Sentences with phrase «rest of the film setting»

Paul Verhoeven's reputation as a master of provocation was certainly burnished by this French film about a woman — Isabelle Huppert, earning her first Oscar nomination with a performance that's equal parts scary and seductive — who survives a rape in her own home and then spends the rest of the film setting a leisurely trap for her unseen attacker.

Not exact matches

However, the rest of the Getty scenes in the movie are clearly of Plummer, which Scott could pull off as they are mostly scenes shot in one exterior location or interiors, which could all have been filmed on studio sets.

In one key moment, Sebastian misinterprets one of Mia's comments and subsequently makes a choice that sets up a «butterfly effect» for the rest of the film.

Anyways, I'm oh so happy the Sharks swept those chickenshits and have a cool amount of time to rest up and prep for Vegas, study some film and get their game plan set.

Looking to make him stop his talk of a tiny world, they try to get that speck away from him, setting up the action of the rest of the film.

The way that is shown in the film is very odd and humorous, which sets the tone for the rest of the film.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

Ronald never returns, but his cameo sets the tone for the rest of the film, which plays out like less of a narrative than it does the most expensive ASMR video ever made.

Director Jon Amiel's 2009 film Creation is set during the period when Darwin was conducting the research that would later form the basis of his monumental work and forever change how the human species viewed itself in relation to the rest of the natural world.

that relationship fizzles, and in the next scene she sets her sights on Buckley and spends the rest of the film pining over him.

Kiarostami's film presents a concept, fully formed and cogent, and allows the rest of the film to set to work on that concept, breaking it into Heisenbergian particles, then bringing it back into solid shape, and on and on.

Reality Television is perhaps the strongest chapter, with The Prisoner bearing the burden of having to establish both the tone of the overall film and set - up all the twists that will play out for the rest of the film.

The rest of the DVD includes a commentary with the film's co - writers / directors Friedberg and Seltzer (who continue to showcase their lack of humor), a separate audio track («Breaking Wind») with additional fart and burb sounds, several featurettes of the cast / crew riffing on - set («Everyone Loves the Beaver,» «Epic Porn,» «Hot or Not,» «What Makes Aslo So Irresistible?»)

Like the disc releases of previous Hunger Games installments and all the Harry Potter films, this disc has taken a Friday release to set it apart from the rest of the week's releases.

Verdict: The second directorial feature from «Eastern Promises» writer Steven Knight after so - so Jason Statham vehicle «Hummingbird,» «Locke» was both more stripped down and more ambitious: a film set entirely within a moving car, shot in real time, with only one actor on screen (the rest of the cast are heard over the phone, but never seen).

With a solid belief from film critics that she's bound for stardom and a growing filmography of award - winning indies and big - budget productions, Emmy's success will rest on her own talents when she sets out to prove everyone right.

The first is the opening shootout that sets the stage for the rest of the film.

It sets the tone for the rest of the film.

The movie set - pieces are stunning - the Gene Kelly-esque musical number «No Dames» (with Channing Tatum tap - dancing away admirably) in particular is a total delight and easily as good as anything from the best 50s musicals - but the rest of the film feels like an excuse to film these short love - letters to classic Hollywood.

The rest of the film might not be very good, but the enormous and polished practical sets created for the film's opulent spaceship / cruise ship were outstanding.

The rest of the film is made up of short vignettes that take us through 1950s Hollywood, introducing a lovable set of characters that roughly blend into the main story.

The rest are of the supplements are just grace notes: a relaxed interview with actor Rod Taylor, a tribute to «The Original Inglorious Bastards» with director Enzo Castellari and actor Bo Svenson (who both make cameo's in QT's film), a mock - featurette on «The Making of Nation's Pride» (with the performers all in character — Eli Roth has a blast playing the sneering autocratic German auteur of this «lost» classic of Nazi propaganda cinema) and montages showing the playfulness of QT and his cast and crew on the set.

Starting with a painful sequence featuring Charlie Sheen and Lindsay Lohan, the scene sets the tone for the rest of the film, showcasing one of many jokes that continuously miss and go on for longer than they need to.

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.

This sets Benedict Cumberbatch's Sorcerer Supreme apart from the rest of the heroes in the film because he suggests anybody's death is worth it as long as Thanos doesn't get his hands on the green - hued Infinity Stone.

