Sentences with phrase «real end of the film»

And now I know to stay until the real end of the film... groovy.

Not exact matches

Ancelotti is currently taking some time out from football management after being let go by Real Madrid at the end of the 2014/15 campaign, and is said to have already filmed his scene in the movie in Vancouver, where his wife Mariann is from (via Metro).

The film ends when Andreotti appears in front of the judicial investigation that ended his career at the top, but in real life he is still a senator at the ripe old age of 90.

During the moments of greatest suspense, activity in the frontal parietal brain regions, which are devoted to orchestrating attention, flared up in healthy participants and became increasingly intense until the end of the film, when the boy nearly hits the family maid with a real bullet.

Firmly in the «so bad it's good» category, this very bizarre film which was completed posthumously after Stanley Kubrick died and nearly killed off the careers of both Nicole Kidman and Tom Cruise, as well as spelling the end of their real life marriage.

But the quibbles over the technical aspects of the film rightfully take a backseat to the real reason why people will stand in line, in the heat and the rain, to be one of the first to see this end — Harry Potter is a great movie character.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

Well, they are right in that regard, which seems to be the real point of the film in the end, as these are people who live from day to day without much to look forward to except to go to work and drink all night, then do it all again the next day.

Then half an hour before the end of the film, Fogelman pulls off a real corker of a twist.

This film is a satire about the lack of real communication found in contemporary high - tech society.With no real narrative, beginning, or ending credits, it centers on Munson, his wife, and a bizarre orange - clad goggle - wearing exterminator named Elmo.

There is nothing too complex or overdone about it, which is kind of what I was hoping for, but there are no real stakes aside from seeing if our main characters make it out alive, which in the end does not really matter, because they all pull of ridiculous stunts, making for a very far - fetched film.

His next project (which, though it doesn't begin filming until next month, is currently slotted for an end - of - year release) is a New York - set period dramedy based on the stranger - than - fiction, real - life FBI sting operation (ABSCAM) that brought down numerous crime figures and corrupt government officials in 1980.

It's uncertain if the film even has a firm opinion of our sitting president, for with Sawyer's reductive preachings about a stereotypical black upbringing, and actions to end a «limitless war on terror» that plainly contradict current events, the movie is both a simplistic Obama insult and an aspirational Obama fantasy (and if you don't think it's channeling our real - life president, look no further than the Easter egg of Nicorette gum, which Sawyer keeps in his own nightstand).

And all of this would work just fine if the film's ending didn't throw real emotional revelations into the mix and expect us to accept them despite having spent all our time in a dream world until then.

The end credits begin with black and white footage of the real survivors all smiles, despite a lawsuit that arose right before the film opened accusing their lawyers of fraud that cheated them out of royalties.

Finally, it closes with the best finale of any film this year, the most heart - wrenching ending I've seen in a studio film in years, that for once shows us the emotional toll that a taut thrill - ride would have on a person in real life.

And — miracle of miracles — the aliens have a real reason for being here, and the aliens actually wind up making sense, in a way that sets up the film's triumphant ending.

He is involved with some dangerous characters who at first seem like important plot factors; later, we suspect Wenders was just throwing in some film noir elements to keep up the interest before getting to his real story, which comes toward the end of this very long film.

The intensity of the film can't match the bolt - tightening, ticking - bomb tension of The Hurt Locker, but the real - world stakes provide tremendous consolation, culminating with a killshot that's both alarming and apropos in its anticlimactic - ness (don't expect any glorified, cinematic catharsis at the end of that night - vision raid).

In the end, the only real suspense comes from seeing whether the film can stretch its wafer - thin premise and paucity of ideas out to a full 90 minutes — and at 88 minutes with credits, even there it comes up short.

The film not only honors the brave men who endure hell, but the real men behind the film as the end credits is filled with real pics of SEAL Team 10.

Stephen Frears» directorial debut Gumshoe, a cockeyed detective film starring Albert Finney as a small - time bingo caller who plays at being a private detective for fun and ends up in the middle of a real mystery, and Arch Oboler's 1951 end - of - the - world drama Five, a low budget, high concept film he produced independently, also arrive under the «Martini Movies» imprint.

The real progenitor of these films is not Steven Spielberg, or even Irwin Allen, but Smokey and the Bandit, Honkytonk Freeway and all those other Kentucky - fried demolition derbies that littered up the back end of the seventies with their multiple shunts, pile - ups and smasheroos.

There's a real paucity of films about our venomous culture of self - hate and the tyranny of appearance, and a time or two Miss Congeniality seems on the verge of saying something with its odd voyeuristic device of having Gracie wander around with a P.O.V. camera, but in the end the picture is all lip service paid to the altar of sneering asides and being a magnificent prick.

