Sentences with phrase «set piece of the film»

He's a huge part of both of the major set pieces of the film.

Wade's interview process is one of the big comedic set pieces of the film; it's where Rob Delaney's Peter first shows up.

Not exact matches

Groups of young friends who go to see some of the more death - focused horror films in vogue of late will routinely take bets on which stock character will face a grisly end soonest, as when viewing the Final Destination series» a film series that is, essentially, the apex of the set - piece disaster horror movie as orchestrated by MacGyver.

Considering it's not a «Christian» film, it may surprise you just how much Christian imagery is featured in the story and set pieces of The War for the Planet of the Apes.

Considering it's not a «Christian» film, it may surprise you just how much Christian imagery is featured in the story and set pieces of The War for the Planet of...

It's a quiet film with no score and set during the height of the Civil War, but it's masterfully edited to be a period piece that keeps you glued to your seat.

Recent and upcoming releases include the romance - horror hybrid Spring; the hotly - anticipated The Look Of Silence, Oppenheimer's companion piece to The Act Of Killing; The Connection, a 70's - set true crime epic and European flipside to William Friedkin's The French Connection starring Oscar ® winning Best Actor Jean Dujardin (The Artist); The Keeping Room, from director Daniel Barber (Harry Brown), based on Julia Hart's acclaimed Black List screenplay, starring Brit Marling, Hailee Steinfeld and Sam Worthington; the multiple Cannes award winning The Tribe, filmed entirely in Ukrainian Sign Language with a cast of deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalOf Silence, Oppenheimer's companion piece to The Act Of Killing; The Connection, a 70's - set true crime epic and European flipside to William Friedkin's The French Connection starring Oscar ® winning Best Actor Jean Dujardin (The Artist); The Keeping Room, from director Daniel Barber (Harry Brown), based on Julia Hart's acclaimed Black List screenplay, starring Brit Marling, Hailee Steinfeld and Sam Worthington; the multiple Cannes award winning The Tribe, filmed entirely in Ukrainian Sign Language with a cast of deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalOf Killing; The Connection, a 70's - set true crime epic and European flipside to William Friedkin's The French Connection starring Oscar ® winning Best Actor Jean Dujardin (The Artist); The Keeping Room, from director Daniel Barber (Harry Brown), based on Julia Hart's acclaimed Black List screenplay, starring Brit Marling, Hailee Steinfeld and Sam Worthington; the multiple Cannes award winning The Tribe, filmed entirely in Ukrainian Sign Language with a cast of deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalof deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalof the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animalof 150 untrained lions, tigers and exotic animals.

His business provided some two dozen set pieces for the award - winning film «The Shape of Water.»

Use new pieces of cling film for each turkey cutlet and set them in a stack, still between the cling film till you've pounded them all flat.

8) London Film Museum, Covent Garden This cool museum in Covent Garden has an extensive collection of film artefacts, memorabilia and set pieces and scripts.

It's not a message that audiences will extract as a prickly needle from the haystack of situational (read random) comic set - pieces that the filmmakers play like trump cards from the bottom of a stacked deck, but it does anchor film's narrative boat.

The DVD even contains the oft - forgotten «In Search of Dr. Seuss», a full 90 - minute film which is basically a series of set - pieces linking a whole bunch of Seuss's stories together into something approximating a coherent narrative.

American Pie Presents The Naked Mile's latter half, as a result, moves along at a plodding pace that's compounded by an episodic structure, as the movie lurches from one ill - conceived set - piece to the next with little thought towards momentum or consistency - which inevitably does confirm the film's place as just another interminable waste of time designed to cash in on the original trilogy's success.

Having already directed the first two (and superior) X-Men films, Singer shows a level of comfort with both the material and the cast, and he contributes at least one brilliant comic set piece in which new mutant Quicksilver (Evan Peters) lays waste to a kitchen full of security guards in languorous, Matrix - style bullet time (it looks gorgeous and has the slapstick choreography of a Three Stooges routine).

After being chloroformed, Vivian wakes up handcuffed to a headless corpse, one of a series of grisly set pieces — an exploding brain here, a severed ear there — that are seemingly the film's raison d'etre.

There are a number of great set pieces littered throughout the film, each one very different than the next, although the opening attack on Philadelphia is probably the most exciting.

For all the little moments which successfully bring the Greek Myths to life, the film doesn't have enough dramatic energy to sustain itself, and its poor effects work against the power of its set - pieces.

The beauty of the film is its pace, which only stops to take a few breaths before it's on to the next set - piece, pushing Clooney and Kidman to remain in a state of distress for nearly two full hours.

The movie has some nice set - pieces, but the final result is a film which does a great job of introducing the character, but doesn't provide a very exciting ride.

This belated second sequel to The Three Musketeers is a rather slapdash, uneven patchwork of weak writing and sloppily directed set pieces that fails to recreate the magic of the previous films.

Featuring a screenplay by no less than five writers, Flushed Away has clearly been geared to appeal primarily to small children - as evidenced by the film's emphasis on action - oriented set pieces and distinctly broad bits of comedy (there's even a fart joke thrown in for good measure).

In other words, he's much better at effects - laden set - pieces than character drama, and this film is crying out for more of the latter.

What we get is a collection of moderately violent action set - pieces untroubled by humour or broader coherence... Forster, who directed the Bond film Quantum of Solace, has done his best to piece together a story from these incompatible parts, but the final product has an elaborate uselessness about it, like a broken teapot glued back together with the missing pieces replaced by parts of a vacuum cleaner.