About the Art Directors Guild: The Art Directors Guild (IATSE Local 800) represents nearly 2,000 members who work throughout the United States, Canada and the rest of the world in film, television and theater as Production Designers, Art Directors, and Assistant Art Directors; Scenic, Title and Graphic Artists; Illustrators and Matte Artists; and Set Designers and Model Makers.

After the leaden set up, Jolie carries the rest of the film, lending it a credibility sorely lacking everywhere else.

While embracing many of the stereotypes we've watched play out in these films, Tom Flynn's script includes handfuls of scenes that set Gifted apart from the rest.

So it goes for the rest of the film — how else to explain a brief chase sequence set to «Don't Stop Believin»»?

This also efficiently sets the tone for much of the rest of the film.

One wonders if Padilha was fought by the studio to dumb down or rush the ending, as the last act of the film doesn't quite live up to the potential set up in the rest of the film.

The rest of the supplements are bite - sized pieces: «Welcome to New Penzance» features footage of the locations, «Set Tour with Bill Murray» is a quick 3 minutes, Bob Balaban introduces short segments of actress Kara Hayward (Suzy) reading excerpts from the (fictional) books featured in the film, and «Cousin Ben» features additional footage of Jason Schwartzman as Cousin Ben.

The rest of the film is then set in the chaotic interregnum between the end of World War II in 1945 and the end of the Civil War that would bring the Communists to power in 1949.

Kobayashi himself begins the exile of Megasaki's dogs by taking his adopted nephew Atari's (Koyu Rankin) dog Spots (Liev Schreiber) and making it the first dog to be sent away, thus setting up the rest of the film.

Also, Derrickson notes that Gunn kept texting him photos from the set on the day they filmed Lee's cameo to make sure things looked consistent with the rest of the film.

Although the set up leans toward a slasher movie, the rest of the film isn't much more than a regurgitation of the style of action found in Bad Boys II and Point Break.

The latest trailer puts any fears to rest and sets a much better tone of the film, looking less like a screwball comedy and more like an epic action - filled drama.

Pitch: Picking up right where the first Kill Bill film leaves off, The Bride sets out to finish off the rest of the Deadly Viper Assassination Squad en route to Bill, the man who killed her.

It might seem like just another romance with a ghost added in for good measure, but I think the odd, quirky element of this film will set it apart from the rest.

Taking a leaf from Inception, and another from The Prestige (or Batman Begins), he pieces together a universe that's nothing less than gobsmacking; your jaw will be left hanging by the first set piece and it won't come off the floor for the rest of the film.

By creating the animosity between Tim Allen (as the Shatner analog) and the rest of the cast, the film sets up a really simple proposition — there's no deep redemption here, he just has to stop being such a dip.

This opening scene's sitcom - ready comic timing and bright, Instagrammed look nullifies any revulsion we might have felt, setting the tone for the rest of the film.

The film's tragic first act sets up the physical degradation that Andy will endure throughout the rest of the film, and the steps he has to take to prevent the same fate for his infant child range from understandable to unsettling to grotesquely beautiful.

The fractured, associative narrative of the film's introduction offers a minimalist sensation of the warmth and horror the director aims to set up for the duration of the rest of the film.

This opening sequence, which takes place on a fast - moving train that matches the action on screen, was great to watch and set the bar for the rest of the film.

The David vs. Goliath moment feels rushed, though, and sets up the rest of the film's primary battle in an almost disconnected manner.

It's also one of the few times «Kings» delivers an impactful moment, even though the rest of the film is set against the backdrop of the trial of the four LAPD officers who beat Rodney King, and the riots that ignited after all four were acquitted.

The cornerstones of the genre — snappy dialogue, near - unintelligible accents, and dark humor — are all present, and though the film offers only a slight variation on the genre itself, the differences do provide enough of a fresh take on the typical crime movie to set it apart from the rest.

Because aside from integrating superheroes into supernatural settings, the tones of both films (and Hellboy) are noticeably darker than the rest of Marvel's offerings.

She sets traps, makes plans, and busts heads with the rest of them, and by the end of the film she becomes the slasher we're supposed to fear and root for.