Sentences with phrase «shot film opens»

This beautifully shot film opens on the solitary figures of Ahmed and his grandmother and the heavy sense of loneliness and grief is relentless throughout.

Not exact matches

The opening scene of «Spectre,» the latest James Bond film, centers on a Dia de los Muertos (Day of the Dead) parade shot on location in Mexico City.

NEW ORLEANS — Louisiana - made films are being shown alongside the work of filmmakers from across the world at the New Orleans Film Festival, which opened Thursday night with a red - carpet showing of the Louisiana - shot thriller «The Paperboy.»

Seeing a severed hand as one of the opening shots of a film meant for families probably would have been a difficult conversation to have with children too young to recall 1980's «Empire Strikes Back.»

He said the CNY film hub's location is convenient, because it's near major highways and surrounded by lots of open space for outdoor shooting.

If you plan to shoot or film here, I recommend getting there before the restaurants open, give or take 30 mins to an hour before.

The aforementioned opening shots of Snape look more like Impressionist paintings than a scene from a kiddie film.

Schindler's List is memorable for being mostly a black and white film bar the opening and closing shots, and the dash of red of a little Jewish girl's coat.

Casting light on the inherent contradictions between the public claims of Scientology as an applied philosophy and its actual practices, the film gives voice to these peoples» stories by inserting them as recurring reference points throughout the film, from its opening credits to its closing shot.

The film opens with shots of space, and stars forming circles and ellipses and eclipses.

Forster's manic editing style — at its worst in The Quantum of Solace (2008)- does turn that opening street rampage into a blithering mess of shakycam shots, reverse - swish - swoop pans and psycho - edits, but the film soon calms down, and there are several strong performances in the quiet scenes that buffer Lane's ongoing question for answers.

Yates recognizes that Snape's story is the core of this film, as well as the broader story, which in part explains why the opening shots are devoted to him.

Except for the bookends (its opening and closing scenes) and two other brief shots (the little girl in a red coat and candles burning with orange flames), the entire film in - between is shot in crisp black and white.

Wenders is clearly intrigued by the connection between Francis and his namesake saint, opening the film with a gorgeous time - lapse shot of the Umbrian village of Asissi, and even recounting the life of St. Francis in recurring black - and - white vignettes.

The very opening shot of Garland's film makes clear that the phenomenon of Area X is extraterrestrial in origin.

But Footloose version 2.0 can't be taken on its own merits: from the opening shot of the shuffling sneakers to its retro - licious soundtrack to the shot - for - shot recreations, this new film isn't just a remake, it's a homage.

With The Shining, Kubrick, from the opening shot, created a sense of dread and doom that I have never seen in another film to date.

Director Nimrod Antal opens the film with a quick punch in the nose; the audience's first shot is of Royce (Adrien Brody) unconscious and dropping like a rock out of the sky.

The film opens with a shot of the corpse of a young boy, lying face - down on a Mediterranean beach after drowning when a boatload of Syrian refugees sank.

The film opens with a shot of a planet being destroyed and then a look at the Silver Surfer, albeit only identifiable as a comet - like projection zooming through space.

The film starts promisingly, opening with a foreboding shot of a girl wandering through Griffith Park, scored with ominous guitar squalls courtesy of Black Rebel Motorcycle Club, who composed the film's score, setting the tone for a film much weirder and more interesting than the one that follows.

The film opens with a stunning, high - angle shot of an amateur football match that, had it been screened as a stand - alone short film, would have been a highlight of the fest.

As for «Short Circuit, «the film quickly disappoints after a cute opening sequence in which we see the army present a new breed of mechanical soldier able to dish out laser shots and withstand any firepower.

As we've seen him run down in the film's smartly scored, shot and edited opening moments, we know he's dead.

The film opens with retired ex-CIA agent Frank Moses (Willis, GI Joe: Retaliation) and his main squeeze Sarah (Parker, RIPD) having settled in to a relatively boring life, though she is obviously only interesting in more shoot - em - up adventures.

It also has some footage you haven't seen before, a digitally - altered version of a shot from the film (above, with extra details added to the painting) and a little bit of the awesome Can song «Vitamin C» that is used to good effect in the film's opening.

