Sentences with phrase «shot of the film shows»

The sole laugh I could muster at all of the sophomoric shenanigans came though an unintentional sight gag: the final shot of the film shows a skunk (another DOA recurring gag) looking directly at us.

Not exact matches

According to a behind the scenes featurette for the film, Bay used the spinning shot to attempt to show both sides of the shootout without cutting away.

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.»

Mr Trump is shown 10 minutes into the 51 - minute film making his December call for the US to bar all Muslims, in the wake of deadly California shootings in San Bernardino on 2 December.

BASC North regional officer Gareth Dockerty said: «The film shows how upland gamekeepers and those involved in the provision of land for shooting engage with their communities to manage sensitive habitats in a sustainable way for wildlife and people.»

The film shows Louise — whose book The Ethical Carnivore detailed two years of eating only the meat she killed herself — shooting a wigeon on her first ever wildfowling trip.

The film, which premieres tonight at the University of Wyoming in Laramie, will be accompanied by a touring photo exhibit showing black - and - white shots of some 40 female scientists donning beards, by photographer Kelsey Vance.

More than four years in the making, the 11 - episode series is crafted from more than 3,000 days of film shoots utilizing state - of - the - art equipment and techniques, and it shows.

It is wider than it is tall, and it is packed with an incredible amount of information about the old MGM studio in Culver City, complete with a list of what films and television shows were shot on which backlot sets.

I first have to say that the film is beautifully shot with some really great imagery showing the bleakness of the landscape and allusions to many of the characters.

While most parody spy films have the bumbling lead given understanding, OSS is shot at, kidnapped, and shown no mercy, even in the face of his romantic lead, portrayed by the gorgeous Berenice Bejo.

Despite the PG rating, this film briefly (but heavily) implies teens are partaking of illegal drugs, and contains cigarettes (a brief shot shows a smoke smoldering in an ashtray) and alcohol use as well as brief drug references.

Most of his appearances of the»50s were in Italian or European productions that seldom saw the light of day in English - speaking countries, though he later showed up in a number of Hollywood - financed films which required Italian or Spanish location shoots.

Going in step with the film's game vs. reality plot, several establishing shots have a tilt - shift effect, as if beginning as miniature diorama models on a game board, and a continuous shot of the group of friends playing a game of keep - away with a black - market Fabrege egg — a McGuffin — through every room of a mansion is a tense, energetic, elaborately choreographed bit of showing off.

Also impressive is director Wenders» use of his and Lisa Rinzler's shoots in Assisi, black - and - white, deliberately faded and silent film, showing an actor playing St. Francis who at the key point in his life heard God tell him to restore a dilapidated church — which I believe he did thinking that God's will is more important than his father's rage at the saint's alleged throwing away his money.

In the world of live - action films, changing a director when a film is already in production is rare, though it happened this year on the independent western «Jane Got a Gun,» when Gavin O'Connor replaced director Lynne Ramsay after she failed to show up on the first day of shooting in New Mexico.

Tired of endless talk of the «death of film,» Reverse Shot's editors aimed to show a way forward, or rather, how filmmakers themselves are already showing the way.

Already one of the most Halloween - friendly shows on TV, we already know that the some scenes for the new season were filmed in the South Pasadena neighborhood where John Carpenter shot Halloween, reportedly even using some of the same houses.

Last night at Fantastic Fest in Austin, TX, just before a showing of Penumbra, filmmaker Don Coscarelli (of Phantasm, The Beastmaster, Survival Quest, Bubba Ho - Tep) introduced an exclusive first look clip and early look at the teaser trailer for John Dies at the End, his crazy new horror film that he already shot late last year.

Hayley Atwell «s Agent Peggy Carter was such a scene - stealing standout in Captain America: The First Avenger, she went from a supporting character in Captain America's debut film to a One Shot subject to the lead of her own TV show, Agent Carter (not to mention the fact that her cinematic arc was only just wrapped up in Captain America: Civil War).

, showing how the actors were suspended by wires for much of the shoot in order to simulate the film's fully zero - gravity environment.

Perhaps this can be also blamed on the lack of inspiration shown in the preparation for shooting the film — there is so little to the characterisations and the plot that it seems likely writer Scot Armstrong and director Kent Alterman felt the visual gag of Ferrell in a singlet would be enough.

The plot interweaves the story of what happens in the aftermath of a police shooting in Brooklyn's Bed - Stuy neighborhood told through the eyes of the bystander who filmed the act, a black police officer and a high school baseball phenom inspired to take a stand, showing the impact of racism and violence on a community.

Olson and Boise chose plaintiffs on the basis of same - sex couples who behaved just like everyone else, and the still shots of their homes and family photographs interspersed through the film show all the trimmings of a wholesome American family.

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.

What did work and showed the potential the film had if it could get away from the conventional treatment of its subject, was the extraneous artistic shots of Frida's paintings brought to life in a surreal manner ala MTV filming techniques.