Though Boyle masks a lot of the script's problems with some nifty visuals and the same kinetic energy prevalent in his other films, the frantic pace only lasts so long before the story grinds to a halt, suffocated by a never - ending series of twists and red herrings that makes it almost impossible to discern what's real.

A Simon Pegg / Nick Frost film without Edgar Wright may lack the ornate brilliance of the World's End director, but at least it's got real heart

The only real weakness is with an ending that seems too unrealistic and not really in harmony with the rest of the film.

But then The Wrestler on film is much like the real thing — scripted moments come with the territory, but in the right hands the end result can become a different kind of spectacle entirely.

Yet it's the kind of movie where that real - life incident ends up hanging over the entire film, almost holding it back from being able to be great on its own merits.

Unlike many Hollywood films about teachers and students, Monsieur Lazhar resists a happy ending, instead emphasizing the real world consequences of issues like immigration, bureaucracy and death.

But there's a real, intoxicating idea burning in Mann's films: his end - of - civilization masterpieces like Heat, Last of the Mohicans, and even Collateral are science - fiction about the last real men in a spiritual vacuum, surrounded by their booty of playthings.

As each film begins, all the real power is in the hands of evil men, and by the end of each film nothing has changed, except that the forces of good have found the will to fight.

Despite the fact that the real life Commodus did actually fight in the the gladiatorial arena, the ending stretched credulity for me but I suppose dramatic license is commonplace in film's of this type.

At the opposite end of this spectrum, buried under fifty feet of crap is Martin Campbell's Green Lantern; a film so caught up in its dazzling 3D special effects (and they are impressive) that it is completely and utterly devoid of the real reasons why we go to the cinemas.

It's been quite a long time since we've had a real juggernaut performance from a film that ended up winning Best Picture (you could argue the last was The Hurt Locker, which won 6 of its 9 nominated categories).

I still have at this point only heard bits of the real Wiseau speaking, and that's during the end credits of the movie, when they show the side - by - side scenes of the original film and The Disaster Artist's version.

Solid look at how the X-Men came to be - Stellar Cameos - January Jones looks rockin» in go - go boots Cons: - The original X-Men were not used - Some of the dumbest characters were chosen for this film - Azazel» action sequences couldn't hold a light to Nightcrawler» in X2 - The action overall felt held back and the film lacked any «real» edge - The ending was too predictable and too conveniently wrapped up Impressions: Matthew Vaughn is an incredible director and Brian Singer has done solid work with this material.

ENDING: Um, some «real» moments / emotions seemed to come out of nowhere with the ladies in this film, but then they just get glossed over.

This was apparent when the film ended with real stock film footage of both racers.

Long before the end of the film, you come to the realization that, unlike the similar ensemble - driven comedy, Barbershop, this movie has no real inspiration involved in its conception, and the creators didn't know where to go with it.

Fans of the real house — the brothers filmed a few days in San Jose but shot mainly on sets built in Australia — will find some things to cherish in the first half of Winchester, but by the time it ends, it's like a spent rifle.

However, the real treat comes in how animatedly and excitedly Tudyk talks about the filming of this sequence that ended up getting cut for the most part.

With a collage of interviews with real - life survivors following the end of the film, it makes a strange shift from narrative feature to an almost documentary - like structure that just feels misplaced.

As the film draws towards its finale, so Howard finally really releases the shackles and allows the music to go full - pelt - «It's God» with a soaring trumpet theme; «The Final Climb» reprises a couple of earlier themes, Howard once again combining conflicting emotions with real class; and finally, a lovely end credits piece which is very recognisably from this composer, and one of the album's certain highlights.

The film builds real suspense at its end, dragging out the final seconds of a playoff (but not championship) game.

A Simon Pegg / Nick Frost film without Edgar Wright — showing on Channel 4 at 9 pm on Saturday — may lack the ornate brilliance of the World's End director, but at least it's got real heart •

John Boyega and his real - life British accent star as monster - puncher - in - chief Jake Pentecost, seen here giving a pep talk on the continued necessity of slicing up kaiju with giant robot sword arms after the squirrely interdimensional bastards failed to keep the peace reached at the end of the first film.

Clearly shot - later footage is shoehorned into scenes so ungracefully that poor Kate Mara's real hair / fake hair / real hair edits become actively distracting, characters make abrupt U-turns with no explanation, any sense of causal logic goes out the window, and the film does not so much end as just stop practically mid-sentence.

The only real misstep is an ending that feels altogether too tidy given the film's frayed edges, but there lurks a sense of breath - stealing unease even within its final frame.

That it did in the end may bode well for Let's Pollute, a six - minute snarkfest about pollution so oversaturated with sarcasm it made me want to mix my cardboards and plastics out of sheer frustration, but will the young» ns who helped push Logorama to a win last year find real innovation to the ingratiating film's surface - deep regurgitation of the style of»50s educational films?