Sentences with phrase «scene from the film more»

I'll also say that (despite Baker's claims to the contrary) that the makeup effects and the «transformation» scene from the film more than hold up thirty years later.

Not exact matches

From the Inside Out - «Making Avengers: Age of Ultron»: A 20 - minute video going back 18 months showing what it was like on set of the film in Italy and Seoul, Sourth Korea; a look at the Avengers Tower; some of the behind - the - scenes early visual effects of Ultron; early concept work for Quicksilver, the Hulk, and Vision; and more.

One of the biggest surprises in «Avengers: Age of Ultron» occurs about halfway through the film when our heroes break away from the action for a more light - hearted family - centric scene on a farm.

The film, Scene's from a Marriage, leaves unexamined the questions of how to redeem community in the larger society; it seems to have gone irrevocably to the devil as it has become technically more nearly perfect.

The film tracks the behind - the - scenes details of school lunch and childhood hunger from key moments in the 1940s, 1960s, and 1980s to the present, revealing political twists, surprising alliances, and more common ground than people might realize.

The aforementioned opening shots of Snape look more like Impressionist paintings than a scene from a kiddie film.

It is a great film, which focuses more on how they built their careers from the music and passion of each, and games behind the scenes making it more fun

As the story becomes more episodic, and Charley ends up further and further from home, so the film feels distant from its earlier, more nourishing scenes.

Unsurprisingly, Persepolis has attracted the wrath of the Iranian government, but more captivating than the film's depictions of cultural repression (a scene where Marji, out to buy a black market Iron Maiden album, is beset by weasel - bodied female Guardians of the Revolution because she wears a jean jacket and «punk» sneakers is but one well - handled example) are its more understated portraits of Iran's intellectual elite, at once removed from the proletariat it so pompously champions and sadly delusional about the real threat of the fanatic trajectory of the revolution.

It's a tremendously engrossing scene that ultimately stands as the film's high point, with Weaver's sitcom - like sensibilities ensuring that Weather Girl suffers from a pervasively uneven vibe that only grows more and more problematic as time progresses.

The film is rife with scenes in which characters voice sentiments like «I believe it is important to assert that materialism as we conceive it differs from bourgeois materialism by questing for a more humane society.»

The film is structured around conflicting accounts of the same events told by Harding and her former husband, Jeff Gillooly (Sebastian Stan), with occasional interruptions from Harding's pitiless, abusive mother, LaVona, brilliantly played by Allison Janney, who can strike terror (and steal scenes) with little more than a long pause or the wily crook of her half - grin.

Then again, you'd figure the film could have demonstrated that in ways that would feel more historically authentic, as in the scene at the start of the film in which, with her husband off at war, Marion is left to try to defend the barn from raiders.

One of the most impressive things of Bahrani and Bahareh Azimi «s script is that it sets up scenes which could have followed into much more dramatic outcomes but the writers chose to take the road less traveled and in an odd way, by taking the less dramatic approach, the film removes itself that much further from the majority of indie films that concern themselves with cramming the most amount of drama into the least amount of time.

The film's playful and plentiful bonus offerings include «Piper,» the theatrical short film starring an irresistible sandpiper hatchling; an all - new mini short featuring interviews with Dory's pals from the Marine Life Institute; a behind - the - scenes look at the most challenging character Pixar has ever created; never - before - seen deleted scenes, including a digital exclusive featuring the Tank Gang from «Finding Nemo» who make it their mission to get Marlin and Nemo to the Marine Life Institute; and much, much more.

They include an alternate opening of Carol doing an voice exercise with an annoyingly - voiced woman interviewing her in a bookstore, more of and on Dani and Moe's rocky marriage, a scene featuring an accomplished female voiceover artist (played by Melissa Disney), and a number of additional clips from the convincing fake reality dating TV show woven throughout the film,

Blu - ray Highlight: In addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footage.

On the feature commentary track, Mancini describes more scenes in a similar vein from the script (such as one with Nica bathing in a shower chair that's seen briefly in the film), but says they were never shot due to scheduling constraints.

