Sentences with phrase «other scenes from the film»

Not exact matches

Behind the scenes, Hollywood film studios, which had never been keen on Netflix, began raising the fees to license movies for Internet streaming, or Netflix was prevented from acquiring certain titles because the Internet rights were already locked up by other outlets.

This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having almost no lines; Moses killing lots of people and fighting in the Egyptian army; no «staff - to - snake» scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile» scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.

It works the other way too — by provoking a feeling of disgust, a scene from the film Trainspotting shaped the way subjects in an experiment made moral judgements.

A new way of detecting and visualizing fingerprints from crime scenes using colour - changing fluorescent films could lead to higher confidence identifications from latent (hidden) fingerprints on knives, guns, bullet casings and other metal surfaces.

Black Panther's fight scenes are better than in other Marvel films, but they're still a disappointment from the maker of Creed.

Another factor is that the trailers and other advertisements leading up to the release of the film already show you the climaxes of the best scenes, from the aforementioned traffic jam, the zombie horde working in unison to scale a great wall, as well as jumping onto helicopters that foolishly get too close.

The scene is also hampered, as are many others in the second half of the film, by Hooper's poor sense of pacing, going steadily from one number to the next without pause or variation.

But here is where the film blossoms and Celie finally gets revenge on Mister too (the scene where Celie is shaving Mister with a straight sharp razor where she is about inches from cutting his throat), along with other characters that blend into this movie.

If there's one legacy I hope other films pick up from this series, it's that it treats its sex scenes the way the Fast and Furious franchise treats car chases, set pieces to be gushed about while exiting the theater.

Other than that split screen scene, no convincing argument is made to translate the story from the stage to film.

Bay is at his best, paradoxically, when he's at his worst, if for no other reason than the fact that the most enjoyable and the most offensive parts of his films (which are often the same scenes and sequences) extend from the mind of a man with a very particular visual sense.

I was once a very harsh critic of Mr. Tarantino, the video store clerk turned auteur, who seemed to be preoccupied with the inventiveness of his in - jokes and visual quotations of scene compositions from other films.

Recruited by an old chum (Peter Boyle) to help find an exotic prostitute missing in Chinatown, Hammett enlists his implausibly gorgeous neighbor (Marilu Henner) to play Girl Friday as he matches wits with colorful actors including Jack Nance («Eraserhead» and other David Lynch works), David Patrick Kelly (whose strangled voice is an interesting counterpart to his iconic «Come out to play - yi - yay» taunt from «The Warriors»), Roy Kinnear and a few old - timers from film noir's heyday (the scene with Sylvia Sidney is especially good).

The cast go from room to room discussing stuff, from location to location looking at stuff, explaining scenarios to each other, lots of driving around and of course the other obligatory scene where everyone watches an old educational news film reel about their enemy and how it lives.

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.

That's our convoluted way of saying that The A.V. Club looked both high and low for the best scenes of 2015, culling from a whole spectrum of films — some likely to appear on this week's best - movies - of - the - year list, others unlikely to appear on any such list, and at least one certain to get called out in our public shaming of the year's worst movies.

In this case, that amounts to your typical scene - specific trivia in addition to some other interesting tidbits, like the title of the cut from the film's score that's playing at any given moment, or detailed cast and crew listings.

Compounding the problem are the slow push - ins and pull - outs and willy - nilly insertions of scenes from the film that sometimes complement the pullquotes but at other times (as in an early insert of the «surprise» flashback over Perkins's difficult admission that her ex-husband's stepfather used to hide in closets to scare him) minimizes Thom's abuse and exposes the relative silliness of the film at the same time.

Indexed by chapter headings separate from those found in the scene - selection sub-menus, Scott indelicately remembers, among other things, that David Bennent's vocals were re-dubbed by the New York - born Alice Playten because a studio stooge said he «sounds like a goddamn Nazi;» that a 10 - year - old doubled for peak - diving Cruise; and that the film's convincing fairy F / X were accomplished with fishing line and a light bulb.

Apatow's special edition supplements are always terrific and this is no exception, from the 75 - minute «Funny People Diaries» (a making - of documentary as a personal journey through the film guided by director Apatow) to the deleted / alternate scenes, montages of ad - libs and other goodies.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

First, a seven - minute piece called «The Spirit of the Ride» has the director and various other cast and crew discussing how they drew on the amusement park ride for ideas and general atmosphere for the film; the 14 - minute mini-documentary «Dead Men Tell No Tales» (also available in the DVD - ROM content in the two - disc edition) gives a history of the «Pirates of the Caribbean» ride, complete with lots of behind - the - scenes looks at the animatronic pirates and nostalgia - inducing footage from the ride itself.

Aside from the opening scene — during which you can hear all your fellow patrons unwrapping candy and chewing popcorn with their mouths open — it's about as noisy as any other horror film.

Other deleted scenes from the film included in the DVD / Blu - ray release include «U.N. Meet and Greet,» «Okoye And W'Kabi Discuss the Future of Wakanda,» «T'Challa Remembers His Father» and «Voices from the Past.»

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

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.

If now not, it may well be any other play on a vintage end - credits scene just like the filmmakers did with the primary Deadpool film, recreating the end - credits coda from Ferris Bueller's Day Off.

There are some telling moments when they discuss material that was excised from the final cut, such as scenes that might have made other characters in the film more sympathetic, but unfortunately none of this footage has been preserved on this disc.

While some artifice creeps in during the sometimes strange dialogue and sensationalist situations, there is an underlying truth to each scene and character that anchors the film from becoming too overwrought, as many other family crisis dramas tend to suffer from.

