Sentences with phrase «scene in the film involves»

The most satisfying scenes in the film involve Israeli PM Yitzhak Rabin (Ashkenazi) and Defence Minister Shimon Peres (Marsan) discussing their options, driven largely by political one - upmanship.

The best scene in the film involves Gunn's character berating a male underling for giving her a cookie with only three chocolate chips while his cookie is oozing with chocolate chips.

The most entertaining scenes in the film involve the bizarre comedy of Harland Williams, who twice gets into sparring matches with animals.

Not exact matches

Surveys have found that the average R - rated film contains eight scenes that involve actors smoking compared with four in the typical PG or PG - 13 flick, Sargent says.

For all its high - spirited action scenes, the film's most impressive sequence involves a single water droplet, which is later echoed in an artfully choreographed battle involving cannonballs.

We've certainly seen better choreography in other boxing films before, but it's the scenes between the fights that keep you entertained and involved.

You don't need to be involved in the jazz scene or have an understanding of drumming for the movie's core theme to connect; music is simply the vessel to drive home one of the most emotional and awe - inspiring films of the past decade.

In addition to starring in the film, Jackman was involved behind the scenes on The Greatest Showman, serving as one of its producerIn addition to starring in the film, Jackman was involved behind the scenes on The Greatest Showman, serving as one of its producerin the film, Jackman was involved behind the scenes on The Greatest Showman, serving as one of its producers.

There is a certain scene near the end of the film that involves the two characters waking up in sleeping bags; it's the initial words that they mutter that really caught my attention.

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.

It features a quartet of eerie vignettes involving four patients in the care of psychiatrist Dr. Tremayne (Donald Pleasence), who is attempting to justify his strange theories to a colleague (Jack Hawkins, who died shortly after his scenes were filmed) by explaining the horrific events that drove the patients to their current state.

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

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.

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.

He doesn't so much have supporting players in the film as he does an extended family of cherished guests who he invites to stay for a while, relax and soak up the ambience: French it girl Léa Seydoux has a part as a maid which may as well be non-speaking; Owen Wilson plays one of M Gustave's concierge brethren and gets a line (if not a laugh); even Tilda Swinton makes a flying visit to Wesworld, caked in gristly prosthetics as an ageing dowager who drops dead after her first and only scene, her passing acting as deus ex machina for an elaborate art heist involving the whereabouts of the apocryphal, priceless chef d'oeuvre, «Boy With Apple».

Nevertheless, the film gets a little sloppy in continuity, especially as it races toward the end, such as a scene involving a robot getting drilled by V.I.N.CENT in one shot, then seen outside the ship in the next, hurtling toward the black hole.

Except for a well - staged scene depicting the attack on the marchers on the Edmund Pettus Bridge, the best scenes in «Selma» are the small - scale ones: Oprah Winfrey (also one of the film's producers) as an bedraggled activist denied the opportunity to vote; a scene where King's wife, Coretta (Carmen Ejogo), confronts him about his philandering; a cameo involving the father (portrayed by that marvelous actor Henry G. Sanders) of a murdered man in Selma.

These changes are not huge in themselves, but as the coda that plays over the closing credits reminds us, even the smallest things can have the most unpredictable of consequences — and although the scenes involving mysterious sneeze guru and failed Presidential contender Humma Kavula (John Malkovich), an entirely new character, seem to have little point here, there is no doubt that his rôle is destined to become more pronounced in the inevitable sequels (note the many verbal references to a certain «Restaurant at the End of the Universe» towards the film's close).

To be fair, the film - makers do establish a certain depth to his character towards the end in an emotional scene involving his father, which is heartfelt and well - played.

The film's second scene involves a doting and cooped up housewife, Janet, wallowing in the truth of her husband's disaffection and infidelity, played superbly by Vail Bloom.

We see Tommy go through endless re-takes involving only a few lines of dialogue, an awkwardly staged sex scene, a scene that has no significance to the rest of the film, and a suicide in which the actor writhes on the floor in pain after shooting himself in the head.

You could see similar elements in Lodge Kerrigan's chilly «Claire Dolan» (with a dash of Polanski in there — an unsettling manicure scene followed by a startling shot involving a mirror on an armoire)-- and, sure enough, it turns out that the young, unknown Bahrani so admired Kerrigan's work that he sent him an early cut of the film and asked for Kerrigan's advice.

It's a dark echo in there, side - by - side with Jimmy's grim dedication to buying up lakefront property and turning this prelapsarian wonderland into an exclusive, members - only club, but the film explores neither beyond their mention and contents itself to wrap up with a few scenes of mayhem, three insipid montages set to horrible music, and the same finale involving the birth of a child it seems like Martin has done now in a good half of his films.

Nolan and cinematographer Hoyte van Hoytema («Interstellar») shot the film using 65 mm and IMAX cameras, and while the big scenes of spectacle are unquestionably sweeping and impressive, it's the smaller moments that stayed with me more, whether it's those cascading leaflets in the opening scene, the terrifying majesty of a fighter plane gliding with its engines off, or a harrowing sequence involving a downed plane that will doubtless be used by English teachers to illustrate what poet Stevie Smith meant when she wrote «Not Waving but Drowning.»

The film includes a passionate romance of a couple that can make you believe the scene involving sex in a tiny phone booth, a rehash of the 1991 arrest of mafia chieftain John Gotti, and a family drama about a young man who makes too few visits to his mother and kid brother to impress them even though he offers them an envelope filled with more cash than they could make in five years.

