Sentences with phrase «opening scenes of the film with»

Not exact matches

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.

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).

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.

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.

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

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.

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,

«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.

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

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.

However, in the film's opening scene we learn that someone, in fact, has made it out alive: Lena (Natalie Portman), a woman who appears battered and is being interviewed by a team of researchers clad in hazmat suits led by Lomax (Benedict Wong), whose many questions are eerily answered with «I don't know.»

Scott, with his completed film just weeks from opening, made a tough decision: He would reconvene his cast and, in lightning - quick time, reshoot all of Spacey's scenes — with Christopher Plummer in the role.

There's so much happening in a vacuum here with deaths all over the place and a wealth of exposition shoved at the moviegoer — brush up on your Horcrux knowledge and character lists, people, else you'll be lost — the film doesn't sustain the real feeling it engenders brilliantly in the opening scenes.

Features both the American and British versions of the film, commentary track by creator / actor Richard O'Brien and co-star Patricia Quinn, an audience participation picture - in - picture track with a live version of the show and a «callback» subtitle track that cues viewers to classic audience responses, featurettes, two deleted musical scenes, outtakes, alternate opening and ending, and other celebrations of the culture of «Rocky Horror.»

And despite one or two richly lit interior scenes and one sequence inside the Basilica of Santa Croce in Florence, the film leaves the spectator with an overwhelming impression of being entirely suffused with heart - lifting, open - air sunlight — not unlike, in this respect, some of the masterworks of Renoir or Rohmer.

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.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

Bring Me the Head of Alfredo Garcia (Twilight Time, Blu - Ray), Sam Peckinpah's personal favorite of his films, opens on an idyllic river scene with a pregnant girl soaking her feet in the lazy current with a beatific smile on her face.

The film's opening scene sees a group of four masked men robbing a bank at gunpoint, with help from an accomplice on the outside.

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.

The film opens in bravura fashion with a scene that wouldn't seem out of place in a Sergio Leone Western.

The film starts with one of those rare opening scenes that manages to grab you from the start.

Drive opens up with a brilliantly choreographed getaway — nothing else in the film quite matches the greatness of this scene.

The film opens with a scene in which Machete (Danny Trejo) and his partner, Sartana (Jessica Alba) are fighting off some baddies and seem to have been successful, when suddenly a masked man appears around the side of a vehicle and guns down Sartana, and then bails, leaving Machete alone and now even more morbid - looking than he previously had been.

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.

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.

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.

The film opens with a gruesome scene with genre veterans Sid Haig and David Arquette getting a whole lot of blood on their hands.

Bring Me the Head of Alfredo Garcia (Twilight Time, Blu - Ray), one of Sam Peckinpah's personal favorites of his films (and the rare Peckinpah film not to get reworked by the studio), opens on an idyllic river scene with a pregnant girl soaking her feet in the lazy current with a beatific smile on her face.

Nolan and cinematographer Hoyte van Hoytema («Interstellar») shot the film using 65 mm and IMAX cameras, and while the big scenes of spectacle are unquestionably sweeping and impressive, it's the smaller moments that stayed with me more, whether it's those cascading leaflets in the opening scene, the terrifying majesty of a fighter plane gliding with its engines off, or a harrowing sequence involving a downed plane that will doubtless be used by English teachers to illustrate what poet Stevie Smith meant when she wrote «Not Waving but Drowning.»

The film opens with a montage of shocking scenes that catapults you right into the tone and feel of the film.

The abrupt party scene is quickly interrupted by a cataclysmic rain of fire, culminating with a giant hellmouth opening up in front of Franco's house, swallowing most of the revelers inside and drastically slowing the film's pace.

Extras: New audio commentary featuring jazz and film critic Gary Giddins, music and cultural critic Gene Seymour, and musician and bandleader Vince Giordano; new introduction by Giddins; new interview with musician and pianist Michael Feinstein; four new video essays by authors and archivists James Layton and David Pierce on the development and making of «King of Jazz»; deleted scenes and alternate opening - title sequence; «All Americans,» a 1929 short film featuring a version of the «Melting Pot» number that was restaged for the finale of «King of Jazz»; «I Know Everybody and Everybody's Racket,» a 1933 short film featuring Paul Whiteman and His Orchestra; two Oswald the Lucky Rabbit cartoons from 1930, featuring music and animation from «King of Jazz.»

The movie opens not with a scene from the book or a beauty shot of Hogwarts but with a moment of the film's own invention: Harry hidden under his covers at the Dursleys» house, practicing lumos maximus, his glowing wand illuminating the room.

The film opens with a black - and - white, La Dolce Vita-esque scene of Rome as Paul is walking down the street at night and suddenly abducted by what turns out to be a splinter group of extremists from the Italian Red Brigade, which regularly kidnaps high - profile targets.

0:00 — «Street Fighter II Opening Theme» by Alph Lyra 0:25 — Intro, Non Street Fighter segment (Dishonored, The Last Story, PlayStation All - Stars Battle Royale) 15:17 — Intermission - «Theme of Ryu» by Alph Lyra 16:13 — Street Fighter, Street Fighter II and its many editions, the live - action films 30:50 — Intermission - «Theme of M.Bison» by Alph Lyra 31:50 — Street Fighter III, Street Fighter IV and the competitive scene 42:13 — Intermission - «Theme of Cammy» by Alph Lyra 43:13 — Interview with Cross Counter Asia video producer / Tough Cookie owner / prominent Singapore FGC contributor Yongde 1:24:42 — Intermission — «Theme of Guile» by Alph Lyra (which goes with everything) 1:25:50 — Miscellaneous Street Fighter stuff, Hong Kong SF comics 1:33:44 — Outro — «True Ending Theme» by Alph Lyra

In case you didn't see the middle film, «The Desolation of Smaug,» the final film opens with the same scenes that closed part two.

Director / Screenwriter (and part - time comic book writer) Joss Whedon's love for comics is apparent right from the start with an opening act that would be the climax in many action films and carries through to one of the more spectacular final battle scenes you're likely to see for years to come.

From the opening scene, with the black «A model» careering across the dusty landscape, cars dominate the iconography of Ray's film.

It opens with Michael Fassbender and Penelope Cruz in bed together after what is supposed to be a marathon lovemaking session, but director Ridley Scott films the first part of this scene so that they are totally covered by white sheets, as if they were mummies.

It prepares the audience for the fact that the director has no limit with this film which opens up a dizzying array of possibilities for how this scene is going to play out.

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.

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.

When the film opens, for the first half an hour we're given some of the most visual stimulating scenes as we're not bogged down with exposition as much as we're allowed to feast on the actions, clearly shown by our director.

During the wide - ranging conversation they looked back at Deadpool's opening weekend and discussed the film's unexpected place in the awards race, where they're at in the pre-production process on Deadpool 2, how the hiring of David Leitch to direct the sequel has impacted the film, the action scenes, collaborating with Ryan Reynolds, how Colossus and Negasonic Teenage Warhead will return in the sequel, the challenge of writing Cable, laying the foundation for an X-Force movie, the budget, and more.