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.