Sentences with phrase «scenes filming between»

Casting directors are looking for people who comply people mover passengers, town hall people, news crew, and EMTs for scenes filming between Tuesday,...

Casting directors are looking for talents to work on a scene filming between Octobe...

Not exact matches

Director J.J. Abrams recently revealed that between 10 - 20 minutes of scenes were cut from the film's final edit.

The antipornography fight gained its greatest momentum in 1975 with the appearance of «snuff» films in the U.S. Claiming to depict the actual killing and dismembering of female actors during explicitly sexual scenes, these films highlighted the link between sex and violence that frequently characterizes pornography.

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).

From the looks of the trailer, the entire film is one prolonged fight scene between enormous robots as an enthusiastic Charlie Day cheers them along.

This scene in the Kony 2012 video, between Jason Russell, a founding member of Invisible Children, and his son, Gavin, starkly symbolises the lost opportunity of the film as a consciousness raising tool.

Generally, one wonders if there's much point to a film which imagines private scenes between high - profile figures, the veracity of which we'll never know.

What we do know is there will be a sexy Kate Upton skimpy bikini scene (not exactly surprised there), a chest - bumping showdown between Cameron and Leslie, and the highly - anticipated film debut of Nicki Minaj.

With scenes in Technicolor, this artful film was intended as the first of two — until its controversial release further widened the rift between «Von» and Hollywood execs.

The action scenes highlight Rodriguez's trademark ability to choreograph firefights and explosions, but they're doled out with uncharacteristic stinginess between long stretches of exposition that clear up much less than they should, as the film builds toward a climax featuring some strangely underpopulated riot action.

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.

Still, the film never quite nails down an overall tone, building to two powerful scenes closing out the second act and warming up the third: one between Gerry and his ex-wife (Robin Weigert, looking nothing like «Deadwood's» Calamity Jane) heartbreaking and tense, the other at a sparsely attended horse track with Gerry and Curtis seemingly all but solidifying their own sad fates.

The scenes between him, Wilkinson and their clubby buddies are the film's best, although two key speeches written for Hunt, significant diversions from the original play, are brave efforts by Himelstein to bring meaning to the adaptation.

He can barely hide his anger at Ira & Christine's presence, as well as Ira's apparent wealth (unfortunately this is the beginning and end of the film exploring class tensions between the two couples), making his presence add a slight amount of unease to some scenes.

Little more than boring extended battle scenes between the two, framed by the killing of teenagers who usually deserve their demises, Freddy vs. Jason is one of the year's worst films.

Except for the bookends (its opening and closing scenes) and two other brief shots (the little girl in a red coat and candles burning with orange flames), the entire film in - between is shot in crisp black and white.

The key to the film is the chemistry between Reynolds and Bateman, who work off each other but can also be very funny in their own scenes.

The film plays up the sentimental aspects of the book far too much, especially in the mirror scene with Voldemort and the bedside chat between Harry and Dumbledore.

Spielberg leaves too much on the table between the two characters, especially in a film that earns the right to breathe for a few seconds, but Streep shines in these scenes all the same — this is Spielberg's first female - driven film since «The Color Purple» in 1985, and the actress is eager to make up for lost time.

Some of the banter between Ruth and the jaded cop named Det. William Bendix (Gary Anthony Williams, TMNT: Out of the Shadows — yes, William Bendix, like the classic film actor) on the case offer some insights on where the film could have found its comedic spark, but even those scenes lose flavor when we see that cop break down in anguish because of his own personal relationship issues bubbling up to the surface.

The script tries to do way too much, but the film also moved me quite deeply a couple of times, mostly in the scenes between father and son.

Trivia buffs and diehard fans of Elia Kazan's On the Waterfront will know that the non-speaking cab driver in the film's famed «taxicab scene between Marlon Brando and Rod Steiger was noted character actor Nehemiah Persoff.

Her name is Roxane (Rosario Dawson), a Babylonian girl, and though the only sex scene in the film is between her and Alexander, it is never suggested that he actually loves her.

A few minutes into director Steven Spielberg's Lincoln, immediately following the notoriously awkward scene between the 16th president of the United States and a pair of African - American Union soldiers, is a brief moment of horror expressionism that greatly informs the remainder of the film.

For though «Insurgent» can't quite do without its pro forma personal moments between characters (the film even includes a sex scene so chaste it wouldn't have disturbed Doris Day in her prime), its heart is not there but in its action sequences.

