Sentences with phrase «romantic scene filmed»

And a decent romantic scene filmed entirely in the trunk of a Ford.

Not exact matches

There's a scene in the film where Krasinski's character and Emily Blunt's character (who are husband and wife in the film as well as real life), share a romantic moment together as they both wear one earbud, and listen to a song — JUST LIKE JIM AND PAM DID.

It's these scenes which have the most emotional truth and where the film's most successful portions lie, especially when Streep and Jim Broadbent light up the screen with a portrait of a particularly British and unfussy kind of romantic longing.

Scenes are often lengthy and over indulgent and the film seems to have ambitions above, what is essentially, a small romantic storyline.

The film's sleek moodiness and visual sophistication are so effective that there's even a scene here that makes Detroit look like the most romantic city in the world.

A decent little romantic film, although labeled a Rom - com most of the time it feels more of a drama with a lot of light hearted moments than truly laugh out loud scenes.

One thing the final act can not sully is the sublime score by Michael Patton, with its echoing keyboard effects conjuring a romantic melancholy that electrifies many of the film's key scenes.

In reflecting on Anderson's body of work, with all of the memorable scenes in his films — dazzling multi-character, multi-location sequences tied together by music, or stunning two - person face - offs (the staring contest between Philip Seymour Hoffman and Joaquin Phoenix in The Master comes to mind)-- his romantic scenes inhabit some kind of sweet spot, tender as a bruise on an apple.

His slangy eloquence, his brilliance at scene making, and his nose for the zeitgeist fostered a slew of smash movie classics, including the seminal silent gangster film Underworld (1927), which won the first Oscar for best original screen story, and its sound - film successor, Scarface (1932); the screwball satire Nothing Sacred (1937); and the seductive romantic thriller, Notorious (1946).

Hill and Tatum are very funny together (e.g., the opening scene, in which Schmidt disguises himself as a Hispanic gang member and Jenko tries and fails to play along) and funny enough on their own (e.g., Schmidt's take on slam poetry and Jenko's delayed, childlike reaction to discovering the identity of his partner's romantic interest), which is vital because the film's questioning of itself extends to the relationship between these characters.

In the film's most astonishing scene, Driver ditches the toothpick for a long, lingering kiss with Irene, only for the romantic spark to ignite a sudden eruption of brutality.

The actress has a few saucy moments in her new romantic comedy Catch And Release and says filming those scenes is «always uncomfortable».

While the film itself is slight, there are more than enough funny, romantic scenes to leave you with a smile.

This is the kind of film that includes a romantic comedy style run - across - town - to - tell - the - leading - lady - something scene, and Jackman, bless him, runs so hard that you'd think Barnum was rushing to defuse a bomb.

Quite tellingly, if one scene were trimmed down a bit, the love story would've been lost entirely, and the film would have been better for it; Damon and Potente click as a team, but they don't exactly make for romantic combustion together.

Furthermore, the director packs the margins of the movie with flavorful supporting players: Bickle's trash - talking colleagues (including a scene - stealing Peter Boyle); Albert Brooks, doing a dry run to the witty neurotic he'd play in his own films; and the rotten romantic coupling of Foster (then 13, playing a slightly younger girl) and Harvey Keitel's vile pimp.

Tsui sets his avoidance dances in confined spaces (tiny apartments, backstage dressing rooms), but To's are set out in the open: a fountain in a public park, a street corner, a sidewalk (a similarly choreographed scene plays out as well early in Romancing in Thin Air, itself a kind of compendium of all of To's romantic comedies, where Sammi Cheng and Louis Koo wander outside the grounds of the hotel, oblivious to each others» presence despite occupying the same film frame).

One of my personal favorite scenes ever in a feature film is from this romantic comedy / drama — and if you've seen the movie, you know exactly what I'm talking about.

A romantic comedy, yes, but the film had a lot more to it than just the main genre it fit into; the soundtrack was fun and complemented the scenes well, as well as the fundamental social issues addressed in modernized and traditional South Africa.