Veterans Frank Langella and Glenn Close show up as Brian's parents and give the film a nice shot of humor.

Filming on Creed 2 is now underway, as confirmed by set photos showing Dolph Lundgren and Florian Munteanu shooting scenes at Philadelphia's Museum of Art, where the famous «Rocky steps» are.

is a bit more obvious to that end, showing the filming of additional shots with the crew in plain view.

They go to the effort of sourcing different music for the trailers, generating titles but then suddenly stop the creativity to show a slide deck of the films most memorable shots.

Pretty quickly, the film turns into a horror show, with the airborne, microscopic spores from a plant on the planet serving as the way those killer aliens end up in their human hosts (Scott offers a microscope - level shot of the infection entering a crewmember's body through his ear canal, which is simultaneously frightening and deviously amusing).

It's the first film to be partially shot with a 120 frame per second rate (most films are shot with at 24 fps) and excerpts were recently shown at the National Association of Broadcasters Show in Las Vegas last month who were reportedly blown away.

«Test Shot Comparisons» (2:15) show us a handful of animation and effects tests, each followed by the corresponding clip from the final film.

Video transfer is surprisingly substandard for the first film, which shows a lot of graininess in some of the shots.

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

I'll show it to my children because it's a film about female friendship and lord knows there aren't enough of those, and I'll show it to significant others, because if they don't swoon a little as Frances dances to «Modern Love,» or beam at the final shot, then I won't be entirely sure it's going to work out.

John Ford's Fort Apache is an odd film, consisting more of sidetracks than of an actual story, but it showed a new restlessness in Ford, and a willingness to question the norm (and foreshadowing the themes of The Man Who Shot Liberty Valance).

That of course brings to mind a short film, akin to the «Marvel One - Shot: Item 47» shown last year.

Briefly: Legendary may have showed off some proof of concept footage for Duncan Jones «upcoming Warcraft at Comic Con, but the film isn't actually cast and shooting just yet.

It's not every director who can show three kids (including an infant wrapped in swaddling clothes) perforated by bullets without so much as flinching, but that's Cooper's M.O., refined over the three films since his relatively marshmallowy «Crazy Heart»: As in «Black Mass» before this, violence packs more punch if depicted matter - of - factly, which somehow registers as «realistic» these days (although one suspects that it would be far more horrifying if his victims suffered slow, agonizing deaths after being shot).

Release: Tuesday, October 22, 2013 [ESPN] The minute I realized that «E» from Entourage would be directing one of ESPN's 30 - for - 30 documentary films, Big Shot, I was set on focusing my eyeballs on the nearest T.V. that would be showing it.

A new supposed behind - the - scenes image from filming shows a shot of Doctor Strange and Spider - Man teaming up, with Strange ominously telling Peter «Protect them, they're not dead.»

There are also two archival segments from The Dick Cavett Show from 1971 featuring Pauline Kael (making a case for the film) and, in a later show, Altman, and a gallery of stills shot on the set of the film by photojournalist Steve SchapShow from 1971 featuring Pauline Kael (making a case for the film) and, in a later show, Altman, and a gallery of stills shot on the set of the film by photojournalist Steve Schapshow, Altman, and a gallery of stills shot on the set of the film by photojournalist Steve Schapiro.

An hour long TV show is more like a film, because you shoot out of sequence.

This geographic intimacy is captured vividly by cinematographer Hélène Louvart, who also shot «The Wonders» and documentaries «Pina» and «The Beaches of Agnès,» (among others; whether capturing a boardwalk fireworks show or the thick clouds of a vape bar, «Beach Rats» has an experiential, almost docudrama aesthetic whose lived - in authenticity is in keeping with that of the film as a whole.

It also shows how the effects landscape has changed as so many of the backgrounds were done with green screen that could be looked at live as the film was being shot.

Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the film drew from Broadway variety shows of the time to present a spectacular array of sketches, performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger - than - life rendition of George Gershwin's «Rhapsody in Blue»)-- all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in early Technicolor.

The self - reflexive quality of The Larry Sanders Show was of a different nature, bouncing between the drama behind the scenes (shot on film) and the «show» itself (shot on video in traditional TV talk show style), but it wasn't about acknowledging the conventions so much as deconstructing the businShow was of a different nature, bouncing between the drama behind the scenes (shot on film) and the «show» itself (shot on video in traditional TV talk show style), but it wasn't about acknowledging the conventions so much as deconstructing the businshow» itself (shot on video in traditional TV talk show style), but it wasn't about acknowledging the conventions so much as deconstructing the businshow style), but it wasn't about acknowledging the conventions so much as deconstructing the business.

Shot on digital cameras, the film looks so clean and sharp it shows up the cheap costumes, props and effects and lessens the visual splendour of Jodorowsky's imagery.

Not only does it not really draw us into the action, despite its first - person perspective, but a sizable portion of the film is actually not shown to have been shot by any of the characters we see on the screen.