Though Akel and Mass share writing credit, Chalk was actually shot in a loose, improvisational manner in the mode of Christopher Guest's films, and its best set pieces are like devastatingly effective pinpricks puncturing the Hollywood hot - air balloon of inspirational teacher / coach melodramas.

Of course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterOf course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopters.

It may not rise to the level of such a classic, but tonally it's reminiscent of Young Frankenstein, a work that at once parodied the Shelley story in broad comic terms while also being supremely in awe of the James Whale film, right down to using original set pieces and compositions to mirror without any form of irony the source material.

It is the film's most bravura set piece and features Coogler's signature one - take (as seen in Creed), capturing a brawl from all levels and sides of the casino where the trio ambushes Klaue.

Half the pleasure of giant - monster movies is allowing our suspension of disbelief to buckle like a bridge in Godzilla's path, and true to form, the film saves a few gonzo twists (including one especially outlandish bonus mutation) for the grand finale — an extended set - piece in which the three creatures converge on Chicago, which has typically gotten off easy where natural disasters are concerned.

All that mixed with the ingredients of a blockbuster film, a great cast, good humorous timing and spectacular set pieces makes for a very entertaining ride that works as a standalone film as well as part of the bigger picture.

Director Leitch, a former stunt pro lauded for his inventive action, never reaches the dynamic virtuosity of his previous films but ably pieces together a midpoint set piece set on wheels, tracking a speeding convoy through a busy city center.

But with all of the film's dark set - pieces, surrounded by dried - up corpses, I began to feel as if I was on a very long ride through Disneyland's «Pirates of the Caribbean.»

It's not only an introduction to Waititi's wit and sense of style, it also produces the film's first action set piece.

Unfortunately Antal's film working from a script by Michael Finch and Alex Litvak apes this buildup to a tee, but forgets two key elements: a great action set piece and a cast of memorable characters.

For «Mission: Impossible,» director Brian De Palma (an odd choice, considering all the gory films in his mostly R - rated filmography, most famously «The Untouchables») also has three elaborate action set - pieces — a suspenseful caper set at a posh party, an intense break - in at CIA headquarters in Langley, Va., and a ridiculous but nonetheless thrilling chase on top of a bullet train that is speeding from London to Paris.

Instead we are presented with an absolute turd of a film with shockingly bad «action» set pieces (despite not actually requiring major action set pieces for the plot), dreadful visuals that might as well be that «Gladiators» TV show complete with glitter and sparkles, a god awful thrash / heavy metal soundtrack just in case you forgot this film was suppose to be tough and your obligatory dire big name cast hot of the heels of other poor major blockbusters (yeah stick him / her in it, big name, can't go wrong, doesn't matter if they actually fit the role or not pfft!).

Yes, the visuals matter in every film, but set design and costumes are pivotal in the case of a historical piece.

Even when the film gears up for one of its many tonal shifts, from its Old Boy-esque hallway action set - piece in a lavish upmarket Georgian town house, to its intense abandoned warehouse finale with The Businessman (William Houston)-- who seemed to be channelling the foreboding gunslinger in Westworld, ensures the film has a wonderfully rich and engaging backdrop throughout.

Kumail Nanjiani, Emily V. Gordon, and Michael Showalter's unassuming romantic comedy is one of the year's funniest films, featuring some truly jawdropping one - liners and set pieces, but it's also so completely naked - hearted and raw that you'll frequently be weeping even as you laugh.

I came into the film with a certain «checklist» of things that I expected from a popcorn blockbuster like Transformers... explosions, great set - pieces, great battle sequences, amazing cgi and 3D, and of course beautiful women, and was hugely satisfied with the film.

Set in 1981 and executed in a style recalling both European and U.S. indie supernatural chillers of the late»70s and early»80s, the new film is a creepy mood piece that falters only by telegraphing some of its jump scares.

It feels as if there are at least a couple of scenes missing, including some big set pieces that might have opened up the film's world beyond Planet Zero, the Fantastic Four, their dad (or at least Johnny and Sue's dad) and Doom.

Parts of F6 are fun, but a convoluted plot, with terrible, frenetically chopped up action set pieces, and an overextended run time, make this film cumbersome and dull by the end.

Along with a constant stream of barbed humour, the film has an enjoyably knotted mystery plot and action set - pieces that feel like...

Ghost Protocol is solid action cinema that thanks to several thrilling, if over long set pieces, plus a healthy sense of irony is almost on a par with the first film.

• The Coens film of the same name may be the only movie I know of that had its genesis in a piece of set dressing for a prior film.

The killer moment: Skyfall skips from one brilliant mic drop to the next, but for all of its explosive set pieces, the film peaks with a simple shot of Javier Bardem sauntering toward our hero and regaling him with a story about cannibalistic rats.

Some set pieces are a waste of time in drawing the audience in, including the most uninteresting and unnecessary bicycle race ever committed to film.

The film is rooted in Hollywood classicism, populated with idiosyncratic characters who have plenty of room to speak and interact in between the action / horror set pieces.

While the plot is stretched out to within an inch of it's life, the film is saved by gripping and intense set pieces, wonderful direction and stunning cinematography.

Some of these are only implicit; during the film's big softball - game set - piece, I was staring dumbly at the screen, trying to figure out if the guys in tight, bulging shorts and / or cut - off, midriff - baring T - shirts were being subtly coded as gay, or if those outfits were simply part of the tough - guy fashion repertoire of the time.