Sentences with phrase «scene in the film feels»

The Dark Knight is much more about the symbol than the violence — so much so that Batman's first scene in the film feels tacky and unnecessary.

It's not an exaggeration to say that, from this point on, almost every scene in the film feels pivotal, momentous, in much the way that the characters in this two - hander experience their growing attraction.

Not exact matches

Despite a real - life narrative stuffed with secrets and suspense, the film version quickly feels bloated as Stone treats us to scene after scene of Snowden struggling with his inner dilemma and, especially, with his devoted girlfriend, Lindsay, who is a major character in her own right.

And while this was undoubtedly Han Solo's film (God bless Harrison Ford, limping around on a broken leg) the new characters felt at home straight away: Daisy Ridley as Rey was an absolute star (the scenes between her and Leia ensured the film passed The Bechdel Test) and Oscar Isaac's Poe stole each of the few scenes he was in (even if his character was just Han Solo in a jumpsuit).

It works the other way too — by provoking a feeling of disgust, a scene from the film Trainspotting shaped the way subjects in an experiment made moral judgements.

Jack hands off one of his stories early in the film for his brothers to read and while hints to its plot are dropped, only later does it manifest itself into one of the few scenes in the film that felt not merely fresh to me but touching; briefly, we glimpse an event from the day of the funeral, awkward and uncomfortable, with the kind of details that only siblings might later recall.

You can feel the Middle Eastern country's impending wave of frustration, corruption, and paranoia simmering underneath every scene in the film like white noise in the background.

The evocation of that old film noir feeling is hugely effective here: Dad telling his freshly - bribed son «You can't buy dignity,» the fantastic slow zoom on a love scene reflected in a two - way mirror, even the beguiling torch singer.

A late - film bit of business featuring Trintignant catching and freeing a pigeon flying loose in the apartment has been criticized for its heavy - handedness, but the problem with this expertly directed scene has more to do with whether such a gesture feels tonally earned after so much horror.

The film doesn't use sound anything like as effectively as Leone, but the fight scenes feel brutal and realistic, particularly in the final showdown (s) between Carver and Gideon.

The film only genuinely falters in its string of resolving scenes (We learn some vital things, such as the extent of Curtis» need to bet on a loser and the subtle way the crux of Gerry's character is revealed in his meal choice, but many of the late scenes feel more uncertain than everything else in the film).

The film does falter when Letts and Friedkin choose to take it outside of its theatrical origins, especially in a motorcycle scene that feels like it came from another movie, but it's a minor complaint.

Russell pokes fun of his weight, makes ludicrous power plays to establish his dominance in prison, and invites a number of deeply uncomfortable jokes about his inevitable sexual abuse in prison — a line of comedy that feels even more unwelcome given that the film's cast includes an accused sexual assailant in T.J. Miller, who needlessly returns as Deadpool's best friend, Weasel, in a few throwaway scenes.

Everyone in Disobedience is representative and every scene is declarative, and up to a point it feels as if the film is entirely following in A Fantastic Woman's footsteps.

It's in these scenes where I felt the film became a real movie.

A docudrama that in its early scenes feels like a documentary — the co-directors have a nonfiction background, and the actors are actual carnival performers — the film plays out like a small - scale fairy tale.

The music in this film has a masterpiece atmosphere that controls characters» feelings scene - by - scene but the cinematography and jump - cuts is also a masterpiece that nobody would ever find a British film with a masterpiece cinematography like

In the earthy world of Amity, the film boasted an orange feel, while scenes in the city opted for a more teal impressioIn the earthy world of Amity, the film boasted an orange feel, while scenes in the city opted for a more teal impressioin the city opted for a more teal impression.

The tight hallways and tiny rooms throughout the ship do emulate the claustrophobic feeling of the first two movies, which amplifies the tension and thrill of many scenes in the film.

There was never a time in the film where I felt the battle scenes looked fake.

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.

I feel its similar to Kingdom of Heaven in that scenes are missing and the directors cut will make it a better film.

Joonas Suotamo didn't feel pressure while filming one of the most iconic scenes in «Star Wars» history.

There is a car crash scene which was extremely powerful in the film, yet I personally felt it was predictable.

He's playing with so many interesting ideas when it comes to race that I wish the film felt a bit more satisfying in its payoff, even if that disappointment is amply offset by the pure intensity of the final scenes, during which Peele displays a skill with horror action that I didn't know he had.

