Sentences with phrase «scenes of the film»

And the opening scenes of the film certainly feel right.

The final scenes of that film, when the two clash and then make up are something that most of us have gone through.

Now I hated the first scene of this film.

I did not want to write a review, but the last scene of the film made me do it.

However, the interactions with the women in his life are among the most tense scenes of the film.

His impressive skill and martial arts background make for the most explosive and enjoyable fight scenes of the film.

It doesn't quite all hold together in terms of making sense, as there are dream sequences mixed into the reality, and reality mixed into dream scenes of the film itself.

It's a continual guessing game up until the last couple scenes of the film, which makes the cinematic ride all the more enjoyable to sit through.

While it earned a lot of awards in the local city scenes of film critics it's a shame it didn't get a bigger spotlight.

The opening scene of the film is enough to assert his abilities.

The final scenes of this film are as disastrous as they are odd, and could only be more damaging to the film overall if the first two hours had been better.

Sadly, past the early scenes of the film, the presence of a politicised landscape tapers off in light of its atonal effect, leaving the viewer to wonder what wave of Killing Ground had been written to ride.

The best scene of the film involves Jenkins receiving two letters from Margo Martindale's now deceased character.

Perhaps the most memorable scene of the film comes during the exciting climax where Doyle is chasing a subway train containing his would - be assassin through the busy streets of New York City.

The opening scene of the film comes to N'Jobu and Zuri (performed through Denzel Whitaker on this scene and flashbacks, and Forest Whitaker afterward) making a plan to damage her out.

We've a 13 - minute look behind - the - scenes of the film as well as a featurette centring on «the story».

His internal monologue runs through opening scenes of the film with a level of skepticism that can only be called vicious.

A late introduction of the recently deceased Nigel Hawthorne (as a crusty theatre critic) only serves to heighten the distance the film gains on its increasingly dismayed audience — the key scene of the film, in fact, is one with Hawthorne gazing forlornly from his second - story window at two young lovers in embrace.

The anchor scene of the film, where Smith gets into a heated double - or - nothing battle with the great B.D. Wong at the Super Bowl, builds dynamically and stands on its own as one of the best scenes of the year.

It's specifically debilitating, and Collette's performance is one of intense physical (Her appearance in the later scenes of the film is particularly jarring for its authenticity) and psychological transformations.

It seems like a mashup of concepts we've already seen, but it doesn't make them less entertaining, but this trailer has done what I feel all trailers seem to do anymore and that is give us so many scenes of the film within the two and a half minutes that it leaves nothing to mystery.

In the most poetic scenes of the film so evocatively shot by Richard Wong, the ghosts of Lily and Snow Flower materialize in modern - day Shanghai.

The swimming pool has been a central part of Hollywood mythology since the dawn of silent pictures, a truth observed and then turned upside down in the opening scene of the film classic Sunset Boulevard.

But we aren't introduced to Defendor first; the introductory scene of the film instead presents the man behind the mask, Arthur Poppington.

The actors are really just playing themselves as far as their line delivery goes and the plot really doesn't go anywhere new, especially since the opening scene of the film rewinds through the entire film, showing every action beat, which was a really bizarre move.

Granted, I felt little sympathy for most secondary characters that were lost, but Harry's delving into Snape's memories (revealing the true colors of his character) is arguably the strongest and most poignant scene of the film.

Fans of the film will be aware that the long - lost scenes of the film were discovered in South America and restored to the film, rendering it nearly complete (running 148 minutes in Kino Lorber's Blu - ray release).

But more often than not, she's made subordinate to Blake; it's his intervention that starts to set her life straight, and the last scene of the film leaves her story sidelined to the point that she's only present so as to speak on his behalf.

Evangeline, do you feel you're speaking for all womankind getting their super moment in a very special scene of the film?

That my favourite scene of the film comes in its epilogue is testament to this sense of being in on the same inside joke.

Having read the books, we're aware of who's on which side and hazily remember how it all went down, but the film feels fractured there and anyone coming in cold (there must be one or two people in the universe who haven't read the books, after all) will likely spend the last few scenes of the film distracted as they try to piece together what exactly happened to Beetee (Jeffrey Wright) and why is Finnick there and was Peeta in on the plan or not etc, etc..

But in the mid-credits scene of the film, we saw that Thanos was about to board the Asgardian ship, making everyone wonder what type of carnage would follow.

The truly memorable and most gut - wrenching scenes of the film come in the form of found - footage (truly found fooage!)

If you stuck around until after the credits of Avengers: Infinity War, then you got to see the after - credits scene of the film — and what a scene it was.

Soon enough, Max has moved into an assisted - living facility and the best scenes of the film find him re-discovering life with the likes of Rance Howard, Lee Weaver and Mort Sahl.

The most potent scene of the film though is the ending, where, after having killed a dozen or so Sheriffs and National Guard soldiers, Rambo breaks down crying, admitting that he suffers from PTSD.

The primary question the film asks, echoed by Scotty in one of the best dialogue scenes of the film, is whether or not Starfleet is a military or a force for exploration: the actions of Section 31 and Admiral Marcus (a deliciously hammy Peter Weller) throw that initial mission statement into question.

Oscar - winner Octavia Spencer («The Help») is a throwaway casting choice as Amity Johanna (who has more of a role in the novels), and Oscar - nominated Naomi Watts has barely ten lines in the whole film (though she is gifted with the closing scene of the film — a scene that was drastically changed from the book).

J Quinton Johnson also excels as the young Marine charged with accompanying the gentlemen, and the best scene of the film features Cicely Tyson as the mother of a long ago fallen soldier who crossed paths with the three leads.

The only really funny scene of the film belongs to Ebon Moss - Bachrach, a yuppie prison architect who beds Lola while singing along to Ani DiFranco.

She blames Regina for his death; if you leave the cinema before the end of the initial credit sequence you will miss perhaps the only humourous scene of the film, showing the mother enact her revenge on her son's killer.

The glammiest scenes of the film are as wild as Haynes has ever gotten, with Maryse Alberti using stage lighting to dim everything around its roman - à - clef rock stars to maximum the chromatic pop of their outlandish costumes and the frenzy of their sexual liberation, which goes one further than the heterosexual revolution of the «50s and «60s by venturing into other orientations.

Silliest of all is the realisation that Jack has undertaken his journey not to save the good burghers of New York, nor even just to save his own son, but rather simply to prove that he can for once keep an appointment — making the final scenes of this film hilariously anticlimactic, as our hero is left with literally nothing to do except grin.

Wes Anderson is one of those directors who commands even scene of his films and surely every transportation device was planned.

The final scenes of the film hitch the publishing of the Pentagon Papers to the Watergate break - in, in case we weren't sure of the ramifications of what we just saw.