Vittorio Storaro comments at some length on the color symbolism in Bertolucci's The Last Emperor, which he shot, demonstrating more critical insight into how the film works and what it's about than we are likely to find in reviews, and there are similarly revealing commentaries from Michael Chapman about the iconographic and stylistic sources of Raging Bull (Life magazine and the photographs of Weegee) and from Hall about the role played by chance in the lighting of a scene from In Cold Blood, where the shadows of raindrops appear to be running down Robert Blake's face.

Each title gets a full - length audio commentary from Travis Crawford, a dogged film critic and programmer with the instincts of a historian, who goes into detail on the background of just about every lead and significant supporting player who appears on screen, in addition to the producers and financiers behind the scenes who allowed (or more likely didn't allow) Romero to realize his vision on screen.

You can watch each scene with commentary from Gavin Hood and he expresses regret on losing the scene with Peter, something I agree with, but it would have been more important if they'd made Valentine and Peter a constant presence in the film.

A smattering of extras begins with a deleted scenes section that more accurately details abandoned concepts for the films; running 12 minutes when «play all» is selected, «All Things Deleted» includes intros from producer Pam Marsden, Disney Toon executive Jeff Howard, and director Matthew O'Callaghan that never once make mention of the precedent - setting nature of the production!

The fantastic Bruno Ganz (best known in the US for «Wingsof Desire») plays Hitler with a broken kind of humanity that makeshis evil subtler than expected, but by extension all the more chilling.His senior staff is accounted for nearly every moment of the detailed film, but none of them stands out except Ulrich Matthes as psychotically loyalpropaganda minister Joseph Goebbels, and Corinna Harfouch as his wife.She has the film's most disturbing scene, poisoning her children to «save «them from growing up in a world without National Socialism.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

Going for seriousness only makes the film all the more funnier, albeit unintentionally, because the only entertainment that's left for us is to laugh at all of the amazing coincidences and guess what predictably boneheaded turn the story takes from scene to scene.

In addition, JustJared has landed more behind - the - scenes photos from the Jose Padilha - directed film, which began shooting in Toronto last week.

There are some telling moments when they discuss material that was excised from the final cut, such as scenes that might have made other characters in the film more sympathetic, but unfortunately none of this footage has been preserved on this disc.

Along with an unrated cut of the film (with five additional minutes of footage), the DVD also features a lively audio commentary with more than ten different participants (from director David Gordon Green and producer Judd Apatow to stars Seth Rogen and James Franco), a making - of featurette, a handful of deleted scenes, and a gag reel.

Limited Edition 2 Disc DVD set & Blu - Ray Extras: 36 minute Black Metal short film of deleted scenes, Alternate ending, Outtakes, The Cutting Room with musicians not in the film including: Enslaved, Ted «Nocturno Cutlo» Skjellum from Darkthrone, and Jørn «Necrobutcher» from Mayhem, plus more with Ulver, Immortal, Jan Axel «Hellhammer» Blomberg, Gylve» Fenriz» Nagell and Kjetil «Frost» Haraldstad, 46 more minutes of Varg Vikernes and a 45 minute class on the history of black metal with Fenriz

When Eddie Murphy (Beverly Hills Cop, Trading Places) became available, the project changed from a spiritual adventure film to an action - comedy, with each scene reconstructed in order to play more for laughs than for drama or awe.

As this new trailer — which is more of a behind - the - scenes glimpse at the production than a proper narrative trailer — reveals, the film will feature a new song from talented musical boy Nick Jonas.

We've been largely surviving on unofficial set photos from Captain Marvel as the movie continues filming, but Gregg has provided us with a slightly more official peek at things — albeit a behind - the - scenes one.

Now, a behind - the - scenes clip has emerged from the film's home release showing Hamill getting emotional seeing Frank Oz doing voice work with the Yoda puppet once more.

