Sentences with phrase «scenes of the film so»

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.

Not exact matches

Mead calls this rather absurd scene — that of filming people watching film — the ultimate manifestation of Bridezilla culture: «an exercise in self - regard so grandiose that it has collapsed in upon itself.»

So we were watching the newest installment of the Chronicles of Narnia film series — Prince Caspian — the other night, and I found myself growing increasingly uncomfortable with the use of a Christ - figure (Aslan) in battle scenes.

Dinish is well at home with the GOP crowd «For there is no faithfulness in their mouth; their inward part is very wickedness; their throat is an open sepulchre» (ps.5: 9), but God is «not a God that hath pleasure in wickedness» (ps.5: 5) and so although Dinish and by extension the GOP don't care who they hurt with their lies and behind the scenes dirty tactics like that silly film, they are cautioned not to include the name of God in their wickedness.

Fast forward to today, and DigiSpecMedia have recreated the film, scene - by - scene (or as good as given limitations) using Assetto Corsa «s new Dream Pack 1 content, which just so happens to include the McLaren P1 and the ribbon of tarmac infamously known as the Green Hell.

So if we can increase the percentage of women working behind the scenes on films, not only will women's voices be heard more, but we'll see a result on - screen in an increase in the percentage of female characters.

His influence has been so phenomenal over the years that for example, the legendary boxer Sugar Ray Leonard said he developed his amazing speed by emulating the fight scenes of Bruce Lee's films such as Enter the Dragon.

Then, over phone calls, not so average first dates of midnight showings of «The Big Lebowski» (Lord knows I love a good weasel in a bathtub scene), actual theatre screenings of my favorite film «Gone with the Wind» accompanied by my most adored meal out — diner grilled cheese with a milkshake (Yes, really.)

On our last day of filming for THE OUTNET in New York, I wore this dress in one of the scenes and it was so pretty that I couldn't help but wanted to share it with you in a blog post.

I envisioned This Land Is Mine as the last scene of my potential - possible - maybe - feature film, Seder - Masochism, but it's the first (and so far only Saraswati (Sanskrit: सरस्वती, Sarasvatī) is the Hindu goddess of knowledge, music, arts, wisdom, and learning worshipped throughout Nepal

Commentary Track: Director Anton Corbijn does spend a fair bit of time explaining the more nuts - and - bolts side of the film — how this scene was film, and where, and so on.

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.

We also have Catherine Denueve's lonely housewife who is so starved of any meaningful connection in her life, that she falls in love with a gorilla and enters into a relationship with it - leading to the films most hilarious scene when her husband walks in on them post coitus.

The scene restores the elegant facade of their lives, which this film has so violently shattered.

Of course, there is pleasure in talky scenes à la Tarantino, but this Korean film, directed by Kim Ki - Duk, driven by body language and nuance, does so well without them.

Made by some of the people responsible for «Wallace & Gromit: The Curse of the Were - Rabbit,» this computer - animated film could use a strong dose of Ritalin — some of the action scenes are so frenetic that it's hard to figure out what's going on.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

Just as Jason Reitman's «Up in the Air» — a film that took a mildly more sanguine view of the past decade's far - reaching financial crisis — made its viewers endure repeated scenes of humiliating personal disenfranchisement at the hands of corporate America, so does «99 Homes.»

It's as if Reybaud wants to put in every scene and character he has ever thought of in one film, and so his two main characters get lost.

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.

Good things tend to come when Michael Winterbottom works with star Steve Coogan (24 Hour Party People, Tristram Shandy, The Trip), so we're happy to see Coogan starring as infamous British pornographer, club - owner, real estate developer, multi-millionaire, and so - called «King of Soho» Paul Raymond in a dramedy that spans decades and includes scenes shot in black - and - white and color, constantly changing to match the film styles of each period.

For his elaborately choreographed fight scenes, Canutt developed a new, more realistic method of throwing punches, positioning the action so that the camera filmed over the shoulder of the actor receiving the blow, with the punch itself coming directly toward the lens.

While Gens can splatter gore with the best of them — early in the film, a human body packed with C4 goes off in graphic detail — he fails to stage so much as a single rousing action scene, even when he has four double - fisted swordsmen facing off inside an abandoned subway car.

Zhao films this in a long, loving scene, showing Brady's long - learned skills, a knowledge of horses that is simply so deep and practiced that it's like watching a great musician.

As they recite their vows, Ana's smiling pledge to honour and respect her husband stirs up memories of the famous contract scene in the first Fifty Shades film, in which Ana formally signs up to Christian's sadomasochistic hobby, agreeing in writing to «always conduct herself in a respectful manner to the dominant», and so on.

A disastrous film that wants to be more complex than it should be, coming up with more and more unnecessary details at the expense of simple concision, and so the obvious, predictable narrative gets lost amid contrivances, implausible scenes and plot holes the size of Africa.