But while the making of that movie's famous shower scene is depicted along with some other brief scenes from the film, Hitchcock focuses more on the filmmaker's marriage and obsession with his work.

Extras: Audio commentary with film producer and historian Bruce Block; new appreciation of the film and select scene commentary by film historian Philip Kemp; «The Flawed Couple,» a new video essay by filmmaker David Cairns on the collaborations between Billy Wilder and Jack Lemmon; «Billy Wilder ABC,» an overview by David Cairns on the life and career of the filmmaker, covering his films, collaborators and more; new interview with actress Hope Holiday; «Inside the Apartment,» a half - hour «making - of» featurette from 2007 including interviews with Shirley MacLaine, executive producer Walter Mirisch, and others; «Magic Time: The Art of Jack Lemmon,» an archive profile of the actor from 2007; original screenplay by Billy Wilder and I.A.L. Diamond (BD - ROM content); theatrical trailer; special collector's packaging featuring newly commissioned artwork by Ignatius Fitzpatrick; collector's 150 - page hardcover book featuring new writing by Neil Sinyard, Kat Ellinger, Travis Crawford and Heather Hyche, generously illustrated with rare stills and behind - the - scenes imagery.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

«Matilda's Movie Magic» (16:14) allows DeVito and others (including Davidtz, Perlman, a make - up effects artist and a visual effects supervisor) to break down the film's illusions one at a time, with help from behind - the - scenes footage and some graphic illustrations.

Interpolating the last day of Mishima's life with scenes from his wrenching novels and his youth, Schrader evokes films like Kurosawa's Rashoman and Kobayashi's Kwaidan, while also exploring the themes of masculinity, honor and dedication that resonate both in Japanese culture and in the director's other work.

Although he mostly shows it with snippy dialogue and rigidly controlled schedules, Daniel Day - Lewis» Reynolds Woodcock is a fussy little dude, something made especially clear in a deleted scene that Anderson recently released to promote the film's upcoming home release, showing the Woodcock siblings descend from prodding at each other into a full - on food fight.

That's why, every year, The A.V. Club finds room not just to count down our favorite whole films but also to highlight the strongest standout, stand - alone scenes — some of them pulled from those aforementioned best movies of the year (which we'll unveil later this month), others most definitely not.

Although certain scenes lack focus, the vibrant colors and themes of Coco are simply irresistible, and a companion short film starring Josh Gad and other cast members from Frozen is sure to put most everyone in a Christmassy mood.

This film gives the nod to several other sci - fi and classic films by re-enacting scenes from them.

Throughout its running time, A Woman, A Part never shirks the sense that its scenes have been plucked from numerous other films about the difficulty of going home again.

While Hawke's other filmmaking endeavors (Chelsea Walls, The Hottest Scene) has been similarly produced outside of the big studios and with muted commercial prospects, he has retained star power on the opposite side of the camera with performances in big wide release films, from Training Day to Daybreakers to The Purge.

Other production sections include «Sequence Breakdowns,» covering 6 key fight scenes and locations, and offers viewers the chance to read the scene in Goyer's screenplay, compare it with the final shooting script, view the scene through storyboards, jump to the scene in the finished film, and view video footage from the set.

This film features scenes with other people, offering a distinct diversion from the earlier films, which both only focused on conversations between the couple.

Aside from two audio commentaries with the film's stars, the only other extras included was a short promotional featurette and a handful of deleted scenes and outtakes.

But while many people may think that the action scene has moved on to other parts (mostly Thailand and South Korea, plus a mini-boom of excellent American direct - to - video films like «Universal Soldier: Day of Reckoning» and its ilk), there's still a lot to offer from the once reigning king of cinematic punches and gunshots.

At the film's recent press day, Carrey and Daniels talked about reprising their roles in the sequel, how it was driven by fan demand, what it was like getting back into character and finding their chemistry again, the love between the characters, which one is Dumb and which one is Dumber, how the characters hold a special place in their lives as they do for the fans, the return of the Mutt Cutts van and other callbacks from the original film, working with Kathleen Turner, their favorite scene, and where they see their characters in another 20 years.

Brand new 2K restoration from original film materials High Definition (1080p) Presentation Optional English subtitles for the deaf and hard - of - hearing Audio commentary by director Brian Trenchard - Smith The Stuntmen, Trenchard Smith's classic television documentary on Grant Page (Mad Max, Road Games) and other Australian stunt performers Hospitals Don't Burn Down, Trenchard - Smith's 1978 public information film told in pure Ozploitation fashion Behind the scenes gallery by graffiti artist Vladimir Cherepanoff Theatrical trailer Reversible sleeve featuring original and newly commissioned artwork by Chris Malbon

In addition to a disc for each of the films, each of which has deleted scenes, «Tales from the Future» documentary segments, audio commentaries and various other bonus material, there's also a separate bonus disc that includes a variety of additional mini-docs, plus a 2015 message from Doc Brown, two new commercials (one for «Jaws 19,» the other for a Hoverboard), and two episodes of «Back to the Future: The Animated Series.»

It is basically an exaggerated reinterpretation of the Lethal Weapon series, with a few scenes from other memorable cop films tossed in from time to time, but never really hits its target in an acute, knowing way.

There are other approximate examples: Robert Guédiguian, Steven Soderbergh and Mike Myers have used recycled «flashback» scenes of actors» younger selves from other films.

The Cloverfield Paradox is an unholy mess... The characters here never feel like they could exist in a world outside of this space station, all of them barking in tech - speak at each other, rarely acting in what could be classified as recognizably human behavior... As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom... The Cloverfield franchise is rumored to grow even more later this year with a second world war - set thriller potentially unspooling in October.