The film still has all the little Soderbergh touches — there's a scene involving a prison riot that gets caught up in the differences between the TV version and the book version of Game of Thrones in which you can almost sense Soderbergh nudging the camera — but what's perhaps most impressive about it is how effortless it all seems.

GANGSTER SQUAD was unfortunately delayed this summer, due to the similarities between a scene in the film and the tragic incident involving a shooting...

Not everything in Top Five works, and a couple of scenes involving sexual farce seem to belong more to a Seth Rogen film than something as intelligent and pointed as this.

Though a strangely touching scene involving a peach will be for many the film's most memorable moment, its true climax is in a conversation between Elio and his father (Michael Stuhlbarg).

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.

Since she first appeared as Nina in Goran Dukić's Wristcutters: A Love Story (2006), Seimetz has been active in the independent film scene in many capacities — as a collaborator to Joe Swanberg (which involves wearing many hats), (14) a producer (for Barry Jenkins's elegant and sensitive Medicine for Melancholy [2008], among others) and an actress for edgy, polyvalent directors who often blur the boundary between acting, directing, writing and crewing: Jay Keitel (also the DP for Sun Don't Shine), Lawrence Michael Levine, Lena Dunham, Kentucker Audley, David Robert Mitchell, Adam Wingard, Cherie Saulter, Josh Slates, Dan Bush and Tomer Almagor.

As if it's not bad enough that the deliberate pacing reeks of self - importance, the film's only entertaining action involves scenes in which earthlings chat with Kang and Kodos.

A scene involving the coverage of a Breaking News event involving (as the narrator points out) something so common to us today, but so shocking back in the 80s, is the strongest in the entire film.

The only real downside to the film in terms of assessing the overall quality comes from the scenes involving the human actors.

The movie is great fun and involves one of the best break up scenes ever to be seen in film.

One such old - school scene, perhaps the most amazing of the film, involved a fight on a machine used in the production of glue traps used for mice, where Jackie and a couple of bad guys try valiantly to fight each other despite parts of their body sticking in glue.

It is part an indictment of the ludicrous mandatory sentence drug laws, and part dramatic thriller, while only delivering on one big action scene late in the film involving Matthews trying to drive a semi containing a shipment of cash through the border to Mexico, while trying to avoid men with machine guns driving cars trying to take him down.

The film features multiple scenes in which «Toni,» sporting a ludicrous fright wig and fake teeth, unexpectedly shows up to embarrass his daughter at important work functions; there's also a showstopping karaoke performance (of sorts) and an extended, screamingly funny set piece involving nonsexual full - frontal nudity.

Interestingly, the two most violent scenes in the entire film do not involve guns: the one is a brutal fight between two slaves staged by DiCaprio, and the other involves a man being torn apart by dogs.

The only moment where the film does decide to take a bit of a risk (a scene involving Goodfellas) is borderline fourth wall - breaking and almost irredeemable in its self - indulgence.

That scene simply played too dark and left the film on a strange note, as opposed to the final post credits sequence which still involves a dark act but in a much more amusing light.

Sadly, these often strong scenes of the family's interactions with one another are undone by the film's constant need to cut away and remind us of the larger plot involving the hitmen and thus sacrificing where its strength lies in order to set up and build toward its damp squib of a finale.

One of the film's standout scenes is the alligator attack involving Tessa Thompson's character, and in the below clip you can see Thompson and others involved with the film explaining how the scene came together.

Certainly there are things to love; Bilbo's character progression and his untimely addiction to one precious ring is welcome (although not nearly as prominent as it ought to be), the set design and telescopic vistas are almost as epic as ever, seeing the majesty of gold - diggin» dragon Smaug realized in impressive CG tantalizes the little boy in me (the one who listened to The Hobbit audiobook until it wore out), and one particularly fun scene involving dwarves in a barrel is a blatant film highlight; but other elements that ought to stand out fall flat on their face and never recover.

Another involves the marital happiness of one of its characters, Simple Simon (O'Dowd, «the IT Crowd») whose relationship and nuptials are barely set up before we have feel - good scenes of partying and marriage, only to follow it up with seeing the young man's heart crushed in a wholly manufactured and not terribly funny gag that his bride (January Jones, We Are Marshall) only is using him to get closer to the object of her obsession, the flamboyantly popular DJ Gavin Cavanagh (Ifans, Garfield 2), is, like many scenes in what is a lengthy film for its type, not only a needless and long side distraction, but there's no payoff in either laughs or carrying forth the themes.

Very young kids might beware, there is one gnarly scene involving a kidney operation, not to mention the fact that Atari spends the entire film with a piece of scrap metal in his skull.

As in his earlier films, including the Palme d'Or winner «4 Months, 3 Weeks and 2 Days,» Mungiu employs a patented style that involves long takes (many scenes entail only a single shot) and eye - level widescreen compositions.

(The story arc between Tadek and Kasia stretches credulity and results in some of the more off - putting scenes in a film that's never as involving as it should be.)

As it's not fair to spoil these plot points this late in the film's non-release, all I will say is that it involves a bit of precious and heavy - handed exposition involving a long - winded private moment between Han and Leia (they deserve better), and another scene involving one of these key figures that many might see coming.

Among the topics discussed are the cast's training, shooting locales, the danger involved in the filming, and one scene in which Joaquin Phoenix was actually on fire!