Sentences with phrase «scene in different films»

Which is why this video of three men playing the same exact scene in different films versions of the Hannibal Lecter novel «Red Dragon» is so fascinating.

Not exact matches

The scene ultimately ends on a different note than in the original film's cut.

If however you can enjoy something a bit different, there's great acting, good tension, and some shocking scenes in this film that will mean it'll have some lasting value at least.

The scene effectively conveys the king - of - the - world high of a solid drug rush, and the film has just enough of an edge that I winced each time they hit the glass, convinced that one of them would take that big fall into the canyons of L.A. Elizabeth Hurley, meanwhile, is very pretty and sports a lovely English accent but seems to have been airlifted in from an entirely different movie.

In one of the more clever twists, Enter the Dragon's sex slave scene tosses in a different spin — making the women into men — funny, and done with more subtlety than most other films would have showIn one of the more clever twists, Enter the Dragon's sex slave scene tosses in a different spin — making the women into men — funny, and done with more subtlety than most other films would have showin a different spin — making the women into men — funny, and done with more subtlety than most other films would have shown.

In a film so manipulative and wrongheaded on so many different narrative levels, for this gem of a scene to emerge and produce real tears from a character barely written in to the story is a welcome surprisIn a film so manipulative and wrongheaded on so many different narrative levels, for this gem of a scene to emerge and produce real tears from a character barely written in to the story is a welcome surprisin to the story is a welcome surprise.

But I kept telling the studio, and I kept telling Ryan, I'm like, «No, the director's cut going to come in at like 2:12,»» Leitch explained about his rough cut of the film before elaborating that the extended version contains a montage of Deadpool attempting suicide, some extra material with Domino and alternate takes of existing scenes with different dialogue.

Next is a 20 - minute section of «Fly on the Wall» scenes, which are just (literally) peeks behind the scenes for five different scenes in the film.

The scene in which Rose (Allison Williams) challenges the cop who's asking for her boyfriend's ID takes on a very different meaning by the end of the film.

It's a fine enough film — with some excellent scenes in it — but Anderson very obviously needs different co-writers.

Five deleted scenes show us different filmings of the highly - regarded «The Man That Got Away» (22:23), with Garland performing the song in different costumes and lighting.

But it's still a cut above the majority of family entertainment, and director Paul King, who got his start helming the surreal cult comedy series The Mighty Boosh, continues to prove himself a confident and comparatively sophisticated stylist, employing cutaway sets, Rube Goldberg slapstick, animated sequences in different styles, and loads of visual gags to create the film's dollhouse - storybook world; the aesthetic influence of Wes Anderson is especially pronounced in the scenes set at the prison, where an early mishap involving a red sock and the prison laundry dyes the convicts» uniforms a Grand Budapest Hotel shade of lavender pink.

There's a scene in the film where maps of different areas appear on a screen behind Tony Stark's head and, when the map changes to display Africa, a sign points to Wakanda.

Indiepix Festival Favorites, Volume 2 Value - priced, three film set of music documentaries: «Icons Among Us: Jazz In the Present Tense,» about the modern jazz scene, with Terence Blanchard, Ravi Coltrane, Robert Glasper, Nicholas Payton, Brian Blade & the Fellowship Band, the Dirty Dozen Brass Band, Donald Harrison Jr., Anat Cohen and Esperanza Spalding; «Echotone,» a lyrical documentary providing a telescopic view into the lives of Austin's vibrant young musicians as they grapple with questions of artistic integrity, commercialism, experimentation, and the future of their beloved city; and «Roaring Abyss,» a stunning audiovisual poem, the product of filmmaker Quino Piñero's two years of field recording traditional and modern music from around every corner of Ethiopia, a country of eighty different nationalities and cultures spread amongst mountains, deserts and forests.

Blu - ray extras: Commentary by director Michael Carney, writer Ron Hall and writer Alexander Foard; «Love Is Patient, Love Is Kind — The Making of Same Kind of Different As Me»; «Filming in Mississippi»; deleted and extended scenes.

The self - reflexive quality of The Larry Sanders Show was of a different nature, bouncing between the drama behind the scenes (shot on film) and the «show» itself (shot on video in traditional TV talk show style), but it wasn't about acknowledging the conventions so much as deconstructing the business.

In the theatrical version, the song that Meurice plays on the jukebox in an early scene is the Four Tops» «It's the Same Old Song,» which recurs twice more in the film («but with a different meaning...»In the theatrical version, the song that Meurice plays on the jukebox in an early scene is the Four Tops» «It's the Same Old Song,» which recurs twice more in the film («but with a different meaning...»in an early scene is the Four Tops» «It's the Same Old Song,» which recurs twice more in the film («but with a different meaning...»in the film («but with a different meaning...»).

Using a combination of actors on wires, motion capture and filming segments of fight scenes at different camera angles the actors would appear suspended in the air mid action.

Familiar scenes will take place in different settings, or with different characters, than they're portrayed in the films.

Instead, the film's final scene sees Turing with «someone telling him something he never had told to him in his life: that he did matter — the fact that he was regarded as different and not normal was hugely important to the world and to everybody around him.

It may be hard to wrap one's head around all the connections going on behind the scenes in Hell Baby, a film that feels as lightweight as the different podcasts almost everyone in the film has participated in.

Ronan spins the film around her mood which can switch in ten different directions in the space of a scene.

