Sentences with phrase «scene of the film leaves»

Not exact matches

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 did a good job of tying up the loose ends left in the film series and although some scenes require your complete attention to be understood, even a non-book reader can understand all the things that have led up to this conclusion.

There are rumors circulating about an extended director's cut, an R - rated cut, all sorts of cuts of this film that will «restore» all the sequences and scenes left on the cutting room floor and make the choppy, helter - skelter nature of the film flow better and make more sense.

One of the film's key scenes shows the village assembly in Hirut's area carefully debating her case, and when Meaza attempts to leave a meeting with Hirut's parents without staying for a meal, she is brought up short by a mother who insists, «you must not forget our culture.»

As directed by Anthony and Joe Russo, the action scenes are often incomprehensible, which means that far too much of the film is spent waiting for the action to die down so we can see who is left standing.

Whatever the cause, the scene takes on the laughable air of someone pretending to be out of breath, and instead of instilling a sense of dread or menace, it leaves one suspect that the rest of the film will be able to pull anything off.

Anyone who pays even the faintest bit of attention to the behind - the - scenes goings - on in Hollywood must be aware that its original directors Phil Lord and Chris Miller — the guys behind The LEGO Movie and 21 Jump Street — had a creative disagreement with Lucasfilm, leaving the film in the safe - as - cotton - wool - padded - houses hands of Ron Howard (a close chum of one George Lucas).

Once Ricky and Hector, or Hec (Sam Neill)-- the latter an older bushman Bella cares for before she suddenly dies — go on the run in the wilds of New Zealand after child protective services seeks to return Ricky to a care home following Bella's passing, Paula reveals herself as more of a fanatical zealot than she let on in that first scene («no child left behind» is her frequent motto, which she utters in the film with seemingly unthinking reflexivity).

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.

The first scene in the film kind of gives the ending away and leaves you expecting it, but in a way that is a good thing considering what this film has in store.

Both characters have been conspicuously left out of Infinity War's first part, but the final moment of the film's post-credit scene suggests Brie Larson's Captain Marvel will be a key part in resurrecting this flurry of «dead» Avengers, and bringing down Thanos in the process.

Cast members of the 1986 movie, «Stand By Me,» from left, Wil Wheaton, River Phoenix, Jerry O'Connell (pointing) and Corey Feldman appear in a scene from the film.

His even more complicated relationship with Patsey (Lupita Nyong» o proving herself to be the film's scene stealer in her feature film debut), the «Queen of his field» demonstrates how McQueen doesn't leave a single character one - dimensional, and their respective demons and qualities are equally fascinating.

The film makes light use of a fairly heavyweight cast: Michael Douglas and Antonio Banderas in particular come and go, act in a couple fo scenes and then leave without making much of an impression.

But in keeping with revived franchise's goals of shedding the old to make way for the new, he meets his apparent end during the final act of the film in a scene that will undoubtedly leave audiences asking a lot of questions.

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.

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.

This image released by Fox Searchlight Pictures shows Sally Hawkins, left, and Doug Jones in a scene from the film «The Shape of Water.»

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).

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.

And despite one or two richly lit interior scenes and one sequence inside the Basilica of Santa Croce in Florence, the film leaves the spectator with an overwhelming impression of being entirely suffused with heart - lifting, open - air sunlight — not unlike, in this respect, some of the masterworks of Renoir or Rohmer.

One of the most breathtaking scenes in the film occurs after a karaoke night in a bar with the characters leaving together.

Although he did receive credit for the film, as he did direct about 70 % of the scenes released in the theatrical release of Payback, writer - director Brian Helgeland (A Knight's Tale) left the project before production wrapped.

Pictures left off in the eleventh hour run the gamut from the revolutionary Inuit banning fable Atanarjuat: The Fast Runner to the birth of the»80s Manchester scene 24 Hour Party People — films tied by a use of digital video that marks the beginning of a new viability for the format.

Chain - smoking and woozy but utterly committed to her actions, Larrain's mise - en - scene barely leaves the tiny shoulders of Portman for the film's running time.

The truth is, we have yet to watch the extended version of the film (it's eight minutes longer, and if we knew where those eight minutes were, we'd go straight to them), but if the deleted scenes in the Special Features section on the Blu - ray are any indication, the makers of «Horrible Bosses» left nothing in the bag, as it were.

The film opens with a scene in which Machete (Danny Trejo) and his partner, Sartana (Jessica Alba) are fighting off some baddies and seem to have been successful, when suddenly a masked man appears around the side of a vehicle and guns down Sartana, and then bails, leaving Machete alone and now even more morbid - looking than he previously had been.

