Sentences with phrase «same filmed sequences»

Not exact matches

Speaking about the film recently in Los Angeles, Cera — who in this film, takes some refreshingly bold steps away from his usual one - note nerd persona — and co - writer / director Edgar Wright (who also did the zany cult classics Shaun of the Dead and Hot Fuzz) discussed the meaning of the film, the stretching Cera had to go through for the role, and the way in which the film's hyperkinetic action sequences are really just the same as the dance scenes in Grease or a Gene Kelly movie.

Soon the film's largest problems arise — though everything has been setup splendidly, there's nowhere else to go until the end, meaning that Peploe can only rely on repetitions of the same sequences for about thirty minutes.

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.

In the same spirit, «O Brother» contains sequences that are wonderful in themselves — lovely short films — but the movie never really shapes itself into a whole.

When viewed on their own, the stunning sequences documenting the beginnings of life on earth might have worked, and the same goes for the gritty, dysfunctional family drama segments that form the core of the film.

The film's opening sequence finds Wade, a.k.a. Deadpool (Ryan Reynolds), filling his apartment with gas and blowing himself up, claiming to want the same critical validation that Wolverine received for sacrificing himself at the end of James Mangold's Logan.

While the attack on the train is compelling and one of Eastwood's best sequences, unless you are interested in a travelogue of major European cities, the rest of the film which fills in the character's back story, does not rise to the same level.

But at the same time, I guess it doesn't, because I'd be more than willing to give a Bay movie a shot if a persuasive argument could be made for it, and a «collapsing - office - tower sequence that appears in either the film's fifth or sixth hour» ain't it.

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.

The battle scenes use the same film technique as Saving Private Ryan's harrowing introduction, resulting in some of the most intense action sequences in years.

Rosi uses the same montage style from the «baptism murder» sequence in Coppola's film, cutting from a lavish dinner held in Luciano's honour to scenes of bosses being shot to death in various locations, mostly in Peckinpah-esque slow - motion.

At the same time, he must come to terms with the women in his life, and what they meant to him — the film's centerpiece is a dream sequence with all his women bathing and pampering him.

Screenwriter Carl Gottlieb (The Jerk, Jaws 2) takes his first stab at directing a feature film, based on the screenplay he co-wrote, and ends up making almost an extended version of the caveman sequence of History of the World Part I, which came out the same year.

But that's what happened judging by this concept art for Shane Black's threequel, with the crash of Air Force One near Miami pictured here on a dark and stormy night, whereas the finished film sees the same sequence take place in the middle of the day.

Boyle and Simon Beaufoy's script does provide many flashbacks and fantasy sequences, so the film isn't confined in the same way as Buried, but all the same this must be the kind of challenge that actors relish.

Much in the same way that the opening sequence of Up is called out as an example of Pixar working at its tear - jerking peak, almost nullifying the impact of the rest of the film, Toy Story 3 has a lengthy climax culminating in a curtain call, all of which is meant as a massive payoff to a 15 - year trilogy, a firm period on a franchise that could easily be extended on the silver screen for years to come.

Where Edgar Wright's film created a string of smart, funny and imaginative sequences in which his assorted collection of ordinary people encounter and defeat the zombies, Hoene's film never displays the same level of wit and quickly becomes repetitive.

The same scenario played out along slightly different lines in 1999 when Saving Private Ryan — whose battle sequences transposed some of Platoon's brutal modernism to the context of World War II — earned Steven Spielberg a second Best Director Oscar but the film was upset in the Best Picture category by Shakespeare in Love, a film whose virtues were perceived to be more literary than visual.

There is a lot that is fairly generic in the film, especially in the action sequences, which employ the same arsenal of aesthetic techniques we've seen time and time again, but you can always sense his investment in the characters and what they stand for.

Logan director James Mangold has continued his social media push for the upcoming X-Men solo sequel by sharing a new image of Hugh Jackman's Wolverine, along with a couple of storyboards from the film, which appear to be from the same sequence; check them out here... SEE ALSO: Watch the trailer for Logan Set in -LSB-...]

The film really shines in the action pieces such as the training montage section, where Scott must learn to use the Ant - Man suit, and borrows heavily from a similar sequence in Iron Man (2008) while at the same time taking its own very funny spin on this required story element.

But while Creevy struggles with the basics of suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahn.

Satantango weaves the collective interactions of Almanac of Fall and the pungent evocations of solitude of Damnation into the same narrative fabric; though the film focuses on a community, at least three of the most remarkable sequences follow the movements of an isolated individual.

Where movies like «Avatar» stepped up the performance capture technology, «Rise» goes even further, filming the performance capture and live - action sequences at the same time.

Both mediums share the same overwrought and needlessly complicated story but they also have some of the most exciting fight scenes and chase sequences outside of a big budget martial arts film.

It's arguably the film's funniest and most disturbing sequence at the same time; it will shock on a first viewing, and could elicit laughter on later viewings.

The point is eloquently made in the film's pre-credit sequence, where the camera zigzags its way through a crowd of people, stopping at random people as a faceless narrator ruminates on how the questions and so - called answers in life are perhaps one and the same.

Among these similarities are that both case studies (a) span a four - day lesson sequence, (b) were filmed in urban classrooms, (c) involve lessons that actively engage students in doing mathematics and explaining their thinking, (d) allow the viewer to hear the reflections of the teacher voiced before and after the lessons, and (e) were created by some of the same developers.

Inspired by the Stargate sequence in 2001: A Space Odyssey, film maker Doug Foster will invite visitors to experience an endless, widescreen tunnel and referencing the same film, Mat Collishaw will make a spaceman's helmet featuring otherworldly sights and sounds.

The movie mixes chronology, intertwining beginning, middle or end, never repeating the same sequence, so that each showing of the film is unique.