EXTRAS: The Blu - ray release includes Paul Thomas Anderson's 2002 short film «Blossoms & Blood,» a new interview with composer Jon Brion, behind - the - scenes footage from one of Brion's recording sessions, deleted scenes, an essay by filmmaker Miranda July and more.

A bravura sequence in the middle of the film shows Noah traveling to Tubal - Cain's camps in an attempt to find his troubled son Ham (Logan Lerman of The Perks of Being a Wallflower) that pointedly evokes Black Swan but more importantly shows the sort of unbridled fury that has gripped humanity (compare this to the Golden Calf scene from The Ten Commandments).

But while the making of that movie's famous shower scene is depicted along with some other brief scenes from the film, Hitchcock focuses more on the filmmaker's marriage and obsession with his work.

Extras: Audio commentary with film producer and historian Bruce Block; new appreciation of the film and select scene commentary by film historian Philip Kemp; «The Flawed Couple,» a new video essay by filmmaker David Cairns on the collaborations between Billy Wilder and Jack Lemmon; «Billy Wilder ABC,» an overview by David Cairns on the life and career of the filmmaker, covering his films, collaborators and more; new interview with actress Hope Holiday; «Inside the Apartment,» a half - hour «making - of» featurette from 2007 including interviews with Shirley MacLaine, executive producer Walter Mirisch, and others; «Magic Time: The Art of Jack Lemmon,» an archive profile of the actor from 2007; original screenplay by Billy Wilder and I.A.L. Diamond (BD - ROM content); theatrical trailer; special collector's packaging featuring newly commissioned artwork by Ignatius Fitzpatrick; collector's 150 - page hardcover book featuring new writing by Neil Sinyard, Kat Ellinger, Travis Crawford and Heather Hyche, generously illustrated with rare stills and behind - the - scenes imagery.

Cover - dated December 11 but scheduled for release Friday December 4, this issue promises a detailed look at a scene from the film taking place in an airport, as well as more on why the two founding Avengers are at odds.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

Despite the more refreshing scenes (it has its share) it still falters from typical action plot points that seem to infest every film he's in.

I've still got more from my set report coming, but a couple of behind - the - scenes pics for the film just surfaced and I figured I'd quickly share them with you.

But there's also a lengthy deleted scene from the very end of the film, which keeps the story going long after the theatrical cut ends, and reveals even more flaws in Felt's character.

Director / Screenwriter (and part - time comic book writer) Joss Whedon's love for comics is apparent right from the start with an opening act that would be the climax in many action films and carries through to one of the more spectacular final battle scenes you're likely to see for years to come.

During my extended interview Reeves, we talked about what he learned from early screenings, how the first people to see the film were J.J. Abrams and Drew Goddard, Andy Serkis» amazing work as Caesar, how Woody Harrelson contributed a lot to his character, how his first cut of the film was a lot longer and he ended up with fifteen to twenty minutes of deleted scenes, future Apes movies, and so much more.

The replay of the end of the first film and a museum steps scene recreated nearly shot for shot from the one in Rocky still have more heart than anything new Stallone is able to deliver here.

Those are the scenes that I loved from the films of 2013, but there were plenty more to love that made this a great year for cinema.

I quite like some stuff in the film: the famous shot of a passenger falling away from the camera into a skylight has more than earned its reputation, and Winters» death scene is genuinely disturbing.

A haunting scene involving Rudd interacting with an elderly woman searching the burned remains of her home sticks out like a sore thumb (in a good way) and gives the film a unique shape that distinguishes it even more from Green's studio work.

In this first look at footage from the new film, Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller) and Begbie (Robert Carlyle) are glimpsed in a echo of a scene from the original, standing on a platform as a train trundles through, this time yet more weathered, as Iggy Pop's Lust for Life plays in the background

The Signs DVD features about five minutes of deleted scenes (no more spooky alien critters, alas), a lengthy making - of documentary with commentaries, and another stellar film from Night's youth — wherein a robot wearing a Halloween mask slowly chases Night through his living room.