Sentences with phrase «section of the film where»

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's hard to tell if it was a function of the digital camera — or the online screener on which the film was made available to us — but the sections of the film where cinematographer Ryan Samul uses a warm color scheme have so many artifacts they look positively out - of - focus.

Coogler continued, saying, «There's a whole section of the film where T'Challa is out of the movie and you're just following the women.

Then there is the whole middle section of the film where Bana and his crew rip Europe apart as they look for the terrorists responsible for killing Israeli athletes at the 1972 Olympics.

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.

Not exact matches

Neither fast nor furious, this film belongs in the section of the supermarket where blah - white labels and big block lettering denote brandless cigarettes, vodka, crushed pineapple and, in this case, action picture.

Vazhakku Enn 18/9 (Case No. 18/9, Balaji Sakthivel, 2012) A gem in Tamil film history, a film where the rich and poor sections of the society cross each other.

Earlier in the weekend a Sundance programmer introduced a film in the festival's Next section by saying, «It is the best section of the festival where we show the coolest movies.»

Adam Arkapow, the talented director of photography who has worked with both Kurzel and Fassbender in the past, creates an exceptional pallet of colour for the look of the film, especially for the scenes set in the 15th century — a section where the film is at its absolute best.

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.

The plot - dense film scripted by Gutierrez and Doug Langdale opens with sassy museum tour guide Mary Beth (voice of Christina Applegate) leading a group of unruly students to an off - the - grid section where the magical Book of Life is stored.

She got her chance at the University Of Iowa, where she double - majored in journalism and film, started freelancing reviews to the university's newspaper, and wound up running its Arts & Entertainment section while giving herself a crash course in cinema via VHS and Roger Ebert's Movie Home Companion.

Although there's a certain skeeziness in the discussion of getting young girls to be naked for your picture and in a moment where Soisson (I think) compares part of the film to Salvador Dali's artwork (both sections reminding of how quickly these things can descend into ugliness or arrogance), it's otherwise a relatively painless track.

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.

«I am a Flatbush girl», first - time feature director Eliza Hittman said proudly at the world premiere of It Felt Like Love in the Next section (it later went to Competition in Rotterdam), and, while not entirely autobiographical, the film draws from her experience of growing up in this largely working - class neighbourhood of New York City's most populous borough, of these endless summers where you have to escape to the sea with your friends for fear of melting like the asphalt under your feet.

But even then, the film remains a consistent visual treat (the computer animation is more inspired in this section, with the grown - ups depicted as a colorless, zombified mass of tall, narrow bodies) and always echoes Saint - Exupery's core theme of looking at the world through the hopeful, uncorrupted eyes of a child, where sometimes what appears to be a hat may in fact be a boa constrictor with an elephant inside.

Koch introduces seven deleted scenes as well as the section for them, where we uncover a less incoherent version of the film's car alarm set - piece, as well as one «Three's Company» scenario too many as Paul, wired for eavesdropping, fakes being a devout Christian to get out of sex with Karen.

That is to say, it's primarily about that lumpy section of the film shot in Iceland, where good snow proved surprisingly elusive.

It's that middle section where a certain Hungarian filmmaker wins the foreign language film award or the director of a little - seen short injects mania and uncompromising glee into an evening full of been - there - done - that Meryl Streep stares.

Apparently Dr. Banner himself, Mark Ruffalo, was seen hanging out in the VIP section of a club in Berlin, where Captain America: Civil War has been filming.

It also delivers some prolonged «dry periods» where jokes fizzle repeatedly, and sometimes unfunny sections of the film drag on mercilessly for minutes.

Ahead of the film's World Premiere as part of SXSW's Midnighters» section, Screen Rant sat down with Shipp and Hildebrand to talk Jeffrey Dahmer, representation, and where Tragedy Girls might go next.

This is the first time that Zombie has debuted a film at the world renowned Sundance Film Festival, where the Midnight section is notorious for being a «special showcase of the most challenging but rewarding film experiences from around the world brought to you at the most arduous hour.»

And now, with The Florida Project — one of the most highly buzzed - about films at the 2017 Cannes Film Festival, where it premiered in the Directors» Fortnight section — Baker's skill as a loving humanist chronicler of America's garish forgotten places has ripened into something truly marvelous.

Not everything works (a running gag where Bobby's beverage bottles keep on breaking before he can drink is especially lame), but for the most part this section of the film is a demented hoot, galvanized by some great character work by the supporting players.

It took the protests at the May 1968 festival and the demands of festival critics like Jean - Luc Godard, Eric Rohmer and François Truffaut to not only close down the festival that year but create a parallel section of films — the directors» fortnight (Quinzaine des Réalisateurs) where the reputation for auteur film was established.

Scott Tobias is the film editor of The A.V. Club, the arts and entertainment section of The Onion, where he's worked as a staff writer for over a decade.

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.

The Sundance Film Festival's Spotlight section is a curated set of mostly foreign films that have already made the rounds at other major festivals, where...

Iris, his profile of fashion icon Iris Apfel (and a film seemingly akin to his iconic Grey Gardens), has recently been released in cinemas in the United States, whilst his final film, In Transit, has gone the festival route, premiering at Tribeca, where it received a Special Jury Mention in the World Documentary section of the festival's program.

Unlike the rest of the game where you can take your time to consider your choices and weigh your options, from your lofty position of director atop a film set, the «DO N'T MOVE» sections drag you into these characters.

Apart from the film, the exhibition presents many different items: on - the - spot sketches, preliminary drawings, storyboard, collages, ink roughs and watercolours which fill out the project's origins and development; portraits of riders and of costumed horses and the actual costumes used on the day, as well as sculptural installations where images from the film are printed onto sections of car bodies.

Sections of the film recounting her trip back to Germany (where she and her sister were born before being smuggled out in 1938 as the threat of Nazism loomed) and her father's death make clear how debilitating her pain could be, but also how she was able to make sense of and move beyond it.

For example in this installation, the orange and red hues of the interior wallpapered sections of plywood recall Alfred Hitchcock's film Marnie, where the director used a red overlay on the screen to signify a triggered memory of a repressed traumatic event.

Ostensibly composed of sections of found film, it is set in Dublin, with its main focus being the Formal Gardens at the Royal Hospital Kilmainham, where IMMA and their exhibition are located.