Sentences with phrase «section of the film plays»

The center section of the film plays the comedy of the scenario for just about all that it's worth, and the playful tone of Tony's plan coming to fruition is a pleasant interlude between the tonally disparate sections on either side (As a reminder of the threat on the other side of the world, Affleck intercuts the read - through of the screenplay with a mock execution in the embassy basement).

Not exact matches

Yesterday, the streaming giant went a step further and confirmed that none of its films would play in any of the festival's sections.

Helmed by Chapman Way and MacLain Way and featuring multiple appearances by their uncle and former Maverick himself Kurt Russell, the docu launched in the Documentary Premiere section of this year's Sundance Film Festival on January 20... In play right now with several buyers at Sundance, according to sources close to the film, Battered Bastards chronicles how in 1973 Bonanza actor Bing Russell formed what at the time was America's sole independent baseball team.

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

A smattering of extras begins with a deleted scenes section that more accurately details abandoned concepts for the films; running 12 minutes when «play all» is selected, «All Things Deleted» includes intros from producer Pam Marsden, Disney Toon executive Jeff Howard, and director Matthew O'Callaghan that never once make mention of the precedent - setting nature of the production!

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Annika Berg's Team Hurricane [+ see also: trailer interview: Annika Berg film profile] is an exciting, radical punk film about eight Danish teenage girls that played in the International Critics» Week section of the Venice Film Festival.

Her character still occasionally bumbles her way through some situations, and there's a section of the film where McCarthy's Susan Cooper has to play up her aggressive side in order to fool a villain into believing she's a hard - edged security professional.

It bypassed the fall festivals on its way to an April release but somewhat unexpectedly popped up in the Spotlight section of the 2018 Sundance Film Festival, a section of the event that's devoted to films that played elsewhere and also included TIFF hits «The Death of Stalin,» «Beast,» «Sweet Country,» and others this year.

There is also a narrator during this section who never returns again in the film and the music, indebted heavily to Danny Elfman, comes on way too heavy here, playing every note of Maguire looking for the raccoons like Elmer Fudd hunting Bugs Bunny.

No, not Fiennes» — that of Rosemary Harris, who plays Sonnenschein / Sors (the name that the family comes to adopt) matriarch Valerie in the film's second and third sections (Harris's real - life daughter, Jennifer Ehle, portrays Valerie in the opening section).

Both open with abortive space - docking action set - pieces, both involve brief explorative sections aboard the alien Derelict cruiser, and both tread the same hallowed ground of their source films with reverence that is sometimes so close to the films that it can be like playing someone's fan - fiction, in which they insert themselves into the story of the game as a way to replay the movie with themselves in the lead.

While its inclusion is worthwhile, it's best to view it on its own in the Bonus Features section rather than play it along with the rest of the film (that option is presented after selecting «Play» from the main meplay it along with the rest of the film (that option is presented after selecting «Play» from the main mePlay» from the main menu).

CBGB is titled after the Bowery - section, East Village Manhattan nightclub established by Hilly Kristal (played in the film by Alan Rickman, The Butler) in 1973, mostly known for being one of the first places to break in many American punk rock and new wave acts.

For the 2018 edition of the festival, 37 percent of the 122 feature films premiering are directed by women, a slight uptick from last year when 34 percent of all films were helmed by female directors (in years past, the average has hovered around 25 percent), and their contributions were prominent across all sections, with women debuting films in not just the competition sections, but also in the forward - thinking NEXT section, the wild Midnight category (which played home to the long - gestating anthology «XX,» featuring four shorts directed by women), and even the starry Premieres docket.

Juggling upcoming roles and sweetly new to the world of press junkets and promotion, we spoke briefly with Garner at the Berlin Film Festival where the film played to a very warm reception on the opening night of the Generation Section.

Though it might seem at odds with the orchestral motif that figures Suzy and Sam as instruments waiting to play their part, this deferral of their meeting gives the film a welcome improvisatory spirit in its most important section, which details their coupling away from families biological and surrogate.

Broken into three sections, the film chronicles the life of black gay American, Chiron (played during the adult section by Trevante Rhodes) and the lives of those close to him.

Black, who plays a drug - flummoxed hospital orderly, dominates the entire central section of a film which feels more like a collection of over-heard anecdotes than anything else, an odd record of an era's misconnections and failures - personal and touchingly wounded.

Audiences coming to Alain Guiraudie's Cannes Competition entry Rester Vertical after his break out hit Stranger By the Lake (which played in the Un Certain Regard sidebar in 2013 and won best film of the section) are likely to be puzzled, perplexed and possibly peeved; long time supporters will likely...

Taylor - Wood shot each section of the orchestra in different takes and these individual films will be projected onto multiple screens within the gallery space, playing with the viewer's spatial perception of both the music and each section of the orchestra.

Playing alongside the exhibits is a spoof horror film, created by McCarthy and his team, and using sections of the installation as their set.

At PULSE Art Fair at Indian Beach Park, view new films on the subject of power in the «PLAY» section, curated by Jasmine Wahi and Rebecca Pauline Jampol.

As far back as the 1950's, when instructional science filmmaking was in its heyday, Frank Capra did a film on weather and climate that included a section on carbon dioxide and global warming that plays like a compressed version of «An Inconvenient Truth,» replete with flooded American landscapes and crumbling ice sheets.

I'd seen this film a long time ago but when I saw it again this time, I had a much better appreciation of the Aboriginal way of being and the thing that really struck me in this film was there was a section of the film where they were going to do this aeroplane song and dance corroboree and they were getting ready for it and you know there are all these Elders and you know very wise and respected Elders you know making their costumes they were gonna wear, talking about how it was gonna be and in amongst all these people there's little children you know of one 1 or 2 or 3 years old who were just crawling around and you know watching and listening, trying on their head - dresses and they were completely welcomed into that adult community, there was no sense of, you know this is grown up business, you kids go off and play which is very much the western model.