Although Fatal Attraction does go overboard in a few memorable scenes, it never quite breaks suspension of disbelief, even when Lyne lets it all rip in a frantic confrontation at the end (reportedly re-shot for audience approval) that commands your attention, even if it feels a bit inconsistent with the rest of the film's tone

Everything about this film oozes class; the 60's setting is beautifully captured with it's attention to detail and strikingly rich photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of colour saturation providing an excellent technique in developing the mood and feeling of Firth's character and a fitting soundtrack to accompany the lush imagery.

Similarly the music choices of the film feel intentional, with songs often starting at the tail end of scenes and bleeding into the next in a way that contrasts rather than unites these scenes.

Joonas Suotamo didn't feel pressure while filming one of the most iconic scenes in «Star Wars» history.The 31 - year - old actor plays Chewbacca in «Solo: A Star Wars Story», and he insisted he didn't let fans» expectations...

While the subject matter is the stuff that good films are made of, and the quality of the direction and acting are worthy of admiration, where The East fails is in the contrivances involved in the farfetched plotline and the unevenness in the thriller elements (such as a scene in which the cell dresses up to the nines to infiltrate a party for pharmaceutical bigwigs that would feel more at home in a Mission Impossible movie) that undermine what could have been a chilling and realistic story of corporations run amok.

In the movie's early scenes, the queasy feeling that these two don't even like each other is so palpable it leaves a residue of sourness that extends through the rest of the film.

While The Discovery plays in many ways like a more effective version of the concept - choked Brit Marling / Zal Batmanglij movies, the cult scenes feel underdeveloped next to their film The Sound of My Voice, an intriguing but ragged thread left dangling as The Discovery turns towards more concrete, backstory - driven explanations for its characters» obsessions.

The scene has a probing documentary feel, which makes you think the boy will be an incidental figure touched upon in order to set a scene of neglect before the film begins to address its true subject.

However, repetition sets in and the escalation of set pieces reaches some sort of a peak here: there are good - to - great action, chase and fight scenes (Bryan Singer's X-Men films still have an edge on depicting superpowers) but there's also a limit to the number of times people can be kicked through walls before the scraps start to feel samey.

But the film has a real feel for the miners and their struggles, which comes through memorably in a scene in which Nighy (absolutely wonderful, as always) tells the members of LGSM that in his town, «The pit and the people are one and the same.»

There's so much happening in a vacuum here with deaths all over the place and a wealth of exposition shoved at the moviegoer — brush up on your Horcrux knowledge and character lists, people, else you'll be lost — the film doesn't sustain the real feeling it engenders brilliantly in the opening scenes.

It has a surprising amount of heart and emotion that you almost feel like you are in a David Fincher film during scenes in the diner.

In Iron Man — the film that kick - started the MCU — Ramin Djawadi's compositions fall into the background of scenes, resulting in a notable absence of feelinIn Iron Man — the film that kick - started the MCU — Ramin Djawadi's compositions fall into the background of scenes, resulting in a notable absence of feelinin a notable absence of feeling.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

It's all on the page in terms of dialogue, but the deer scene, for instance, or the scene on the phone near the end, were the moments where I felt she's allowed to be more emotional than anywhere else in the film.

While many of the scores in the MCU films feel more like filler, the score in this film actually contributes to the scenes and sets the tone for them.

I truly can not think of a movie that I've seen that was so blatantly torn to shreds in post-production in the editing room, to a point where it feels like no single scene belongs in the same movie as any other one, and that no one working on the film even realized they were working on the same one as all of these other people involved.

This is a nice behind - the - scenes video giving us a better feel for this new J.K. Rowling - scripted film coming out in the fall.

Global Road Entertainment and the filmmakers are saddened and apologize to any parent who feels the scene sends a message other than a comedic moment in the film, with no hidden or ulterior meaning, but respect their right to react to any piece of content.»

Though plenty of the film's scenes possess an honed improv feel much like the extemporaneous riffing of Anchorman, they are also usually more focused — in terms of plotting, there's so little time to waste when the end is nigh.

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

Unlike its predecessor (The Fellowship of the Ring), The Two Towers feels too long by half despite the elision of key scenes from the source tome; the picture only picks up during its last ninety minutes, and then only as an unusually well - crafted action spectacle largely lacking in the nuance, pathos, and sharply - drawn characterizations of the first film.

There are scenes when he attempts wry humor, to be sure, but they always feel out of place (particularly a scene near the end where he literally slaps down the US surveillance drone program)-- perhaps because everyone else in the film is also really dour.

It was almost as though the film was impatient to get to the next song and I felt some of the scenes with Valjean as a free man for the first time in nineteen years was lost.

The film's strength lies in its engaging visuals, namely the impressive opening sequence and the clever editing during certain fight scenes which lends them a greater feel of urgency and excitement.