At the film's recent press day, Pettyfer talked about his favorite romantic movies that inspired him, what it was like working with Wilde, getting to know one another, filming their romantic scenes together and striking the right romantic tone, what he learned from veteran actors Greenwood and Patrick, why he enjoyed bonding with the multicultural cast, his favorite songs from the movie's soundtrack, what he remembers about his first love, his advice for guys dealing with parents, and his special plans with his mom for Valentine's Day.

Designer Tom Ford made his writing - directing debut (based on the novel by Christopher Isherwood) with the film that somehow turns the above scene of domestic bliss into one of the most romantic in cinema.

Filmed with handicams, starring a pair of art - house favorites, and scored by blog buzz band Grizzly Bear, «Blue Valentine» couldn't look like more of a stereotypical indie romance if it tried — but who wants to ring in the New Year with hopeful thoughts for 2011 and a round of «Auld Lang Syne,» when you can head to the theater and watch Ryan Gosling and Michelle Williams getting it on in this bleak romantic drama, already the center of a ratings controversy over the NC - 17 the MPAA slapped on it for an «emotionally intense» sex scene?

Nolan seems to think the Wally Pfister photography can sell any scene, whether it's one of the most boring chase sequences in a big budget film (but it's at twilight and Pfister makes it look great) or if it's ostensible lead Christian Bale and his romantic interest, Marion Cotillard, letting the rainy afternoon bring out their passions.

Hardy's rogue agent, Ricki Tarr, delivers a romantic subplot with a jaw - smacking tenderness, while Cumberbatch almost steals the film from under Oldman's nose with a superb heist scene.

The film starts off clumsily, a scene in a music shop where Richard (Efron) meets Gretta (Zoe Kazan) features stilted dialogue and an uncomfortably obvious telegraphing of a romantic subplot (though it would turn out to be more of a structural hallmark).

(There are more than a few shades of Luc Besson's classic La Femme Nikita here, and Jung makes sure to reference one of that film's more memorable scenes, when Sook - hee must interrupt a romantic moment by going into a bathroom, assembling a sniper rifle and taking a shot at her assigned target.)

Emotional, even passionate, these scenes — aided by Alexandre Desplat's score — highlight the film's romantic theme.

Combined with the similarly heavy - handed sentimentality of the film's romantic scenes, the effect is akin to pouring half a bottle of soy sauce onto an exquisite piece of sashimi.

«Titanic's front of ship scene has been voted the most romantic movie moment of all time.The Oscar - winning film - which starred Leonardo DiCaprio and...

The film «Äôs passionate final scenes leave you with the immediate realization that there is much more at play here than simply a sharp romantic comedy.

Forbidden Hollywood Collection Volume Three collects six features by the enormously prolific director from that era (and two documentaries) on a four - disc set, and they are something else, films strewn with wild melodrama, romantic triangles, brawny action and some of the sexiest scenes of heavy petting and passionate smooching you've seen out of old Hollywood, with more frank sexuality more suggested than shown but there is no mistaking the suggestions.

Not enough good things can be said about Saoirse Ronan in this film and she's outstanding, crushing scenes about her romantic conflicts, reflections on the past, and turbulent worries about the future.

It's a nice idea, but just never a funny one, especially with Dar piling on overly broad physical gags; and that the film sometimes flirts with becoming something more intriguingly offbeat (the opening titles, which are a 3D journey through a scene - setting childhood photo collage; a romantic duet number that builds to some Baz Luhrmann - ish over-the-top visual whimsy) becomes more than a little frustrating.

Less a spoof of vampire flicks than a fish - out - of - water romantic comedy about a Victorian nobleman trying to negotiate the dating scene of Studio 54 - era Manhattan, this enjoyably silly film is no one's idea of great cinema, but writer Robert Kaufman's concept of a vampire being the standard bearer for old - style morality and romance is an inherently funny conceit helped immensely by a straight - faced lead performance by Hamilton.

The film's final scene, that of a young girl singing beautifully before a barroom full of rapt soldiers is the most romantic and humanist thing Kubrick ever did.