The DVD features deleted scenes, about 18 minutes worth of footage, much of with the gods intoning their lines and most of it just as stilted as what's left in the film.

Directed with the equal energy by British director John Hough, whose lean, high - powered action scenes are energized by the dynamic, almost child - like performances of his thrill - addicted characters, it's a classic of seventies speed cinema, where car chase and stunt films were really about rubber hitting — and leaving — the road.

Left largely undiscussed here is the fact that the film is based on a series of graphic novels and, thus, employs panel - like transitions between scenes as well.

The opening scene at a drive - in is so brutal, so senseless, it creates an undercurrent of tension and dread that never leaves the film.

What especially resonated was the way the film's central quarry scene leaves you disoriented, untethered, in a kind of free fall.

Take away the love it or hate it score (it's jarring, but in its own way, it almost feels like it's a character itself) and the long stretches of dialogue - free footage (again, the praise for these scenes reeks of movie snobbery to me — five minutes is good, twenty minutes is puffed - up filler), and what you're left with is a film that showcases the downward descent of one man.

I really wish this scene was left in the film, it's so eerie and gives a real sense of fear.

Yet whereas the movie is most impressive during its final scene, its random conclusion leaves us feeling like there's a whole half of the film missing.

While the practical locations (largely shot in the area of Jodhpur in Rajasthan) are stunning, and the use of extras over computer - generated enhancements welcomed, the film is slightly let down by scenes where its actors are imposed into old Movietone reels, which you can't help but feel were best left out altogether.

The best scene of the film, by far, involves a tracking long take from a horizontal viewpoint as Marina walks screen left.

At first I assumed that this was going to be one of Clooney's films in which he pushes his moral and political views to the fore (think Good Night, and Good Luck, Michael Clayton or Up in the Air) and whilst Governor Morris» policies are clearly left wing wet dreams, the film's portrayal of what goes on behind the scenes is so negative that it practically negates all the good work Morris hopes to do when in office.

Woody's younger son David (Will Forte, in an understated performance that serves as the film's sympathetic core) arrives at his parents» house to hear from his mother Kate (June Squibb, stealing scenes left and right with her brash commentary) how miserable it is to live with Woody, who maybe has a year or two tops, she suspects, before he succumbs to some form of dementia.

The tediously forestalled twists suck away time from what should be the film's focus — its action — and leaves only two scenes worthy of celebration.

Though this is Aniston's movie, Adriana Barraza, so wonderful as Amelia in Alejandro Gonzaléz Iñárritu's «Babel,» in my view the best film of 2006, knocks out the movie's most comic scene as a woman who, like others in her boss's life, wonders why she didn't leave her rich employer months earlier.

The film's sudden shift to a spoof of Leave it to Beaver is jarring, but the home - based scenes do yield some amusing moments.

Jake Gyllenhaal is the hero and narrator, but is surprisingly subdued for much of the film (several individual scenes excluded), leaving the attention to focus predominantly on Jamie Foxx as his superior officer.

For example, Katniss» kinship with a young tribute named Rue is underplayed in the film leaving viewers a bit chilled by some of the emotional scenes that later take place.

That's followed by a 12 - minute making - of featurette, five deleted scenes (each presented with the optional accompaniment of the commentary crew), a fun and brief piece called «The B Team» that spends some time with three cast members (Juliette Lewis, David Koechner, and Kick Gurry) who felt left out after they joined the filming a few days late, a blooper reel, and a music video for «Put Your Head on My Shoulder» by Blue Mother Tupelo.

In its first few minutes, the film speeds into its inciting incident: In the blink of an eye, a barely introduced Watney is gone, and his crew mates (Jessica Chastain, Kate Mara, Sebastian Stan, Aksel Hennie and «Ant - Man» scene - stealer Michael Peña) must make the traumatizing decision to leave without him.

Though she isn't in the film long, McAdams leaves such an indelible impression through her performance that it gives Southpaw the needed emotional resonance to give all of the rest of the scenes that play out a good deal of weight, as we root for Billy, not because we see him as sympathetic, but because she believed he was a good man underneath his thuggish tendencies.

This last minute axe first started making the gossip rounds a few weeks ago, when the Daily Mail reported Sienna's scenes were left out of the final film.

Picking up exactly where The Force Awakens left off — with a recreation of that film's final scene and the proper funeral for a fallen hero — Episode VIII sees Rey (Daisy Ridley) continue her journey alongside Finn (John Boyega), Poe (Oscar Isaacs) and Uncle Luke (Mark Hamill).