Mark and Kameron's exchange in our last round about the lack of explicit gay sex scenes in Call Me by Your Name, and what that «omission» (or, as Mark more precisely identifies it, deliberate aesthetic choice) has meant to different segments of the film's queer audience, brought to mind BPM, a brainy but also wrenchingly heartfelt film whose story in part revolves around those very questions: how much to show, to whom, and for what purpose.

When the plot switches back to New York — Allen's once - favored stomping grounds before he moved things abroad for a while, starting with Match Point, in 2005 — we get a different setting and a different woman (Blake Lively, The Age of Adaline) with some passable moments and others that recall better scenes in earlier films.

* Asked how he feels about going from very small indie films to a massive, effects - driven fantasy / comedy, Green said: «Well, just like probably all of you guys like to see different kinds of movies every week — a little of this, a little of that — it's fun professionally to, like, get in the ring and design creatures and have guys in suits and puppets and just, y ’ know, bring in all this stuff... I remember when I was a kid, and if something like «Behind The Scenes of Return of The Jedi» would come on, I'd just be glued to the screen, wishing that one day I'd be able to get my hands dirty doing something like that.

(The NSFW advance clip of Freddie's Rorschach test is an alternate assembly of the scene in the completed film — different shots, different angles, different dialog, different music.)

July's film is also different from Hawaii, Oslo in that it never outstayed its welcome — whenever I feared that it was about to get pretentious it moved on to the next charming scene.

The idea is for the filmmaker to make a fictionalized version of his or her own teenage years set in the appropriate period (different in each film) and to include at least one party scene in which pop songs of that era are used.

In fact, everything was so obvious in terms of set - up in that opening scene that we were all expecting the film to head into an entirely different tangenIn fact, everything was so obvious in terms of set - up in that opening scene that we were all expecting the film to head into an entirely different tangenin terms of set - up in that opening scene that we were all expecting the film to head into an entirely different tangenin that opening scene that we were all expecting the film to head into an entirely different tangent.

Did it feel that much different doing that type of scene work as compared to the work you've done in other films?

Mulholland Dr. is never more disconnected than its opening 20 minutes, which introduce characters who seem to belong in different movies (some of whom never appear again) and include one of the most purely scary sequences in contemporary film — the self - contained «man behind Winkie's» scene.

Kids are different from adults, though, and we see that in the film's introductory scenes, as Moonee and a pair of her pals visit a neighboring hotel.

A series of behind - the - scenes featurettes two of which are about a guy playing a girl and a girl playing a guy, the other hot chicks in the film and the different cameos, these are you typical making of shorts.

The resort to cliché in the early scenes of Essential Killing knocks politics out of the film, along with ideology and nation, advising us that we should respond to the film on a different level, where, eventually, politics returns.

Check out an alternate 80 minutes of the film with different jokes in every scene!

Sterritt ** Soderbergh tries a freewheeling experiment in this comedy - drama about people making a film and rehearsing a play; it takes place during 24 hours and unfolds in loosely strung scenes that drift in different directions.

While there have been a large number of Avengers: Infinity War television spots released in the past few weeks, many showcasing different aspects and characters of Marvel's sure - to - be-epic ensemble film, the most recent one teased a Thanos scene that is lifted straight from the comic books.

The woman at the start of the film becomes a very different being than the one we've known — even before the film's big reveal in the last scene.

Perhaps it's the well worn chemistry between Lawrence and Cooper, who have starred together in at least four films at this point, but there is a different tenor to the QVC scenes.

It proceeds to discuss just about every facet of filming, devoting much attention to David Lean's craft and creating different seasons and scenes in Spain.

We did, and it ended up probably being in a better scene and a better place in the film than if we tried to force a rainbow upon a different moment of the film.

The film consists entirely of footage shot in 2009 - 10 and there are many scenes which may have seemed harmless back in 2010 but take on a much different meaning after the 2011 Egyptian revolution.

They kicked things off with a glimpse at one of the film's fight scenes, but their newly - released second clip slows things down a little and shows a different side of the spy game altogether, as Charlize Theron and Sofia Boutella's characters flirt in a crowded bar.

Her Tereza is the film's stabilizing force, whereas Lena Olin's Sabina is an icon of bowler - hatted libertinage; in one epochal scene, Tereza gets Sabina to pose for some nude photographs, and something subterranean stirs between these two very different women.

The movie never gets sappy or approaches a Lifetime movie feel, but the tender moments between them have a tone altogether different from the more depressing scenes in the film.

These contain two scenes which are essentially totally different versions of scenes which exist in the film.

In between racing scenes, fill up the film with two different kinds of scenes in succeeding ordeIn between racing scenes, fill up the film with two different kinds of scenes in succeeding ordein succeeding order:

In the previous films, part of the thrill was wondering where the camera was going to alight next, and the knowledge that a scene was more likely than not to end up in a spatial configuration radically different from the one in which it begaIn the previous films, part of the thrill was wondering where the camera was going to alight next, and the knowledge that a scene was more likely than not to end up in a spatial configuration radically different from the one in which it begain a spatial configuration radically different from the one in which it begain which it began.

The film opens with short scenes in several different locations that never serve a powerful purpose.

God forbid those films had [flopped]... I think the marketing probably would have been different [for Avengers] and maybe the way the film was cut together or recut with additional scenes would have been different, but it was all - in on that one.