Sentences with phrase «opening scene of the film»

Meeting the Prefect of the CDF does have an agreeable sense of drama about it — the opening scenes of a film.

The swimming pool has been a central part of Hollywood mythology since the dawn of silent pictures, a truth observed and then turned upside down in the opening scene of the film classic Sunset Boulevard.

In the opening scene of the film, Lomax stands over the lone survivor of the latest expedition, a dazed biologist named Lena (Natalie Portman), and demands answers she doesn't know how to provide — and that the movie doesn't really care to.

The actors are really just playing themselves as far as their line delivery goes and the plot really doesn't go anywhere new, especially since the opening scene of the film rewinds through the entire film, showing every action beat, which was a really bizarre move.

Quickly becoming apparent in the opening scenes of the film, Demange is reluctant to let «71 become bogged down in the complexity of political context to the conflict.

The opening scenes of the film has a younger version of Wayans» Darryl continuously trying to string together lots of cheesy contraptions to get his antenna TV to work, ultimately only responding when he sticks his foot in the toilet.

In the opening scene of the film, first - time director Grandage depicts this quite literally, with a bustling Manhattan in black and white — until Wolfe appears.

And the opening scenes of the film certainly feel right.

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.

The opening scene of the film comes to N'Jobu and Zuri (performed through Denzel Whitaker on this scene and flashbacks, and Forest Whitaker afterward) making a plan to damage her out.

In the opening scene of the film, Hawke's pothead dad tells his son that he's adopted in about the most casual way possible, advising at the end that you never know what tomorrow may bring.

In one of the opening scenes of the film, Richard Gere practices committing suicide with an unloaded gun.

In an opening scene of the film, one naked hijacker is shown shaving his chest (no direct nudity is seen).

T'Chaka speaks of a «difficult choice» he had to make, which is likely referring to the opening scene of the film, where T'Chaka is forced to kill his own brother, N'Jobu (Sterling K. Brown)-- father of Killmonger (Michael B. Jordan).

Named for the stunt restaged in the opening scene of this film, Full Burn pictures an ex-special ops marine set on fire in extreme slow motion, transforming the stunt into a ritualized reenactment of trauma.

Not exact matches

The opening scene of «Spectre,» the latest James Bond film, centers on a Dia de los Muertos (Day of the Dead) parade shot on location in Mexico City.

Dinish is well at home with the GOP crowd «For there is no faithfulness in their mouth; their inward part is very wickedness; their throat is an open sepulchre» (ps.5: 9), but God is «not a God that hath pleasure in wickedness» (ps.5: 5) and so although Dinish and by extension the GOP don't care who they hurt with their lies and behind the scenes dirty tactics like that silly film, they are cautioned not to include the name of God in their wickedness.

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.

During an early screening of Roland Emmerich's latest disaster flick 2012, which opens today, laughter erupted in the audience near the end of the film thanks to corny dialogue and maudlin scenes (among the biggest guffaw getters: a father tries to reconnect with his estranged son on the telephone, only to have the son's house destroyed just before he could say anything).

Next up was NASA's Dryden Center, where camera crews once filmed a scene for the opening credits of the 1960s hit sitcom I Dream of Jeannie, in which astronaut Tony Nelson (played by Larry Hagman) walks into the center's main building.

In the opening scene of the 1982 film Blade Runner, an interrogator asks an android named Leon questions «designed to provoke an emotional response.»

The opening scene, in which the two friends share a Christmas Eve donut because they're too broke to afford one for each of them, unsentimentally suggests the high - wire act that making a living on the streets can be without the film ever slowing down its electronica - soundtracked strut.

The film opens, with one of its few color scenes, with a closeup of a hand lighting votive candles with a match in a pre-war Polish Jewish family's home on a Friday night Sabbath.

The aforementioned opening shots of Snape look more like Impressionist paintings than a scene from a kiddie film.

Haneke's methods are clear from the opening: after a long, quiet stretch of simple credits, followed by an extended black screen as silent as the grave, the film smash - cuts into its first scene with a terrifying jolt.

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.

From the opening scenes, with Marco's crew crouched around a poker game in the back of a military vehicle, with Wyclef Jean's «Fortunate Son» blaring from the sound system, it is clear that this film has a political head on its shoulders.

From the opening scene of pale young men racing barefoot along the beach, full of hope and elation, backed by Vangelis's now famous anthem, the film is utterly compelling.

Forster's manic editing style — at its worst in The Quantum of Solace (2008)- does turn that opening street rampage into a blithering mess of shakycam shots, reverse - swish - swoop pans and psycho - edits, but the film soon calms down, and there are several strong performances in the quiet scenes that buffer Lane's ongoing question for answers.

The film's opening scenes establish that he's welshed on many debts and unlikely to hit a big payday with any of the third - rate tin cans he puts into the ring.

The opening scene of Dawn of Justice might have been the single strong point of the entire film.

The film devolves into the cozily predictable world of TV legal dramas, abandoning the moral uncertainty of its opening scenes...

The film opens with the meteorite crashing into an idyllic scene — a lighthouse situated on the coast of a swampy national park.

One of the opening scenes of The Accountant consists of puzzle pieces being dumped on a table, and that's a fine metaphor for the film....

From the opening space arrival scene to the final battle, this film has it all in terms of a video feast for the eyes and excitement for the ears.

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

The opening of the new Potter film (for which you can see an exclusive new image below) will be just one of several scenes created to up the on - screen excitement in the latest movie.

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.

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.

The opening scene of Saverio Costanzo's first English language film Hungry Hearts defines the meaning of situational irony.

The film opens with what I would consider to be one of the best scenes in all of 2013.

They include an alternate opening of Carol doing an voice exercise with an annoyingly - voiced woman interviewing her in a bookstore, more of and on Dani and Moe's rocky marriage, a scene featuring an accomplished female voiceover artist (played by Melissa Disney), and a number of additional clips from the convincing fake reality dating TV show woven throughout the film,

«Get Out» is not a film that takes breaks for comedy routines (even if Howery allows a little relief, it's often in the context of how he's convinced all white people want black sex slaves), keeping us on edge and uncertain from the opening scene to the final one.

Farrands explains that the original opening of the film was to be a nightmare sequence that would've paid homage to Carpenter's classic opening scene, and he lays bare the Man in Black's intentions to sacrifice baby Stephen Lloyd and in turn transfer Michael's evil into young Danny Strode and then starting the cycle again.

«Deadpool 2» opens with a bang, and director David Leitch talked to TheWrap about one specific fight scene at the beginning of the film that took a lot of time and effort.

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.

From the opening scene one can not possibly approach the rest of the film with a straight face.

But punchiest (literally) and most memorable of all the many roles is Farrell's petty criminal Lehiff, particularly his first scene, which opens the film.

The film's opening scene takes place approximately three months after these creatures have somehow made their presence known, with the Abbott family — Lee (Krasinski) and his wife, Evelyn (Emily Blunt), along with their three children — scrounging for supplies in an abandoned supermarket, padding around barefoot so as not to alert the monsters of their presence.