The film constantly plays with expectation like this; for both fans of the comic and the first film there is a lot of cleverness at play here and so many types of jokes stuffed into a single scene that repeat viewing will surely be required.

By the time we get to the bar scene, we're willing them to get with things so much that we don't really mind whether they grow as people or not, and at the end of the film everything goes (more or less) back to the way things were.

The story of what went on behind the scenes was as interesting as what ended up on the screen — if not more so — as the world learned when Greg Sestero, a star of the film and compatriot of Wiseau, pulled back the curtain in his 2013 book The Disaster Artist, in which he chronicled his life as a friend to Wiseau and the ridiculously lengthy and taxing production of The Room, while also trying to shed some light on the legend of Tommy Wiseau.

The film's disappointments lie not so much in Almodovar's controlled, respectful direction as in the strange gaps and displacements of his screenplay, which never seems to supply the scenes we most want to see.

In the film's final act, the screenplay serves them up what might otherwise be a moment of real conflict, but Roth's direction seems so blithely uninterested in anything but eagerly justifying Willis» violently sadistic rampages that the scene plays as limp and useless as a vestigial tail.

Unsurprisingly, Persepolis has attracted the wrath of the Iranian government, but more captivating than the film's depictions of cultural repression (a scene where Marji, out to buy a black market Iron Maiden album, is beset by weasel - bodied female Guardians of the Revolution because she wears a jean jacket and «punk» sneakers is but one well - handled example) are its more understated portraits of Iran's intellectual elite, at once removed from the proletariat it so pompously champions and sadly delusional about the real threat of the fanatic trajectory of the revolution.

There's a scene in Bryan Bertino's film «The Strangers» that handily encapsulates the film's nervy brand of terror, one so good and simple that it served as the film's poster image when the 2008 feature first hit theaters: it's Liv Tyler, standing alone in her kitchen, looking out into what seems to be — what should be — an empty house.

While I enjoyed The Wedding Plan, some of the dialog - heavy scenes went on too long... Even so, this one is highly recommended to a discerning audience for independent films.

To be sure, all of these scenes are in the finished film (why do some trailers have so much discarded material?

The silliness of The Substitute escalates as the film progresses, so that by the end there have been plenty of laughs during «serious» scenes.

Filming scenes all over again required not just having him around so computers could play magic, co-stars Mark Wahlberg and Michelle Williams had to return to the set, money to the reported tune of $ 10 million dollars, was spent on the re-shoots, editing and revamping of the PR campaign.

Correlative footage for many of the trial scenes exists in the first Paradise Lost film; the waxworks reenactments are so robbed of immediacy that they seem almost trivializing.

Even though it tells a simple tale, has only two main characters and features several scenes that are mostly silent, it is more moving, more memorable, and just so much BETTER in every way possible than 95 % of the films I see each year.

There's no tension, no forward narrative, more cliches than a Roland Emmerich film, no proper establishing of scenes or the geometry of said scene so you can work out where everyone is and what needs doing and some piss poor acting.

Chris Pratt and Bryce Dallas Howard are returning along with an island full of unwanted beasts and for those who worried the last preview focused on just the bigger action scenes, this one has some of the more intimate creepy sequences that made the original film so successful.

The Aviator is a well made film, and one of the year's best, with enough great moments to make the three hours not seem so long, although some trimming down of certain characters and scenes could still be done (Jude Law's cameo as Errol Flynn seems to be just an excuse to get him in the movie for a few minutes).

A murder in the surf reminds so much of Mann's climactic sequences from Manhunter that it could be a lost scene from that film.

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.

is a highly entertaining film, not because it's good, but because it piles on so many layers of B.S. that one can't help but laugh during almost every scene at how unbelievable it is.

ANTITRUST is a highly entertaining film, not because it's good, but because it piles on so many layers of B.S. that one can't help but laugh during almost every scene at how unbelievable it is.

«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.

During the interview, Hooper talked about if he felt any pressure following up Les Miserables and The Kings Speech, the experience of making a film about transgender issues when the subject is so timely, when he first realized Redmayne and Vikander would deliver such tremendous performances, deleted scenes, how his first cut compared to the finished film, if he's conscious of making «awards» films and whether he want to break out of that, future projects, and so much more.

Naomie Harris said she doesn't smoke or drink, so for the film's latter scene when Chi» ron comes to visit her and she's trying to light the cigarette, she didn't know that director Barry Jenkins had pulled Trevante Rhodes aside and told him to take the cigarette out of her hand, so what we see on screen in that moment was improvised on the spot to come to her rescue.

In a film so manipulative and wrongheaded on so many different narrative levels, for this gem of a scene to emerge and produce real tears from a character barely written in to the story is a welcome surprise.