bookstore in its final throes sets the thematic stage: Fading Gigolo is intended to be as much about aging as it is about love and sex.

And if it is changed some time between the press screening and Friday's opening, what will they do with the next scene when someone says something about how great it is that a candidate received a bump in the polls for shooting someone?

The differences between that film and this reinvention are obvious from the very start; rather than the original's scene - setting opening where Yul Brinner and Steve McQueen stand up for the rights of a deceased and unknown native American, instead we have a pantomime villain doling out ugly violence and not only that, the only native American onscreen murders a fleeing innocent woman in cold blood.

Every scene is memorable - from the scruffy, opening battle to the epic showdown between Maximus and Commodus.

Coming in at a close tie for second are the amusing round of golf filmed between Tom Felton, Grint, and the Weasley twins (James Phelps and Oliver Phelps) as they discuss having spent the last decade together and the friendship that's formed out of it and the look at Radcliffe's septuplet special effects scene (from the opening of the film).

The film opens in Bangkok, Thailand in the midst of a sex scene between Lively's Gina and her husband James, played by Jason Clarke, and we see images that might reflect what Gina is feeling while having sex.

Seven Concepts of the opening scene «Somethin's Cookin»» appear as do 6 pictures of Chuck Jones» Artwork for the Ink and Paint Club piano fight between Donald and Daffy.

Sure, it's evident that there is a violent riff between the police and revolutionaries as the opening scene indicates.