It achieved success, despite being shown in 811 theaters worldwide and having a relatively low box office gross.The film's love scenes between Colin Farrell's character and the then 14 - year - old Kilcher caused some controversy, resulting in the film studio deleting several scenes with Farrell to avoid child pornography accusations.

Stone's misguided efforts to turn Alexander into a drama of Shakespearean proportions undoubtedly plays a big role in the film's wildly uneven tone, which flits wildly between talky period piece and flamboyant melodrama (often within the space of a few scenes).

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.

From the beginning the film jumps right into their roles without establishing any background beyond a sex scene between Mr. Foster and Jena Malone, who plays his sometimes girlfriend Kelly.

A climactic encounter in a swimming pool, underscored by «Total Eclipse of the Heart,» provides arguably the film's most iconic kill, while an exceptional, near - wordless scene between Henderson and the Man in the Mask dances delightfully along the border between dread and farce.

Among many others, the scene with The Dude morphed onto a bowling ball and rolling down the lane - between the legs of a horde of beautiful women - and to some groovin» music - may be the funniest and most surreal thing I've ever seen in film.

In between those two scenes comes a wonderfully crude film (we're talking Superbad levels of raunchiness), but one in which the overall vibe is sweet: kids patiently waiting for their parents to grow up already.

On Geena Davis (a rare tangent into the living, precipitated by his memories of Oliver Reed on Cutthroat Island): «Perhaps in a long laundry list of ludicrous events I have witnessed on film sets, the one I most treasure is watching my leading lady having her makeup and hair assiduously attended to between each take of one scene.

From an opening scene in a prison fist fight to a staunchly bland climax finding him lost in an «unknown» realm when he's forced to shrink himself to fit between molecules (something resembling the resting place of Big Hero 6 mixed with the twilight hour of James Wan's «further»), Scott Lang is never a fully fashioned personality, some accidental prototype linked with schlocky zeal to the film's other do - gooder via a conflicted father / daughter bond.

Another portion of the film where Stewart shows real skill as a filmmaker are the scenes between Bahari and his father.

From the moment we're introduced to the war between the Assassins and Templars, the film never lets up, and scene bleeds into scene, much like a Christopher Nolan film, before the film just abruptly ends, and you realise you never got a chance to catch your breath.

The initial sex scene between Douglas and Stone is as explicit as anything ever filmed in mainstream Hollywood, yet it is crucial to their relationship, and as far away from pornography as one can possibly imagine.

Between the heavy voiceover narration, the multiple literary lectures (Scott Speedman turns up as the teacher who provides the allusions), and the stilted scenes of Bolger and her friends hanging out, the film plays like TV - movie gothic, plodding along to the expected revelations and bloodlettings.

The battle scenes between the military's exosuit army and the mimic aliens are the absolute highlights of the film, delivering what feels like a technologically upgraded battle from World War II.

«That» scene that you've no doubt been teased between Williams and Affleck works so well not for being the sob - inducer the poster and critical hosannas promise, but for being the thesis of the film and its central character for how it avoids that kind of response.

The Music Lovers is divided between scenes of horror and scenes of decadent but hypnotic romanticism; that tension gives the film its extraordinary impact.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

Rear channels get a nice workout during the abovementioned roller coaster sequence, but in a film lacking anything resembling pyrotechnics, the soundtrack mostly splits its time between reproducing Fenton's noxious compositions and trying to accommodate the whining of both Aniston and Alan Alda (as Nina's pop) in one speaker - busting scene after another.

Yet the film remains true to McEwan's intellectual preoccupations with different kinds of love, and has lost none of the novel's most memorable elements: the plays on the ambiguity of the title, the arresting first scene, and the strange dynamics of the relationship between Joe and Jed.

David Holmes «score pulses and blatts with style — it's half Lalo Schifrin, half John Barry — and the film is full of long - take action and pursuit scenes where you only realize how superbly and meticulously choreographed they are after the fact when your pulse has cooled enough to let you count the long moments between edits.

Resnais constantly blurs the line between fantasy and reality shifting the actors from the couch where they watch the filmed play so that they take an active role within stylized dreamlike scenes, where the fiction of the play becomes their reality.

They share a scene alone in which a hidden truth is shared between them; I saw the film some time ago but still get choked up thinking about that moment.

The film asks this Thanos / Gamora dynamic to carry a lot of weight — too much, in the end — and scenes between them never manage to land with the impact the filmmakers want them to.

The narrative framework for the story is clunkily handled, giving the audience a barrage of exposition, and the switches between the courtroom scenes and the flashbacks that make up the bulk of the film are also slightly heavy - handed.