In what turned out to be one of the highlights at this year's CinemaCon was the stunning, 10 minute footage from Peter Jackson's new movie, the epic 3D film adaptation of Tolkien's The Hobbit (which opens December 14) that was shot at a frame rate of 48 per second achieving an unprecedented combination of uniformity and brightness.

The film, shot in Germany, recently premiered as the opening - night film of the Berlin International Film Festival.

Not only is this film elegantly shot, with a gorgeous sense both of internal textures and wide - open spaces, but it also features knockout performances from an especially fine cast while exploring serious issues from a...

Nevertheless, some beautifully shot scenes here (the opening sequence truly draws you into the film) and I enjoyed it.

The end shot is just downright bizarre, leaving the film a bit open - ended, perhaps thinking that a new series may have resulted.

Speaking to Variety's chief film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the film, the nonfiction book he discarded but still credited, the influence of real criminals and past films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist narrative.

For now, there is no definite conclusion on whether the disc is open - matte, pan-and-scan, a mix of the two, or presenting the Academy Ratio the film may have been shot for.

It's a film whose closing shot reflects its opening shot in a breathtaking way.

- Greenland - With sub-zero shoots on glaciers and frozen rivers, travel with the filmmakers to Greenland to meet the locals and experience the magnificent landscapes captured for the powerful opening of the film (Blu - ray only)

Yet despite this, the world that exists over Max's rainbow is a sumptuous one to behold and the film is beautifully shot (in Australia) masterfully capturing both scenes of vast open spaces and claustrophobic tight spaces.

The opening shots imply that the floridly romantic «style» is not necessarily that of the film as a whole, but an idea of the kind of visual representation a group of isolated, intelligent, impressionable, hormonal young women might make.

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

Such shots are frequently celebrated in film — think of Martin Scorsese's use of tracking shots over the years, or the self - parodying opening of Robert Altman's The Player — but critics rarely call attention to them on TV, perhaps because TV is more of a writers» medium, or perhaps because they're simply not as showy as others, often blending into the background.

The opening credits of the film are displayed while a camera shoots extreme close - up sweeps around a dead body which is currently being consumed by maggots and other bugs, and this should give you an indication of how unflinching the rest of the film is in the showcasing of disturbing acts of violence.

The flashbacks are shot conventionally, and about halfway through the film opens up to shoot scenes from both perspectives.

Pietrangeli's structuring logic proceeds from a philosophical, rather than character - based, foundation, causing a chill to pervade the entire film, even when the sun shines brightly on a desolate beach, as it does during the opening tracking shot.

That new perspective is the way the film looks like an action movie, filled with car chases and fights and shoot - outs, while behaving in a way more akin to a musical (For further evidence of the musical's influence, one need only look to the opening credits, which has the hero dancing around the city, as an assortment of visual gags highlight certain lyrics).

Even after watching the brilliantly effective first trailer — which opens with a slow tracking shot down a long, dark corridor — we have absolutely no idea what the film is about.

«Nobody shot that way,» she said of Edwards» daring camera, adding that the film may be the first time that someone died on screen, eyes open.

Its opening film is the British - produced mountaineering thriller Everest, featuring Anglo - American glamour in the shape of Jake Gyllenhaal, Keira Knightley and Josh Brolin; its competition strand has an impressive list of international auteurs, including Tom Hooper (The Danish Girl), Alexander Sokurov (Francofonia), Luca Guadagnino (A Bigger Splash) and Charlie Kaufman (Anomalisa); and a number of authentic coups, including the world premiere screening of Black Mass, the much - hyped gangster film featuring Johnny Depp as James «Whitey» Bulger, and a first look at Beasts of No Nation, the African - set war thriller that represents Netflix's most serious shot yet across Hollywood's bows.

Those films had a light touch, and so does «Trumbo,» which opens with a shot of the Oscar - winning screenwriter working on a script in his favorite location: the bathtub.

Somewhere is a movie that requires patience to watch and surely required patience to make.The film opens with a two - minute - long static shot of a sportscar circling a dusty racetrack.

The Galway - shot film «Pursuit», which had its World Premiere at the Fleadh this year, opens across Ireland on September 18th.

Unlike No Country, with its isolated figures, Burn After Reading takes full stock of the chaos wrought by human misdeeds, a fact underscored visually by the film's opening and closing shots of satellite images of the earth.